Brick and mortar sing a silent song. That song echoes the story of Markuskyrkan. Here at Markuskyrkan, we find a unique architectural expression.
Markuskyrkan is located in Björkhagen. It is a district south of Stockholm. The church stands as a testament to brutalist architecture. Sigurd Lewerentz designed it in the 1960s.
But first, let us jump back a bit. An architectural competition in 1955 sparked Markuskyrkan’s creation. Peter Celsing and Sigurd Lewerentz participated. Lewerentz won. He had already made a name for himself. His contributions to Stockholm’s Woodland Cemetery earned him recognition. The cemetery is now a UNESCO World Heritage site.
Construction of Markuskyrkan began in 1958. The project fostered an unusual collaboration. It was between the architect and the construction workers. Lewerentz’s constant presence created a “Bauhütte”. This translates to a building hut. It fostered mutual respect and trust.
Many stories arose from this Bauhütte. They illustrate Lewerentz’s clear and strict ideas. One anecdote involves a tiler. The tiler worried about meeting Lewerentz’s standards. Lewerentz responded with artistic vision. “Straight here, straight there, why must everything always be straight? It should be pretty, whether it’s crooked or not.”
Another story involves a plumber. The plumber asked if he could do it his usual way. Lewerentz replied, “No, I know one thing. That’s the only thing you shouldn’t do.”
Lewerentz implemented his brutalist style in Markuskyrkan. Red brick defines the facades and interior. Wide, unpressed mortar joints accentuate the rough texture. You won’t find any cover strips or door frames here. Electrical cables run visibly across the brickwork. They become part of the architectural expression. The window panes lack frames. They are set directly into the wall openings.
Natural materials dominate the colors. Brick, clinker tiles, and laminated timber beams create the palette. Barbro and Robert Nielsson created the artistic embellishments. These include the baptismal font and altar decorations. Robert Nielsson also created the bronze fountain. It is called “Lotus Flower”. It sits on the reflecting pond. This is in front of the main entrance.
The construction lasted five years. It spanned from 1958 to 1963. The church garnered significant attention during construction. In 1962, Sigurd Lewerentz received Sweden’s most prestigious architectural prize. It was the Kasper Salin Prize. He earned it for Markuskyrkan.
Markuskyrkan also marks the head of the Sörmlandsleden hiking trail. This 1000km recreational route winds through Sweden’s east coast. The church sits on the boundary between the city and the Nacka Nature Reserve. It serves as a community function space. It also serves as a place for religious worship.
Unlike typical landmarks, Markuskyrkan sits back from the residential center. Birch trees shield it. The winding path instills a sense of pilgrimage. The rough brick facade conveys permanence. The Spegeldamm mirror pond provides space for contemplation. The church itself lacks grandeur. The entrance leads directly into the nave. The dense brick facade continues inside. Steel beams support the roof arches.
Lewerentz carefully considered light. Brass pendants complement the windows. The windows look out to the beech grove. Lewerentz embraced materiality and craftsmanship. He worked closely with tradespeople. He insisted on using whole bricks. This gave rise to varying mortar joint sizes.
Robert and Barbro Nilsson provided distinguishing features. These include the stone baptismal font and chancel wall tapestry. Markuskyrkan embodies Lewerentz’s vision. It blends functionality with artistic expression. It earned its place as a celebrated landmark. It even received cultural monument designation. Markuskyrkan stands as a testament to architectural innovation. It is a space for contemplation.