Scan Magazine’s annual Nordic Ar chitecture and Interior Design Special has landed. In this issue, we present a tour of the most innovative names, projects and initiatives in Scandinavian design. Our conversations with archi tects, consultants, interior designers, CEOs and urban developers unearth the major trends at the forefront of an evolving industry. Plus, we hear from the programme director of the World Architecture Festival, which will gather the world’s architecture community in Lisbon in No vember, about the new design thinking driving the field. Sustain able materials, humanist philosophy, collective residences, urban greening projects, and flexible design are just some of the themes that have emerged as pillars of our future cities. As the world has always looked to the Nordics’ vanguard architecture as a blue
print for the future, our rundown of the biggest names in 2022 offers a projection of global shifts in years to come.
Elsewhere, discover the best restaurants, hotels, galleries and mu seums to hit on your next Scandi city break, pick up tips for sus tainable home design, and find out how Swedish musician Robert Wells achieved worldwide success by breaking all the rules.
I hope you’ll find this issue as inspiring to read as I found it to create.
Lena Hunter, Editor
Back from a three-year hiatus, the 2022 World Architecture Festival and INSIDE World Festival of Interiors will take place in Lisbon, from 30 November – 2 December. WAF is the world’s largest annual, international, live architectural event – where the global architecture community meets to celebrate, learn, exchange and be inspired. Here, programme director Paul Finch gives us a rundown of what to expect.
This month’s Fashion Diary is a seasonal survivalguide, with must-have designer outdoor wear by top Scandi labels. For the extra brave, we’ve listed the five top cold-water swimming accessories by leading triathlon and adventure brands. Or stay dry and visit a floating restaurant – a rule-breaking Copenhagen newcomer serving exquisite European-Nordic cuisine – moored on the city’s most iconic waterway.
Sustainability columnist Alejandra Cerda Ojensa makes the case for thrifting your homewares, while beer expert Malin Norman lifts the curtain on how to find an eco-friendly brew.
Non-profit design initiative Svensk Form platforms the role of designers in the green-system transformation, as they cut the ribbon on our roundup of Sweden’s top architecture and interior design names. Meet the studio ranked as one of the world’s most innovative by American business pundit Fast Company, a historic interior design firm whose forte is hallways, and the Swedish name behind Denmark’s stunning MIPIM-awardnominated design hotel.
“A right for all, not a privilege for the few.” In their introduction to our foray into Denmark’s frontrunning names in architecture, the Danish Architecture Centre lays out the foundation of the country’s design heritage. In conversations with design studios and consultancy firms from across the southernmost Nordic country, we hear how contemporary Danish architecture continues to unite, inspire and innovate on the world stage.
Norway’s sprawling northern coastline presents a unique crop of environmental, cultural and social challenges for architects and urban planners, while its capital is a hub of innovation. On our Norwegian rendezvous, we’ll meet the architects who describe the Lofoten islands as “a Klondike right now”, and the design duo tasked with renovating one of Oslo’s most esteemed sites of cultural heritage – the National Library of Norway – in a sweeping portrait of the country’s modern design identity.
The editor-in-chief of Finnish Architectural Review, in collaboration with the Finnish Association of Architects, muses on the country’s close-to-nature architecture and long history of timber-building know-how. Elsewhere, we speak to an architecture firm whose campus buildings rub shoulders with those of Alvar Aalto, and another tasked with designing new architecture for a historic 500-year-old town.
Stockholm-born musician Robert Wells is renowned for his unique twist on rock and pop. He has spent a lifetime bringing music to the masses, but it didn’t always look so rosy. In 1989, Wells took a gamble, going against the grain of his music training and the industry, on an outlandish stage show called Rhapsody in Rock. It would come to define his career. Here, Wells digs into the highs and lows of a life of breaking the rules.
Copenhagen will host one of the world’s oldest LGBTQ+ film festivals, while Espoo Museum of Modern Art is opening an artificial-intelligenceinspired exhibition – one of many tech-inflected art events springing up, lately. Plus, music columnist Karl Batterbee presents his playlist of new Nordic releases and, reflecting on her cultural links to Sweden, illustrator Gabi Froden advises us to “take what you love, and leave the rest.”
8 We Love This
97 Restaurants of the Month
105 Hotel of the Month
106 Distillery of the Month
108 Holiday Profile of the Month
109 Art Profiles of the Month
114 Museum of the Month
Let’s get outdoorsy this autumn. As athleisure and fashion continue to merge, we dress up in the season’s most practical yet nifty Scandinavian gear and hit the streets, the forests and mountains to enjoy the seasonal hues and crisp autumn air.
By Åsa H. Aaberge | Press photos
From Bergans of Norway comes the Oslo coat, this season’s ultimate dayto-day raincoat. The Oslo collection comprises modern, everyday apparel that features the protective proper ties of technical hiking garments. The Oslo coat has a refined, sleek silhou ette and a lightweight waterproof ma terial ideal for layering.
Oslo Urban Coat, €350 www.bergans.com
A puffer vest is a superb in-between staple that is al ways on trend. Wear it over a jumper or layer under a lighter raincoat as the temperature drops. The cropped vest from Swedish Filippa K offers a touch of glam to the outdoors with its glossy finish, and the down will keep you warm in the colder months to come.
Cropped Puffer Vest, €350 www.filippa-k.com
One of the most prominent trends this season is cargo pants. As well as being the look du jour, these denim pants from Danish H20 Fagerholt feature wide legs and a boxy, comfy fit – perfect for long, windy strolls and snuggling up on the sofa with a book and cup of tea afterwards.
