This thesis analyzes Ferdinand Boberg’s second design proposal for the Nobel Palace from 1911, a building commissioned by the Nobel Foundation to host award ceremonies and administrative functions. Despite its ambitious vision and substantial initial support, the project faced widespread criticism and was ultimately abandoned. This thesis focuses its architectural analysis on the proposed designs and offers a reception study of the times contemporary critique. Boberg’s design is explored in the context of Art Nouveau and National Romanticism, highlighting how the building’s monumental yet functional form reflected these influences while incorporating international trends.

Delving into the interplay between the building’s form, function, and materials, Boberg’s use of local elements is emphasized, evidenced in plans to integrate the structure with its natural surroundings, as well as incorporating brick from southern Sweden. Key architectural features, including the octagonal ceremonial hall and the symbolic tower, are analyzed as expressions of the building’s intended purpose as a national and international monument.

A study of the times contemporary reception reveals the second proposal was heavily criticized for being “foreign” and “oriental,” reflecting the wider debate about Swedish national identity in architecture. The debate now known as the “Boberg controversy”, exemplifies the tension between tradition and modernity in early 20th-century Swedish architecture.

While the Nobel Palace was never realized, it remains a testament to Boberg’s innovative vision and the challenges of reconciling national architectural ideals with international influences.