On the Stage of At Six

In the middle of all that phantasmagoric brutalism and incredible cultural heritage, a new oasis of postmodern elegance, sustainable luxury and exquisite art collection curated by Sune Nordgren — At Six hotel — has found its harbour at Brunkebergstorg 6. With its finely crafted spaces, where experimental design meets the beauty of natural materials and geometric forms, the hotel, since its opening in 2017, has rather quickly become an art and gastronomic mecca. With its four enticing restaurants and intriguing art pieces including such names as Olafur Eliasson, Tacita Dean, Julian Opie, Patricia Uriqola and Jaume Plensa, At Six bestows an exclusive holistic experience upon its visitors. Upon entering the grand lobby, one is immediately enchanted by Catalan artist, Jaume Plensa’s 2.5 meter high female head in white Almeria marble called “Mar Whispering”. Later the experience escalates by the bohemian atmosphere created in a moderate Scandinavian manner with laconic but expressive details such as light, furniture and rough industrial design. Everything is placed in a coherent and at the same time thought-provoking narrative as it would be in a scenography, conceived for any of Ingmar Bergman’s plays, were each detail has its clear purpose and constitutes a part of the entire context. Furthermore, a visitor, like a chess piece on a Chess board, becomes a part of that immersive context - the one ends up on the stage called At Six and the improvisation begins.

In the heart of Stockholm, being both a busy commercial area and cultural hub, Brunkebergstorg has always had a transformative power in its soul, attracting artists, politicians and intellectuals of the early 20th century to attend munificent parties at Odeonteatern, Hotel Gillet and the art gallery, Färg & Form. The legendary fashion atelier of the Swedish couture master and Frederick Worth collaborator, Augusta Lundin, lay just around the corner, where Selma Lagerlöf would come by to place an order. In the 1930s Le Corbusier had revolutionary plans for restructuring that part of the city, which in the 1970s became embellished with circles, spheres, squares and cubes in dark granite by Peter Celsing’s architectural solutions partly borrowed from the renaissance tradition, such as the Bank of Sweden.