Gad Pants, €240 www.h2ofagerholt.dk
Let a pair of soft socks keep your toes warm on chilly autumn mornings at home and outside, whether you’re wearing loafers or wellies. These cashmere designs from Norwegian FWSS come in several autumnal colours.
Amazing Cashmere Socks, €75 www.fallwinterspringsummer.com
Nothing says autumn like a cosy jumper. Choose cashmere for its softness, longevity and elegance. A chunky turtleneck like this one from Swedish Soft Goat never loses style – or comfort.
Chunky Turtleneck, €245 www.softgoat.com
In autumn, the lines between daily and outdoor wear are blurred, and these pants from Swedish Klattermusen are a prime example. Minimalistic, lightweight and perfect for movement both out in nature and around town, they’re made in a sturdy, yet soft and breathable, organic cotton mix.
Grimm Men’s Hiking Pants, €199 www.klattermusen.com
With a hint of style and a touch of function, the lightweight Notting Hill jacket from Swedish raincoat-maker Stutterheim is the ideal multi-use raincoat this autumn. The overshirt design and waterproof material make this jacket a versatile, every day staple, and a must-have for rainy days in the woods.
Notting Hill Lightweight, €300 www.stutterheim.com
From coffee runs on wet autumn mornings to traips ing down muddy forest roads, the Tretorn Terrang rubber boots are a true wardrobe-bestie. The low-cut boot has a warm and comfortable inner and a robust outsole, with a great grip for slippery walks. Terrang Low Neo, €100 www.tretorn.eu
In winter, the sea temperature in the Nordics is roughly minus two to nine degrees centigrade. Positively balmy, according to Scandinavians, for whom an icy swim is about as banal as going to the supermarket. But winter bathing is also a social experience – once you’ve seen your colleague cursing and gnashing like a wild animal as they plough stiffly into a freezing lake, you’ll forge a unique and powerful bond. It’s a health and longevity-booster, a magic wand for the metabolism, and a point of Nordic national identity. Come on, it’s not that bad once you get in.
By Lena Hunter | Press photosDryrobe started life as an item of surfing gear for discreet undressing on the beach, but today the half-towel, half-jacket has become a go-to for out door swimmers. Much like a prehistoric fish climbing out of a pond, Dryrobe has even evolved into a fash ion garment – displaying a similar progression from ironic to stylish as that of Crocs. But that doesn’t de tract from Dryrobe’s impressive specs: a waterproof and windproof outer layer combines with a fast-dry ing, super-warm lining in a perfect all-weather pon cho for surfing, swimming, triathlon, camping, out door adventures or days at the beach. Plus, it’s 100 per cent recycled and available in a wealth of colours and patterns from black camo to cobalt.
Dryrobe Advance Long Sleeve, €185 eu.dryrobe.com
The Fenris Recon bag from Norwegian outdoor specialists Halite is a true airtight, waterproof and durable all-rounder. Designed to fit close to your back, its low profile creates a stable and comfortable carrying experience, even on longer journeys. Mean while, a 100 per cent airtight and waterproof diving zipper gives your gear the best protection possible. It is fully welded with no stitching in the construc tion, meaning it’s submergible, floats, can be vacuum compressed to minimise the pack size, and shields against water and dust. The 90L model is sized to hold a comprehensive inventory of adventure gearand it looks badass to boot.
Fenris Recon 90L Bag, €498 www.halite.no
The almost unnecessarily large Hamam Towel from NORDBAEK is woven from 100 per cent sustainably sourced Oeko-Tex cotton – that’s two square metres of lightweight, high-absorption and fast-drying material. The Danish label was founded in 2017 by two ardent swimmers from north-coast winter-bathing hotspot Vedbæk, who understand the importance of good tow el-coverage after a swim. On the day the brand was born, the pair recall that “large icicles were hanging from the pier, and it was freezing cold.” Yikes.
Nordic Hamam, €47 eu.nordbaek.com
Copenhagen-based Norse Projects is renowned for their timeless blend of streetwear, workwear and high-end fashion. Their garments apply fine fabrics and palettes to utilitarian silhouettes, for unfussy, high-quality daywear that doubles as excellent in sulation against the Scandinavian winter. The classic Norse Beanie is knitted in Italy from 100 per cent lambswool – perfect for warming your ears after a cold dip.
Norse Beanie, €60 www.norseprojects.com
Although head-to-toe neoprene is optional – in fact it’s not permitted in some winter-swimming events – a solid pair of thermal gloves and socks are indispen sable comforts for an icy plunge. Socks protect from sharp objects when wading in rough shallows, while gloves reduce the risk of discomfort or injury caused by freezing temperatures and will ease the pain of rewarming. Zone 3 is a favourite brand amongst tri athletes, and these unisex Heat-Tech Boots and Swim Gloves are fine examples of market-leading coldwater must-haves.
Neoprene Heat-Tech Warmth Swim Socks, €49 Neoprene Heat-Tech Warmth Swim Gloves, €49 eu.zone3.com
Design and eco-conscious parents are likely already acquainted with Wooden Story –the family manufacturer of handmade wooden toys that has delighted children for 50 years. But, when Justyna and Karol Budek, the latest in the Wooden Story generation, found out they were having a baby of their own, they branched out and launched Windy Woods: a 100 per cent natural skin- and body-care range, inspired by woodland scents and ingredients, in stunning glass and hand-carved wooden bottles.
By Lena Hunter | Photos: Windy Woods
“Windy Woods is for the whole family. We make products that everybody needs in their home, in premium quality with sustainable ethics,” says Karol. The range encompasses all-natural hair care, bodywash, handwash and hand cream for women and men, and the ‘Mama and Baby’ line of sunscreen, nappy rash cream, hair and bodywash, and a nourishing and firming belly oil.
