From Woodland Crematorium to Stockholm City Library – Gunnar Asplund’s Architecture That Changed Sweden
The Architect Who Gave Sweden Its Modern Identity
Every profession has its giants. In Scandinavian architecture, Gunnar Asplund (1885-1940) stands tallest. Not because he built the most buildings, but because he built the right buildings at precisely the right moment in history.
Born in Stockholm in 1885, Asplund entered the Royal Institute of Technology’s School of Architecture in 1905. Nine years later, in 1914, he embarked on a decisive journey to Italy that would fundamentally alter his architectural philosophy. Upon his return in 1915, he and Sigurd Lewerentz won first prize in the International Architecture Competition for Stockholm’s Woodland Cemetery—a project that would occupy portions of his career until 1940.
The Woodland Chapel: Where Tradition Meets Innovation
Asplund’s Woodland Chapel (1920) demonstrated his remarkable ability to synthesize vernacular Swedish imagery with classical motifs. This was no simple pastiche. Instead, Asplund created something entirely new: a building that felt both ancient and contemporary, both deeply Swedish and universally human.
By the time he completed Villa Snellman (1918) and Lister County Courthouse (1921), Asplund had definitively moved beyond the National Romanticism that dominated Swedish architecture in the early 20th century. These works displayed a refinement and clarity that pointed toward his future direction.
The Stockholm City Library: A Masterpiece in Neoclassicism
The Stockholm City Library (1928) remains Asplund’s most celebrated work from his Neoclassical period. Its central rotunda, flooded with natural light, creates what architecture critics describe as “singular space”—a room so perfectly proportioned that visitors instinctively lower their voices upon entering. Four million people have experienced this space since its opening, and architects continue to study its geometry.
The Skandia Cinema (1923) revealed Asplund’s fascination with the architectural promenade and the interplay between interior and exterior spaces. Built within an 1850s structure, the cinema demonstrated his ability to transform existing buildings into something remarkable without destroying their character.
Stockholm Exhibition 1930: The Day Sweden Went Modern
In 1930, Asplund served as chief architect for the Stockholm Exhibition. This single event marked the breakthrough of Modernism in Sweden. His light-filled pavilions transformed the exhibition grounds into what contemporary observers called “a festival site.” Over four million visitors experienced Asplund’s vision of modern architecture—airy, functional, and optimistic.
The exhibition’s impact extended far beyond its six-month run. It fundamentally changed how Swedes thought about design, architecture, and modern living. Asplund’s pavilions embodied the hope of a new era, proving that functionalism could be both practical and beautiful.
The Final Years: A Personal Interpretation of Modernism
Following the Stockholm Exhibition, Asplund developed his distinctive interpretation of modernism. The Bredenberg Department Store (1935), National Bacteriological Laboratories (1937), and his summer house at Stennäs (1937) each demonstrated his ability to adapt modernist principles while maintaining his personal architectural voice.
The Law Courts Annex in Gothenburg (1937) and the Woodland Crematorium (1940) represent Asplund’s final, most personal works. Completed just before his death in 1940, the Woodland Crematorium—with its Faith, Hope, and Charity chapels—creates what architecture critic Gunilla Lundahl describes as “an atmosphere of consummate architecture.” The Chapel of Hope was consecrated with Asplund’s own funeral service.
The Asplund Legacy
Today, architects travel from across the globe to visit the Woodland Crematorium near Stockholm. They come to experience what few buildings achieve: the perfect unity of space, light, and emotional resonance. Asplund’s ability to add his personal tone to every architectural style—whether Neoclassical, vernacular, or modernist—remains unmatched.
His chair for the Swedish Society for Industrial Design demonstrates this versatility in miniature. A contemporary reinterpretation of a Biedermeier armchair, it proves that comfort has a timeless formula. Like all Asplund’s work, it unites space and clarity, simplicity and elegance.
Gunnar Asplund died in 1940 at age 55. Swedish architecture has never produced another talent quite like him.