Abstract | This essay explores twentieth century neo-classicism in the Nordic countries, and suggests its supranational practice was more than a stylistic interregnum of the interwar period. It addresses the origin of the movement in the concerns of the National Romantic movement, the mediation of architectural theories from Semper onwards that stressed experience over order, and which emphasised addressing societal needs, as well as travels at home and abroad. A study of individual projects suggests the success of the movement was its non-doctrinaire approach, and its treatment of building and landscape as a unified topos. |
---|