“I use the two-in-one hair and bodywash for my baby and, of course, the nappy rash cream. You can really see the difference compared with standard brands. It’s very smooth and delicate,” says Justyna.
The scents are inspired by the couple’s home region – the forested slopes of the Beskidy Mountains that stretch along
the Polish-Slovakian border. “The wind dances among the majestic trees, pick ing up the aromas that float between the undergrowth and the canopy,” says Justyna. Named after the points of the compass – Breezy North, Mysterious East and Jungle South – each scent has its own enchanting woodland top-notes of Pine, Cedar or Peruvian Pepperwood.
“There aren’t a lot of natural forest scents in cosmetics. Many are synthetic and very strong. We wanted to create a range con nected to nature, so we also use ingredi ents from the forest, like birch wood and pine needle extract,” says Karol. Inside every bottle, Windy Woods skincare is up to 99.9 per cent naturally sourced.
Beautiful outside and in, the label has al ready been spotted by Vogue. The range
is wrapped in elegant, eco-friendly glass bottles and every lid is handmade from 100 per cent ash wood. “One of the basic values passed down from Wooden Story was respect for nature,” says Justyna. “We knew there were more people like us. So we came up with this idea. Or, if you prefer, the wind blew, and brought us an idea that smalls like the forest. We just named the idea Windy Woods.”
www.windywoods.pl Instagram: @windywoodsskincare Facebook: windywoodsskincare
Alfons Åbergs Kulturhus (Alfie Atkins’ Cultural Centre) is a creative cultural centre for children and their adults.
This is a place where curious children can play, get up to mischief, climb and discover a world full os exciting things.
There are few spots in Copenhagen that offer as arresting a dinner-table view as LIVA. From the top deck of a small boat moored in the historic merchant port of Nyhavn, the restaurant’s panoramic glass windows overlook a bustling vista of colourful townhouses, pavement cafés and ancient alehouses once packed with sailors. In the evening, Nyhavn traps the long, slow sunset, and the harbour’s forest of wooden masts bathe in gold.
By Lena Hunter | Photos: Kasper HellesøeBut LIVA offers more than spectator ship. Its graceful menu captures the es sence of modern Scandinavian cuisine, with a few thrills thrown in along the way. “I don’t like the term New Nordic – everybody can say that,” says owner and head chef Sebastian Grau. “We work with the ingredients we have right now – seasonal wild greens, fish and meat –but I also use yuzu and chili. This is a Nordic restaurant, with a European style of cooking.”
LIVA’s four or six course tasting menu is the best way to enjoy the tour de force of Grau’s cooking.
Throughout, simple stalwarts of the Nor dics, like Swedish chanterelles, Gam malknas cheese, small green strawber ries and rye crumble, meet classic French cuisine: quail wrapped in flaky pastry, poached egg-yolks, mussel bisque and fluffy hollandaise sauce.
Daring cuisine, flawless technique Compared to conventional Scandinavian fine-dining, it’s a different proposition. Or der Gillardeau oysters, and they’ll come garnished with an aromatic ginger and chili foam. Delicately smoked mackerel is seared on a yakitori grill and served with a beautifully light basil granita. Mean while, a deftly wielded gourmet approach sees petite brown butter ‘kringle’ biscuits piped with threads of crème fraiche and a perfectly clear tomato consommé pack an incredible depth of flavour, and plating is executed with flawless detail.
Grau is a culinary risk-taker – and it pays off: “When I started, two years ago,
this was a brasserie serving beef steak and bearnaise. After a year, I became a partner and changed it to a restaurant concept. But it’s a tiny little boat. There’s no big walk-in freezer. We prep almost every element for each dish fresh, on the day. If my fish supplier says ‘today I have monkfish’, we’ll adapt a dish to ac commodate. I don’t want to do the same thing every day. It’s boring,” he says.
The poached egg yolk with seared sprouts, chive and hollandaise is a stand out, with a stunning playoff between velvety texture, rich umami flavour and bright herbaceous notes. The connection between taste and emotion is a corner stone of Grau’s concept: “Every dish has a memory attached to it,” he says. So too with dessert: a wild blueberry and yuzu purée, with hay-milk ice cream and a leaf-shaped salted-caramel twill. “For the ice cream, we infuse oat milk with hay. It gives a beautiful praline flavour that tastes like late summer.”
Rare finds on the wine-list Accompanying the menu is an equally daring list of matched wines. It’s rare to find a contemporary Nordic kitchen in Copenhagen that offers new-world drops; but here, an outlandishly punchy and fragrant New Zealand Sauvignon Blanc is married beautifully into the menu. Elsewhere, a macerated Greek Muscat introduces white peach notes to
the creamy mussel bisque, and a sweet white Bordeaux lends weight to the light-footed freshness of dessert.
While all this is going on, dusk is fall ing on Nyhavn. The colourful neon on the waterfront façades is winking in the dark waters of the canal. Inside, LIVA is dressed in a warm palette of white and natural browns, lit by candlelight and a smattering of industrial-chic lamps. In the windows overlooking the water, the glow of the interior is reflected onto the darkening scene outside.
“We didn’t follow a formula at LIVA,” says Grau. “It’s filled with things I love – from the dishes to the interior design.” The result is something singular on the Co penhagen dining scene: a restaurant that understands the rules but doesn’t follow the book. In the same way that a table at LIVA offers a new perspective on an iconic Danish landmark, it also offers a new per spective on contemporary Nordic cuisine.
www.livacph.dk Instagram: @livacph Facebook: livacph
More breweries are becoming eco-friendly, with commitments to reduce carbon emissions, use sustainable and renewable energy, raw materials sourced locally, improve waste reduction and recycling processes, and so on. This is great, but what can YOU do as a consumer? Here are a few tips.
