Nääs Castle

Floda, Sweden

Nääs Castle is a 17th century mansion near Gothenburg, Sweden. In the later half of the 19th century Nääs became world renowned through its Crafts College and for more than 50 years it was regarded as 'Swedens window to the world'.

According to legend, King Kristian II built a castle for hunting parties at Näs. The first historical evidence on Nääs Estate however, derives from record dated 3 October 1529. The first known owner, Joen Småswen, constructed a large manor on the promontory in Lake Savelången. At the end of the 16th century the estate was owned by the governor of west Sweden, Göran Eriksson Ulfsparre. It was subsequently owned by Ulfsparres family members and the noble families Lilliehöök, Natt och Dag, Cronsköld, Oxenstierna, Göthenstierna, von Utfall and Reenstierna.

1824 the estate was sold to Peter Wilhelm Berg, a wholesaler from Gothenburg. After his death the property was divided between his surviving children (only 3 out of his 10 children survived childhood). Bergs’ son Theodor and his daughter Nensy were allotted Nääs factories. The youngest son, Gottfrid, received the rest of the estate, including the mansion. A memorial stone to the 7 dead brothers and sisters was raised in the Castle gardens at the northern side of the mansion. In 1868 the mansion and associated land was sold to August Abrahamson, yet another wholesaler from Gothenburg. Abrahamson founded the famous Crafts College and donated the entire property to the State after his death in 1897, in order to secure continuity for the Nääs educational programme.

The main building on the cultural heritage site of Nääs estate, Nääs Castle, is now museum open to the public, daily between May-September (only guided tours) as well as for pre-booked group-appointments outside of the tourist season.

The estate exists of a number of historic buildings open to the public. In addition to a restaurant, café, art & crafts shop and west Sweden’s very own heritage foundation, byggnadsvård Nääs, a range of exciting public events are organized each year (more information and Nääs Castle and Crafts College home page). Art & Crafts courses, though in a far lesser extent, are still practiced in one of the buildings.

The old stable is now home to a horse riding school and Nääs horse association. Beside several nature and walking trails, Nääs estate also provides Bed & Breakfast as well as conference accommodations. During the summer several craft courses are held at the ’Slöjdseminariet’, the crafts college official building.

Nääs Castle and Crafts College is administered and maintained by August Abrahamsons foundation, a Swedish government administration.

References:

Comments

Your name



Address

Nääs allé 8, Floda, Sweden
See all sites in Floda

Details

Founded: 17th century
Category: Palaces, manors and town halls in Sweden
Historical period: Swedish Empire (Sweden)

More Information

en.wikipedia.org
uk.naas.se

Rating

4.1/5 (based on Google user reviews)

User Reviews

klas fredman (3 years ago)
Nice suroundings for a walk or a picnic, easy to access.
igor kalcic (3 years ago)
God fod nice service... wonderful to take a walk in the woods
cairong chen (3 years ago)
0 star to the café! We had midsummer lunch buffe here and encountered the most rude waiter ever. He charged us 95kr for our 1 year old, and refused to refund after we explained the the baby has his own canned food. In the end he refunded but threatened us the baby couldn't eat a bite of their food. Will never come back. Won't recommend the café to any children family.
Lina Svensson (3 years ago)
Excellent venue with historical charm. The restaurant has gluten free and lactose free food options. Buffet, soup and main menu were of reasonable quality. Staff were lovely and helpful especially with restricted diets.
Kyle MacDonald (3 years ago)
The castle is on this little island in a lake, and it's so pretty to walk around. Didn't get to see the furniture in the castle, as it's only open for tours in summer. The stables were open and so was the restaurant. Restaurant is nothing much to write home about though. It had recently snowed, the walk around the island and the surrounds was amazing. The have a long history of arts and crafts!
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.