Peter Celsing en el complejo de Sergels Torg la Casa de la Cultura de Estocolmo
La tesis ?Peter Celsing en el complejo de Sergels torg. La Casa de la Cultura de Estocolmo intenta profundizar en la obra de este autor, en sus conexiones con otras arquitecturas y arquitectos de su entorno fisico y temporal, que constituye uno de los episodios mas interesantes y menos conocidos de la arquitectura nordica. El objeto particular de estudio es la Casa de la Cultura dentro del complejo de Sergels torg como pieza clave que marca un antes y un despues en su trayectoria. Se observa un proceso de desarrollo constante, que se fue gestando paulatinamente, y que en este ejercicio alcanza su punto algido. Ademas, los proyectos que coexistieron con su evolucion, y los posteriores, filtraron las inquietudes latentes del mayor reto al que se habia enfrentado, dando pie a resultados novedosos en su produccion. La investigacion se estructura en tres capitulos. El primero, ?Aprendizaje? examina sus experiencias de juventud, viajes de estudios y lecciones de sus maestros; asi como sus inicios profesionales en el proyecto de restauracion de la Catedral de Uppsala y en sus iglesias junto a Lewerentz. En ese periodo prima lo formal y escultorico, el hormigon y el ladrillo artesanal, y como referencia Le Corbusier y la capilla de Ronchamp. El segundo capitulo, ?Obra? estudia el concurso que da origen a la Casa de la Cultura, su proceso de gestacion y diseno, y las modificaciones posteriores durante su construccion. De repente emergen las cualidades espaciales y los sistemas estructurales aprendidos de Mies en el Crown Hall de Chicago, la gran escala de la metropoli y las soluciones industriales ligeras. El tercer capitulo, ?Madurez? sirve de cierre, y revisa su trayectoria posterior con relacion a la obra referida. Tras este edificio, el diseno de las propuestas coetaneas se vuelve mas abstracto y sencillo, gana en autonomia, rotundidad, atrevimiento y caracter. Las conclusiones verifican el cambio de actitud y de paradigmas. Hay elementos como las distorsiones, los contrastes y las manipulaciones, aprendidas en sus primeros anos de formacion y junto a Lewerentz, si bien es cierto que ahora han aumentado proporcionalmente a la escala de sus intervenciones e incluso se observan en el detalle, como sucede en el encuentro de los materiales y su montaje. Su vision, su punto de vista se eleva, y la pieza adopta una volumetria compacta y unitaria. Cada nuevo trabajo sintetiza un enfoque mas universal y abierto en conceptos y metodologia operativa. Sus preocupaciones nos hablan de un arquitecto consciente de su tiempo y cuya arquitectura final mira ya al siglo XXI. ABSTRACT The thesis ?Peter Celsing in the complex of Sergels torg. The House of Culture in Stockholm delves deeper into the work of this author, in his connections with other architectures and architects of his physical and temporal surroundings, which is one of the most interesting and least known episodes of Nordic architecture. The particular focus of this study is how the House of Culture, a key point within the complex of Sergels torg, marks a before and after in his career. There is an observable process of constant development, which was growing steadily, and reaches its critical point in this exercise. In addition, the projects that coexisted during his evolution and those that came before, reveal latent concerns leading up to the biggest challenge he would face, ultimately giving way to new developments in his work. The study is divided into three chapters. The first, ?Learning? examines his experiences as a youth, academic trips and lessons from his masters; as well as his professional beginnings alongside Lewerentz in the restoration project of Uppsala Cathedral and his churches. In that period the formal and sculptural were given preference, also concrete and handmade brick. And as reference, there is Le Corbusier and the chapel at Ronchamp. The second chapter, ?Work? studies the competition that gives rise to the House of Culture, the gestation process and design and subsequent amendments during its construction. Suddenly the spatial qualities and structural systems learned from Mies in Crown Hall of Chicago emerge, the large scale of the metropolis and light industrial solutions. The third chapter, ?Maturity? serves as the closure and examines his subsequent career in relation to said work. After this building, the design of coetaneous proposals become more abstract and simple, gaining autonomy, firmness, boldness and character. The conclusions verify the change in attitudes and paradigms. There are elements such as distortions, contrasts and manipulations, learned in his early years of training and with Lewerentz, that have now undeniably increased in proportion to the scale of their involvement and can even be observed in detail, as so happens in the joining of materials and assembly. His vision, his point of view is heightened, and the piece adopts a single and compact volume. Each new work synthesizes a more universal and open focus in concepts and operational methodology. His concerns speak of an architect aware of his time and whose final architecture now looks toward the 21st century.