To help reduce carbon emissions from transportation, the first step is to choose beer brewed locally. By cutting out transport, you are also likely to avoid old beer due to long travel and potential exposure to extreme temperatures in bad storage conditions. This is a major win as aged beer can take on a stale character and wet cardboard-like taste – not pleasant!
Even better, take the opportunity to visit your local breweries and enjoy some beers in their taproom, where they use refillable kegs and serve beer in reusable
glassware. You’ll also be showing your support for the breweries and boosting the local economy. And remember, beer is actually best enjoyed fresh, straight from the source.
If possible, choose an organic beer brewed with local ingredients, from an eco-friendly brewery that’s committed to helping save the planet. So how do you know if the brewery is in fact eco-friendly and using local produce? Well, do your research, check their website and the packaging, ask when you visit, or shoot them an email.
What else can you do? Choose cans as they are more environmental-friendly. If you consume beer at home, make sure to drink it before the expiry date –wasting beer is never good and you don’t want to pour it out just because it’s gone bad. And, of course, recycle any bottles
While decorating my kitchen recently, I started thinking about my interest in inte rior design. As a Scandinavian, I’m used to white walls, light woods and pale textiles, and I wanted to move away from that. I asked myself who I’m decorating for and steered myself to the thrift store.
Decorating a home doesn’t necessarily mean jumping on a trend to make it look like a typical Scandinavian home. Nor does it need to mean buying new things. As I was hanging up my hand-sewn striped lin en curtains, I felt incredibly proud knowing I had made them myself, and as I put up my freshly thrifted frames with my selfmade prints in them, I felt even prouder. I finished off my makeover by oiling the wooden countertops. Not that sexy, but I want them to last. My home is more than
a roof and walls, or storage for my belong ings – it’s my safe space where I spend the most time.
Making it a representation of who I am is an ongoing process. As always, I want to make informed decisions and choose sus tainable options. The result is a cozy home with wonky walls, lots of light, books and creative projects. I feel at ease when I’m home. That hasn’t always been the case –perhaps that’s why I cherish the feeling so much. I have even made peace with the spiders on my ceiling (there are plenty of them!).
Creating a sustainable home is creating a space that makes you feel safe, at peace and happy – without using resources that will damage our planet. And if white walls are not a part of that, let them be yellow.
By Malin Normanand cans. Or you can brew your own beer, using local ingredients, and enjoy in the comfort of your home.
Malin Norman is a certified beer sommelier, beer judge and member of the British Guild of Beer Writers. She writes about beer for Scan Magazine and international beer magazines. Sustainability columnist Alejandra Cerda Ojensa is a Swedish sustainability blogger based in Copenhagen. She loves sustainable fashion, plant-based food, natural wines and music. Instagram: alejandracerda.co
The 2022 World Architecture Festival (WAF) and INSIDE World Festival of Interiors will take place at the FIL exhibition centre, Lisbon, on the 30 November – 2 December. WAF is the world’s largest annual, international, live architectural event – where the global architecture community meets to celebrate, learn, exchange and be inspired. The festival comprises a thematic conference, an exhibition area, networking and social events, while at its heart is a vibrant awards programme dedicated to celebrating architectural excellence via live presentations to an audience of high-profile delegates and international juries.
By Lena Hunter NAB 3 Parramatta Square by Woods Bagot Sydney, Australia. Photo: Nicole England
SASIPAWAN WISDOM CENTER by Architects 49 Limited Nakhon Ratchasima, Thailand.
Photo: Krisda Boonchaleow
The theme for the 2022 edition of the fes tival is ‘Together’. For three days, as part of a live events programme, an interna tional panel of speakers will explore and debate how architecture is responding to the renewal of collective life post-pan demic, and in the light of commitments to combatting climate change.
“The past two editions of WAF have been digital, so this will be the first time that we’ve been together for a live event for three years. There’s a different dynam ic with a live event, and we wanted this year’s theme to reflect that idea of phys ical togetherness,” says programme di rector Paul Finch.
The theme has implications for the archi tecture and urban design of proximity, on many different scales. “Two people sitting in a restaurant are together, but so are thousands in a cathedral. Architecture in its broadest sense also encompass es city making. Meanwhile, ‘Together’
Victorian Pride Centre by BAU Brearley Architects+Urbanists and GAA Grant Amon Architects Melbourne, Australia. Photo: John Gollings
touches on a wealth of social situations and the extent to which climate change unites us. It’s a theme that will hopefully lead to some creative conversations.”
It will be the first time that WAF has been hosted in Lisbon, following previous edi tions in Amsterdam, Barcelona, Singa pore and Berlin. “Lisbon has become a cultural hub in recent years. The Lisbon Trienal is very specific evidence of that,” says Finch. “It has a very respectable en vironmental strategy for the city; it was awarded the European Green Capital Award for 2020. Then, of course, it’s got great architecture, old and new.”
While there have always been concerns in the architectural community about economy of means – a general disposi tion to be frugal with materials and to consider energy costs – the past 15 years have seen sustainability become a cen tral tenet of WAF.
“There has been more of a focus in the last five years on the carbon cost of
building something in the first place, as well as environmental performance and quality. That has been matched, in some parts of the world, by an increased focus on social responsibility towards indige nous communities and cultures. Archi
tects are taking that on board as part of a broader sustainability brief,” says Finch. “As such, we don’t have a sustainability prize. We expect that approach to be in tegrated into the better entries.”
