A visit to the cultural centre, or Kulturhuset, in Stockholm says it all. Downstairs elderly men play chess, another room is packed with readers of local papers while on other floors citizens visit theatres, cinema, lectures and discussions. What goes on in this perhaps rather ugly building is in one way an indication how the Swedes intend to bring art and culture to their own people and the rest of the world next year.

And in planning this magnificent festival their attention has turned repeatedly to Glasgow, where it is believed the benefits of its European culture year in 1990 have extended to the present day. Perhaps sadly the word "Dublin", or its experience of being a Cultural Capital a year later, never arises in conversation.

If there is a definite mood among the 1998 culture year administrators, it is that the event for Stockholm has to be inclusive: it has to draw in the rest of Sweden and, indeed, those for whom a visit to the theatre or an art gallery is a rare event. Culture is to be seen as not only meaning art forms but also ordinary life as it is lived.

It is to be a showcase for what is best in Swedish culture as well as reflecting the goodies from elsewhere. This its incredibly ambitious programme seems set to do with its massive financial backing and a poll showing that 95 per cent of the people support the culture year. More than half of the city's citizens say they will attend at least one cultural event and 27 per cent of Swedes believe they will visit the capital for the culture year .

What Dublin would have done with perhaps £42 million to spend on programming alone no one knows, and no deep study seems to have been done on the long-term effects of the Dublin year. The Stockholmers, though, are intent on discovering scientifically how 1998 will have succeeded. Mats Widbom, the co-ordinator of the city's architecture, design and ecology for the year tells us of an ambitious study, for the effects of the 1998 experience are expected to last into the future.

The Swedes, perhaps unduly conscious of their previous cultural isolation, are determined to bring the best of outside art forms to the capital, while at the same time showing off their own jewels. Which is why, while 60 countries will be involved in one way or another with the year, there will be productions of seven new Swedish operas.

One person's highlight is of course another's yawn, but a visit to Stockholm from January 17th next could include:

A trip down the subway to see the art collections at many of the city's stations.

The Berlin Philharmonic at the Vasa Ship museum.

At the Royal Garden, a 200-square-metre ice cathedral, the walls, floor, ceiling and interior of which will be built from snow blocks sawn from a river. At weekends there will be a snow studio for children.

Carl Orff's Carmina Burana by the Royal Opera.

The quite simply design collection, of functional items, an unconventional collection to be sold in 60 Swedish department stores.

The Archipelago Project: contemporary arts involving about 40 exhibitions in seven museums.

Discussions on new European films and why Ireland is the new "wonderboy" of Europe's film world; what has Ireland's great literary heritage meant to the film industry?

A European writers' conference, involving 80 authors from 30 countries.

Projects on the Sami people (Lapps) and their indifference to the nation state.

"Window Dressing Sunday" when shop windows will be taken over by some 50 artists.

A conference on children's creativity and democratic right to create and enjoy culture.

The invasion by 10,000 children of the city for two days, with a parade and events at 100 venues.

A conference on role of culture in European cities.

Film/video screenings in the open on the culture centre roof.

A photography festival.

Photography exhibitions at subway stations facilitated by removal of advertising hoardings.

A seminar on industrial heritage.

A look at the Spaniard Rafael Moneo's new Museum of Modern Art, opening on February 14th - (surely its size, use of light and space and cosy siting on the island of Skeppsholmen have won considerable approval although there have been mutterings of it "having no signature", "being anonymous" and claustrophobic. And the Joan Miro exhibition should be spectacular.).

For information ring: 0046-86981998.