Uppsala University’s Main Building stands as a remarkable testament to 19th-century architectural design, preserving an intact environment with both its exterior and interior elements largely unchanged since its inauguration in 1887. This extraordinary continuity has been the focus of a new scholarly thesis by art historian and curator Anna Hamberg, who has meticulously analyzed the building’s origins, design principles, and the subtle deviations from its original plans that have shaped its present-day character. Her work uncovers the nuanced interplay between symbolic artistry, functional design, and academic tradition that underpins this Swedish architectural treasure.
The story of the University Main Building in Uppsala begins with its inauguration on May 17, 1887, a moment marking the culmination of ambitious design and construction efforts. At first glance, the building’s façade commands attention with its robust and refined classical elements, yet a deeper exploration reveals a layered narrative of evolving intentions and unrealized artistic ambitions. Hamberg highlights, for example, the conspicuous absence of a grand mural intended to adorn the wall above the auditorium entrance—a decorative project meant to depict the university’s historical journey but left unfinished, resulting in a conspicuously bare surface to this day.
Tracing the intellectual underpinnings of the building’s aesthetic, Hamberg situates its design within a grand symbolic framework inspired by antiquity. The architectural and decorative language speaks to a quest for enlightenment—the “light of knowledge”—a theme visualized through allegorical motifs throughout the edifice. One striking example is the mural within the chancellor’s room, where a dragon and a faun symbolize ignorance, being actively repelled by a youthful figure wielding a spear, who protects a radiant star representing knowledge. This visual allegory reflects a Renaissance-inspired narrative of intellectual triumph, anchoring the university firmly within the legacy of classical learning and virtue.
The four allegorical female figures that grace the façade each embody one of the traditional faculties: theology, law, medicine, and philosophy, underscoring the academic pillars of the era. Inside, the building’s interior bears witness to this intellectual heritage through emblematic inscriptions and design choices that enshrine values of critical thought and moral rigor. Perhaps most renowned is the inscription by 18th-century jurist Thomas Thorild: “To think freely is great, but to think rightly is greater.” This phrase encapsulates the ethos the university hoped to instill—a commitment not only to freedom of thought but to disciplined, responsible inquiry.
An architectural marvel of the building lies in its creation of spatial drama, notably in the stair hall where soaring ceilings meet an intricate floor of English-manufactured tiles. Hamberg’s thesis details how emerging technical innovations in construction and materials during the late 1800s enabled such feats, allowing architects to conceive complex and grandiose spaces that were both functional and inspirational. The harmonious relationship between structure and surface decoration thus serves as a physical metaphor for the intellectual aspirations the building houses.
Further enriching the building’s unique character are the custom-designed furnishings, notably the ceremonial lectern within the auditorium, which remains in ceremonial use today. Crafted under the direction of architect Herman Teodor Holmgren, the furniture reflects influences drawn from Holmgren’s extensive European study tour, particularly his time in Paris where he encountered the marble ‘Throne of Ceres’ in the Louvre. The echoes of this classical piece resonate in Holmgren’s designs, exemplifying a synthesis of classical grandeur with academic symbolism.
Holmgren’s architectural vision extended beyond mere aesthetics to encode the university’s social and academic hierarchies physically within the building’s layout and decoration. Rooms intended for students display a Spartan sense of restraint, void of artistic embellishment, aligning with the utilitarian nature of scholarly pursuit. In contrast, chambers designated for professors and administrators boast more elaborate interior decorations, marking status and authority. This spatial differentiation mirrors the contemporaneous academic culture, embedding institutional values into the fabric of the architecture itself.
A pivotal contribution of Hamberg’s thesis lies in its role in preserving the fragile and unique architectural drawings associated with the Main Building. These original plans, housed within the university archives, have been meticulously conserved and digitized through the Alvin platform, making them accessible for future generations of researchers and the broader public. This effort not only safeguards valuable historical documents but also fosters renewed engagement with the building’s heritage, allowing deeper insights into 19th-century architectural practice and academic culture.
The Main Building’s enduring use for its original purposes—hosting everyday academic activity, distinguished ceremonies, and public celebrations—speaks to a remarkable continuity seldom found in historic university architecture. Hamberg underscores this aspect as a testament to both the building’s design resilience and the institution’s commitment to honoring its traditions while adapting to modern needs. The very survival of such an integrally preserved environment offers invaluable opportunities for study and appreciation of historic architectural milieus.
Hamberg’s work also provides a window into the broader architectural and cultural context of late 19th-century Sweden, an era marked by rapid modernization and an engagement with European artistic currents. By linking the Main Building’s conception to wider trends in design, symbolism, and academic ideals, the thesis situates this singular structure in a dialogue with both the local and continental intellectual landscapes of its time.
At the heart of this study lies a fascination with the concept of performative space—how architecture not only shelters activity but actively shapes social interactions and institutional identities. The University Main Building, through its carefully orchestrated visual and spatial cues, performs as a stage upon which the rituals of academia unfold, from formal inaugurations to the daily rhythms of scholarship.
In conclusion, the building’s combination of architectural innovation, symbolic richness, and historical fidelity renders it a mirror reflecting the evolving ambitions and values of Uppsala University. Anna Hamberg’s detailed exploration invites us to reconsider the ways in which built environments capture and convey intellectual legacies. Her work ensures that this remarkable edifice continues to inspire, educating not only through its function but through its very form.
Subject of Research: Architecture and design of Uppsala University’s Main Building in the late 19th century, focusing on its symbolic, functional, and performative dimensions.
Article Title: On a New University Main Building in Uppsala – Process, Design and Performative Spaces in the Last Decades of the 19th Century
News Publication Date: 17-Apr-2025
Web References: https://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-550044
References:
Hamberg A. (2025). Om ett nytt universitetshus i Uppsala. Tillkomst, gestaltning och performativa rum under 1800-talets tre sista decennier (On a New University Main Building in Uppsala – Process, Design and Performative Spaces in the Last Decades of the 19th Century), Uppsala: Acta Universitatis Upsaliensis, Ars Suetica: skrifter, ISSN 0066-7919 ; 27, ISBN: 978-91-513-2389-3 (printed).
Image Credits: Mikael Wallerstedt
Keywords: Uppsala University, historic architecture, 19th-century design, academic symbolism, Herman Teodor Holmgren, performative space, architectural preservation, university heritage, Swedish architecture, Gustavianum museum, Thomas Thorild, intellectual symbolism