The 420-strong WAF shortlist has been selected from hundreds of entries from over 50 countries, including Portu gal, Malaysia, Finland, Mexico, Turkey, Australia, Japan, India and the UK. The shortlist celebrates the best new completed buildings and landscapes, ranging from rural and coastal villas to contemporary religious buildings, to the very latest healthcare buildings.
Projects from across the shortlist will be selected for Special Prizes. “We’ve got some old familiars this year, like Best Use of Colour, Best Use of Natural Light Prize, Best Use of Certified Timber Prize and an architectural engineering prize for creative collaborations with structural engineers,” says Finch, and 2022 will also see a project win the newly introduced International Building Beauty Prize. “The
EDGE Suedkreuz Berlin by TCHOBAN VOSS Architekten Berlin, Germany. Photo: Ilya Ivanov
180 Steeles by CORE Architects. Toronto, Canada. Photo: CORE Architects
Chengdu Hyperlane by Aedas. Chengdu, China. Photo: Aedas
Magazine | Cover Feature
WAF
Muscowpetung Powwow Arbour by Oxbow Architecture Inc. & Richard Kroeke. Muscowpetung Saulteaux Nation, Saskatchewan, Canada. Photo: Oxbow RK
number and quality of entries this year has been very encouraging.”
The shortlist also includes Future Pro jects under the WAFX Awards, a pro gramme celebrating 20 exemplary future projects which address major architectural issues facing society and the planet, ranging from tackling the cli mate emergency to building community resilience.
“Big challenges require big commitment and fresh thinking. These future projects show that architects across the world are responding to complex problems in im aginative ways – with the bonus of some design delight,” says Finch.
Dyson Global HQ, St James Power Station by M Moser Associates. Singapore, Singapore. Photo: Dyson
Petrol Corporate Building by ENOTA Ljubljana, Slovenia. Photo: Spacer
Meanwhile, INSIDE – the sister festival to WAF – presents the finest internation al examples of interior design. 2022’s shortlist reveals 65 interior projects from the interior-design firms shaping global trends in cities including Sydney, Hong Kong, Brooklyn, Mumbai, Istanbul, Milan, Beijing, Lisbon and London.
“We reviewed everything from the fabu lous to the austere and found much to ad mire. Trends in this year’s entries ranged from the small to the large scale and in cluded the increasing deployment of wood in both structural and decorative ways; the use of spiral staircases to improve cir culation; insertion of nature, including the use of internal trees; and an increasing interest in the creative re-use of historic buildings, many of them industrial. Many projects focused on the flow of users in the interior space, with the use of lobbies,
landings and stairs for social and learning engagement. This was accompanied by an interest in natural light, the blending of interior and external spaces, and the con trast between stylish design and furniture and raw construction materials evident in walls and ceilings.”
At the heart of the festival is the world’s biggest live-judged architectural awards programme. Across WAF, WAFX and INSIDE, architects and designers com pete for 42 category prizes, assessed by some 160 judges.
“We have 17 ‘Crit Rooms’ – as in criticism –one for each category, dotted around the edge of the exhibition hall, in which entrants present their projects. In each of those rooms, you have a three-person jury, plus 30 or so seats for delegates
interested in the subject being presented,” explains Finch. “The presenters get ten minutes to present to the jury, then a nine-minute Q&A, before the changeover to the next presentation. It’s a very dynamic format: in between, you’ll get delegates moving around because they don’t want to see the second residential project in Crit Room 2, but they do want to see the school in Valparaiso, in Crit Room 7.”
On the last day of the festival, category winners will compete against each oth er for the ultimate accolades of World Building of the Year and Landscape of the Year, as well as Future Project of the Year and Interior of the Year. These prizes are judged by ‘super jurors’ – major figures in contemporary architectural design. Final ly, the four overall prizes and the special prizes, including a student award, are pre sented during the gala awards dinner.
The Handan Wastewater Cleansing Terraces by Turenscape. Handan City, China.
WAF is the unrivalled, defining annual in ternational event for architecture, offering valuable insight into global trends and connections with industry peers. “But the key thing is that it’s all live and all interac tive,” says Finch. “It’s very rare for archi tects to see other architects presenting in this format. It’s not highly competitive as with pitching for a job. Pitching for prizes means that our event has a very friendly collegiate atmosphere.”
“This is a three-day event that will re mind the people there, the architects and designers, why they fell in love with the subjects in the first place. It’s not about construction, and it’s not about money. It’s about great architecture and great design and why that’s important.”
www.worldarchitecturefestival.com
Instagram: @worldarchfest
Facebook: ArchitectureFestival
Paragon by Fender Katsalidis Melbourne, Australia. Photo: Willem Dirk du Toit
Most people probably associate design with physical objects made within industrial design, product design and furniture design. Or, they assume it’s within something visual like graphic design, web design and illustration. However, an increasingly important area of design is one concerning its intangible aspects. This includes concepts like design thinking, service design and the design process itself.
By Mats WidbomThrough visualisation, designers can make different complexities understand able. This is especially important in rela tion to the sustainability, which is often a complex challenge and requires a ho listic perspective. And because holistic, complex issues often require complex
answers, design processes can make a big difference in delivering positive longterm results.
This also goes for how we choose to trav el. The aviation industry must innovate new fuel solutions, and the consumer
must take greater responsibility and seek sustainable alternatives for their travel. But to enact change, we must achieve a combination of top-down legislation and bottom-up influence through the individ ual’s choice.
However, one challenge lies in the fact that society’s green-system transforma tion must happen in a short time – some ten years, if you listen to researchers and the most ambitious roadmaps for a fos sil-free future. Yes, complex issues re quire complex answers, but if designers are given the chance to come on board
early enough in the planning process, then design can make a difference – not least in the aviation and travel industry.
