Högalidskyrkan by Ivar Tengbom

In the late 19th century, Stockholm’s western Södermalm experienced a population surge, creating a need for a new church. In 1905, Maria Magdalena Parish designated Högalidsberget for a chapel, and in 1913, Ivar Tengbom was chosen to design it. On June 10, 1923, Högalidskyrkan was inaugurated, two weeks before Ragnar Östberg’s City Hall opened across Riddarfjärden—a competition Tengbom notably placed second in.

An urban sanctuary of serenity

When Ivar presented his proposal, many raised their eyebrows. The design broke the norms of traditional Swedish church aesthetics of the time and faced some criticism for its modernist architecture—particularly due to the two slender towers, whose verticality would dramatically contrast with the nave and reach toward the sky to claim an influential place in Stockholm’s skyline. After a few revisions, however, the proposal was approved, and Södermalm would gain its spiritual gathering point. In 1917, the first stone was laid.

Breaking with tradition

Högalidskyrkan became, for many, a symbol of the modern era. Unlike the ornate church buildings of the time, Ivar used clean lines, geometric forms, and simple materials that gave the church a sense of simplicity and elegance. Instead of stone or wood, concrete and brick were used, imparting a modern and natural character to the building—a radical shift in material choices. The tall windows, allowing abundant light to flood the interior and reflect within, enhanced the spiritual atmosphere. Meanwhile, the functional layout, with the pulpit centrally placed, both facilitated communication and strengthened the sense of community among the church’s members.

A national romantic basilica

Ivar’s proposal was based on the form of a long nave church, a so-called basilica—designed with a central nave and side aisles. Dark red, hand-molded brick from Mälardalen’s brickworks clad the long nave structure, featuring a narrower, straight-ended chancel, flanked by octagonal twin towers. Together with the projecting gables and the pointed vaults of the roof, the church claimed a prominent place in the cityscape, perched on Högalidsberget’s highest plateau. The main portal, made of dark, carved granite, creates a striking contrast with the red brick. The exterior exudes a sense of monumentality through its authentic material craftsmanship.

The central nave is clearly divided from the side aisles by tall columns, which create rhythm and symmetry within the church interior. The form emphasizes the prominence of both the pulpit and the chancel in the church space. From the narthex—the first room visitors enter—the chancel and the large symbolic triumphal crucifix immediately draw the eye.

Towers shaping the cityscape

The church’s twin towers rise 84 meters, with their spires reaching 105 meters above Lake Mälaren’s waterline—matching the height of the gilded crowns atop City Hall’s tower.

As Tengbom himself said:

 “With two towers, you avoid all comparisons.”

The towers have distinct purposes: the somber northern tower, crowned with a rooster, represents God’s law and houses a baptismal chapel on its ground floor. The southern tower, with its golden cross, symbolizes the gospel and spreads its message through the sound of its bells.

A total work of art in cathedral form

Through the narthex, visitors enter the single-aisle vaulted church space, embraced by a sophisticated gray-toned plastered wall surface. Together with the breathtaking height up to the ceiling, the openness, spaciousness, and cathedral-like atmosphere become palpable. Tall buttresses on either side form arched niches, whose high windows help to soften the light entering from outside, showcasing a masterfully executed play of light. At the same time, the many artistic and crafted details create a sense of intimacy and closeness to the spiritual.

“The church’s interior must be regarded as a Gesamtkunstwerk directed by Tengbom and executed by several of the era’s most prominent artists and craftsmen.”

The interior, fixed furnishings, and artistic decorations represent various artistic styles and time periods. Here, one finds inspiration from both medieval and baroque forms. Ivar designed most of the fixed objects, such as the organ gallery, pulpit, iron gates to the baptismal chapel, and the lighting fixtures. However, he also collaborated with the most prominent artists and craftsmen of the time, including Gunnar Torhamn, Isaac Grünewald, Olle Hjortzberg, Erik Jerken, and Einar Forseth. To ensure the creative collaboration worked smoothly and seamlessly, a building workshop was established around the church, where the team worked side by side.

Timeless cultural and historical value

Inaugurated by Archbishop Nathan Söderblom on June 10, 1923, Högalidskyrkan remains a vital cultural and spiritual landmark. From March 2021 to June 2023, Högalidskyrkan underwent a comprehensive renovation. The general contractor, In3prenör, and project managers KFS, along with the client Högalid Parish, ensured the building’s future while preserving its heritage. On June 10, 2023, the eagerly awaited reopening celebrated the church’s 100th anniversary.