Lewerentz’s works at Eastern Cemetery at Malmö represent over forty years of trial and error culminating in a lowly hulk of cast-in-place concrete. A pair of glass panes set flush with the façade reflect the privileged northern light off ceilings of aluminum-faced fiberboard. The only other opening is a gash across the front; long and low to advertise the contents within. During the time of the Kiosk’s design and construction Nyberg was becoming closer to Lewerentz and there is considerable evidence to suggest that Nyberg contributed to the buildings design while also documenting it through both still and moving images. The standing triangular joints in the concrete become a permanent part of Nyberg’s language in future projects, just as the aluminum-foil-clad ceiling finds a new context in the Höör chapel. This project, while the culmination of one architect’s struggle for an authentic language, breeds new direction in the architecture of another.
Currently the kiosk is flanked by an addition that neither nods nor contrasts. While Lewerentz had the foresight to imagine such a need via the suggested extrusion of its form, Nyberg and his colleague Staffan Schultze suggested a radically different design in glue laminated wood panels, influenced by Lewerentz’s design for a flat-pack chair and the wooden doors for the kiosk produced by Töreboda in the same material.