Time is of the essence.
www.svenskform.se
Mats Widbom is the managing director of Svensk Form, a non-profit membership association mandated by the Swedish government to promote Swedish design at home and abroad. He has a degree in architecture and many years of national and international experience in the museum sector and public diplomacy.
Mats Widbom.
Photo: Rana Van Pellecom
The power to build the future is in our hands and BAUX provides the material. The Swedish company is pioneering the building and architecture industry with its sustainable acoustic sound absorbers that not only increase wellbeing, but have become a venerated design detail sought out by the world’s most prominent companies.
By Nina Bressler | Photos: BAUX“Employees are aware of their value, and they won’t accept poor working condi tions. Top companies around the globe know they need to maintain supreme standards to keep their employees en gaged and the office environment is a huge part of that. We’re helping the biggest companies around the globe: Google, AirBnB, Spotify, Microsoft, Lego, Amazon, AstraZeneca, Telefonica, the list goes on, through our ground-breaking acoustic solutions that not only provide a stimulating, healthy atmosphere, but also a sleek and dynamic interior. In an era where open spaces are the norm, we
need the solutions to make them work for the individuals occupying that space, and that’s where BAUX comes in to the picture,” says Fredrik Franzon, founding partner and CEO of BAUX.
Carbon-neutrality and stunning aesthetics
BAUX was created in Stockholm in 2013 by Franzon, Johan Ronnestam and the founding members of design studio Form us With Love; Jonas Petterson, John Löf gren and Petrus Palmér. The company emerged when the design studio was on the hunt for an acoustic solution to
their office and encountered a material that, until then, was commonly used in the building industry. Fire resistant and made with natural materials, the studio saw the opportunity to use it to forge something of their own.
Their prototype was installed on the walls, where it successfully alleviated their acoustic problems. There, it was discovered by architects who wanted to use it for other projects, and the studio realised that they were onto something: a chance to make a ground-breaking im pact on the building industry.
BAUX is formed of three major pillars: sustainability, functionality and design. Everything is done with circularity in mind and sustainability has been a fun damental part of their core business since day one. Proudly aiming for car bon-neutrality, they are fully transparent
Acoustic Pulp process.and do whatever they can to reduce their emissions. BAUX is following UNFCCC’s Climate Neutral Now Initiative and, as such, they compensate for actions that they can’t deliver without emissions.
The materials need to meet several cri teria: they must be traceable, recyclable, with low levels of volatile organic com pounds (VOC). Their products are widely used by architects and interior designers around the world looking for a material with strong acoustic and structural prop erties, while also providing an impres sive decorative design detail for ceilings, walls and within the room.
Three main product categories, sourced and produced in Sweden, are used for an endless array of creations: Acoustic Pulp, Wood Wool and Recycled PET. Nearly any thing can be designed to include different shapes, colours and features. The Acoustic Pulp is a unique, bio-based, organic mate rial composed of all natural ingredients. A concoction that includes cellulose, citrus, potato starch and vegetable wax makes a sturdy, fire resistant material that is so close to nature that pure water steam is the only emission during production.
The Wood Wool is the best-selling prod uct thanks to its remarkable qualities. It’s absorbent, fire-proof, moisture-reg ulating and resistant, energy efficient and even absorbs CO2. The material is a popular choice for many architects, as
LAB.
Recycled PET.
it’s extremely versatile and can be cut and shaped easily. The newly launched Recycled PET is made from certified PET from Europe and is completely recycla ble. Containing no glue and with nothing to disassemble, the product is destined for a circular life.
The key to a better future is transparency
“How can we achieve a truly sustainable society? We are dedicated to understand ing this by researching our own process and by being transparent about our re sults. How much emission comes from transportation, from production, where and how was the raw material sourced? We’re not perfect but we’re constantly
aiming to be as good as we can be and to set a new standard in our industry,” says Franzen, and concludes: “Nature is our inspiration and preserving it while ex tracting its benefits in a responsible way is how we believe we can create a bet ter society. The building industry has an enormous responsibility in our sustaina ble future and, within this, we believe we have a big part to play. We strive to inspire by being transparent, while at the same time providing an outstanding product with looks and functions that outperform other options on the market.”
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Acoustic Pulp environment.Constantly pushing the boundaries, Tengbom creates beautiful buildings and spaces that enrich people’s lives, strengthen its clients, and bring our society into the future.
By Malin NormanRanked as one of the world’s most innovative architectural firms by Fast Company, Stockholm-based Tengbom has a long history. Founded in 1906, yet constantly looking ahead, two of its recent projects show how, through architecture, the team helps clients push boundaries and make the world a better place.
The first example, Östermalm’s Market Hall and Hotel, is proof of respectful adap tation for the future. Arlanda VIP Services, the second project, encompasses the es sence of Nordic luxury in an exclusive es cape from the outside world, inspired by Scandinavian culture and nature.
Östermalm’s Market Hall –a top culinary destination With the comprehensive renovation of the old Östermalm’s Market Hall, Tengbom
has preserved a part of Stockholm’s histo ry, returning the market hall to its former glory while creating a new way to expe rience the top-ranking culinary destina tion. The restoration involved some chal lenges: putting the venue’s history to use and keeping its original character, while also meeting modern requirements. “We wanted to enhance the visitor experience without degrading this wonderful build ing’s cultural value,” says Mark Hum phreys, lead architect at Tengbom.
Tengbom discovered that the original symmetrical layout of the market stalls from 1888 actually facilitated a much bet ter pedestrian flow through the building. And, after scraping off layers of paint, the interior’s original colour scheme was re vealed to be beautifully multi-coloured. The building’s character was carefully
restored whilst including more access points and opening up the space, as per the original plan. New balconies overlook ing the market hall were incorporated, as well as elevators and additional toilets for improved accessibility. The result is a uni form and harmonious experience.
A new addition is a hotel in connection to the market hall. An old industrial sweet factory and an Art Nouveau residential building, spanning two different eras and characters, have been combined into a chic boutique hotel. They circle a courtyard covered with an elegant glass roof, de signed to feel like an extension of the sky.
Photo: Åke E:son Lindman Photo: Felix GerlachThis is a meeting place, but also a short cut into the market hall which, according to Humphreys, establishes a new sense of energy and flow to the neighbourhood. “Passers-by can take a shortcut from Nybrogatan via the hotel and market hall to Humlegårdsgatan, which also benefits commercial activity in both buildings.”
Arlanda VIP Services
–the essence of Nordic luxury
Arlanda VIP Services is another spectac ular project designed by Tengbom. Com pleted in 2018, the VIP terminal at Arlan da airport in Stockholm makes travelling easy and enjoyable whilst providing relax ation and a down-to-earth Scandinavian experience for influential travellers such
as celebrities, politicians and royals. The free-standing hub within the airport is one of very few of its kind around the globe.
The architectural concept takes inspira tion from Swedish landscape and culture, and builds on the contrasting relationship between hard and cold, soft and warm. The discreet outer shell in concrete offers protection for the building and its guests, whilst the interior, in natural colours and materials such as wood and leather, cre ates a warm, welcoming ambience. One of the challenges was the need to restrict views into the building for security pur poses. The solution was to let windows face upwards – providing lots of daylight whilst ensuring anonymity.
“When we think of exclusive spaces from an international perspective, this often involves the use of expensive, rare materials and luxury furnishings,” Humphreys says. “But luxury in Scan dinavia has more to do with freedom, tranquillity and closeness to nature.”
Arlanda VIP Services offers a taste of the Scandinavian lifestyle, a slower pace where guests can escape their everyday stresses, switch off from the buzz for a while, and prepare for their onward journey.
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Scan Magazine | Special Theme | Swedish Architecture and Interior Design Photo: Felix Gerlach Photo: Felix Gerlach Photo: Åke E:son LindmanPhoto: Åke E:son LindmanWith an ambition to make life a little smoother, more fun and beautiful, Liljewall creates architecture for a better everyday life in a sustainable world.
By Malin NormanThrough architecture, Liljewall aim to make a difference for people with different needs and in different situations –wherever they live and operate. Meanwhile, the design process and framework of doing so has shifted due to the industry
stepping up to reach crucial and ambitious climate goals. It is, now more than ever, critical to challenge the status quo, collaborate and rethink architecture’s role in a sustainable and climate-neutral society. Wooden constructions are only
one solution – the need is to focus more on reusing materials, upcycling and to reconstruct existing buildings.
“The blank sketchpad isn’t necessarily blank. Rather, it contains lots of valuable and creative outlines that fuel new possibilities and adaptations. In this context, architecture and knowledge of construction, combined with skilled craftsmanship, are increasingly important to adapt
Tresticklan national park at the edge of the forest of Dals-Ed, Dalsland. Photo: Joacim Winqvist/Picture Perfect Visualsthese existing buildings to new needs,” says Niclas Sundgren, CEO.
Regardless of the project, sustainability is at the top of the agenda for Liljewall.
“With the UN’s global goals as a frame work, we push for socially, economically and environmentally sustainable devel opment,” Sundgren continues.
Proof of this is the Sköndalsvillan project in Tyresö municipality close to Stock holm, designed by Liljewall. It is Swe den’s first CO2-certified assisted-living residence, according to the toughest environmental standards, NollCO2 and Miljöbyggnad Guld 3.1. Sköndalsvillan is not only climate neutral, but also invit ing, functional and economically sustain able. The construction is complete, and the residents moved in during August. “We are very proud of this project,” says Sundgren. “It’s a good example of how we can change our environmental footprint and become climate neutral.”
Liljewall has also integrated CO2 foot print analysis into its drawing tool, to give
an overview of a project’s climate impact. Reflecting on the ongoing energy crisis, Sundgren hopes that it can lead to even more green solutions in the future. “We must re-evaluate how we live, how we can reuse materials to a further extent, and look at climate requirements and what is sustainable. It’s a challenge, but also an opportunity. What will architec ture look like in the future?”
Another exciting project is SKF’s new headquarters in Gothenburg, completed in August last year. With a high degree of re-used building materials, low energy consumption, and a focus on biodiver sity, this is Sweden’s first building with the highest possible environmental cer tification, LEED Platinum. Liljewall has helped SKF to transform their old ware house in Gamlestaden into a modern and activity-based office environment, which inspires and facilitates collaboration whilst reducing the climate impact.
There are also smaller projects in the portfolio worth mentioning. Take the recently finished service and informa
tion buildings in Tresticklan national park at the edge of the forest of DalsEd, Dalsland. The buildings offer an opportunity for pause and an inspiring recreational experience when wander ing in the natural landscape. The design has been inspired by the history of the area and the outlines of nature, with an ambition to make the construction har monise and co-exist on nature’s terms. Wooden columns stretch towards the sky with neither solid walls nor roofs. Instead, there is a glass roof which pro tects against rain. The wood is locally produced and painted only with linseed oil, and the glass comes from a glazier in Dals-Ed.
Sundgren concludes: “Whether we work with large-scale projects or smaller ones, impacting a few or several people’s every day life, we always embrace the assign ment with passion and curiosity, striving for a flourishing, long-term future where architecture plays a great role.”
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One internationally recognised and prize-awarded project of Liljewall is Kunskapshuset in Gällivare, north of the Arctic Circle. Inspired by the mine, Arctic nature and Sami artworks, the building combines wood, steel and concrete, to tell a story about its location and culture. Photo: Anna Kristinsdóttir Liljewall has recently appointed Hanna Morichetto as vice president. She has extensive experience in archi tecture and a PhD from Chalmers University of Tech nology in residential architecture and wellbeing. Here with Niclas Sundgren, CEO. Photo: Linn Bergbrant Sköndalsvillan in Tyresö municipality, close to Stockholm. Photo: LiljewallA building with a purpose employs sustainability in several aspects ecological, economic and social. The secret for EGA Erik Giudice Architects, however, is creating a building with several purposes.
By John Sempill | Photos: EGA Erik Giudice ArchitectsErik Giudice is an Italian Swede, with one foot in Paris and the other in Stockholm. It doesn’t get more international than that. When it comes to his architectural firm, EGA Erik Giudice Architects, the mix is actually quite straightforward.
“Sweden and France are at the forefront of sustainable architecture,” he says.
“There is an apparent plan for social wel fare and a will to invest in well-planned living areas, something we want to be an active and leading part of.”
The office has ongoing projects in multiple other places outside France and Sweden, too. “The advantage of being multi-local is
to be able to catalyse ideas and experienc es from different places, in order to find new and more innovative solutions that can benefit a much larger audience.”
When he started the architecture office in 2010, the plan was to establish an in ternational company that would change perceptions of contemporary architec ture. “We have to reinvent the way we plan and design our cities and buildings in order to respond to the enormous environmental challenges we are fac ing today,” Giudice explains. “We need extremely high ambitions and commit ment in our work and architecture.”
Buildings with a purpose or several purposes is key. This is apparent in all of Giudice’s latest projects, such as the upcoming athletes’ village in Paris. For starters, the village is built in an area with previous social difficulties. “The aim is to give new energy, and create better homes and workspaces,” he explains. “It also
Platinan, in Göteborg, on the west coast of Sweden. It includes offices, a hotel, cultural activities and shops.
High speed train station in Jönköping, Sweden. Photo: EGAhelps create an attraction. It’s one thing to make a good situation for those who live there, but also to make a real city, that at tracts people from the outside.”
One of the temporary residences in the Olympic athletes’ village will later be come an office space. “With smart plan ning, this is achievable with minimal re building,” Giudice tells us. “This hasn’t necessarily been the case with previous Olympic villages.”
In Paris, EGA had an alternative plan for the project from the get go. The project
started as a ‘multi-use neighbourhood’, including homes, offices and cultur al buildings. “And then we altered this conceptually, to create temporary living spaces for the athletes,” Giudice says. “In practice, we installed mobile bathrooms in the office building that we’ll later re move and reuse in other projects. There is always a circular approach.”
Building for the future is at the centre of the firm’s projects. And there is more to be done, as well. Future projects include public buildings such as museums and concert halls. “They’ve been built a cer tain way for a long time,” Giudice says. “The overall shape has been worked on, but not so much the insides of cultural buildings; I think we can go further here.”
One such cultural building is situated in northern Paris, in an area with its own social challenges. “It’s an important building for the people living there,” he says. “Specifically for the youth and chil dren, who now have a place where they can meet and experience culture in sev eral different ways.”
Another key project in this aspect is the museum they designed, dedicated to no mad culture, in Morocco. The museum has a radical new concept:
“It has no traditional walls,” he says. “It’s a space created by inclined planes sug gesting a tent village, but with an abstract geometry. In the museum’s continuous space, the visitor choses their own path, and makes their own discoveries.”
Their general approach when it comes to creating buildings of any sort is to declut ter to remove the irrelevant and focus on the essential. “We always want to put our energy into the most important parts of the project,” Giudice underlines. “And we are perhaps more particular when it comes to areas like having the right ma terials in the right place.”
“The right materials” means the use of reusable construction elements and materials with a low carbon footprint. The word ‘flexible’ comes to mind again; a flexible building can be repurposed and even dismantled with ease when, and if, it’s time for deconstruction, and its parts used in new building projects.
“The construction sector is reorgan ising here,” says Giudice. “This hasn’t yet been systemised, but the market is different today and progress is being made. This is something we are at the forefront of.”
The use of locally-sourced materials for each project is also key to the firm’s suc cess. This minimises not only transpor tation cost, but also carbon emissions.
“Traditionally, buildings have been made with materials from the area whatev er was available,” explains Giudice, and concludes “that’s why there are wooden houses in some areas and stone build ings in others. The sector is coming back to this, and it’s something we have accelerated.”
Grande Escale, nomad culture museum in Dakhla, Morocco. Image: EGA Erik Giudice Architects Hébert cultural animation centre in Paris, France.
In autumn 2020, Swedish brand Skinome launched a world-unique concept called freshly made skincare. The concept is based on over ten years of ground-breaking research on the skin and skincare and has been developed under the guidance of Skinome’s founder, skin researcher and author of the bestselling book ”The Scandinavian Skincare Bible”, Dr. Johanna Gillbro.
Preservatives and other additives are ingredients you find in skincare for the sake of the productnot for the good of the skin. In Skinome’s freshly made skincare, you only find ingredients that are there for the skin. Just as fresh food is good for your overall health, freshly made skincare is good for your skin health.
Skinome’s skincare is produced in small batches in Sweden with a shorter shelflife to avoid using preservatives and unnecessary additives
2.Suppor t your
Skinome’s freshly made skincare supports your skin microbiome, which recent research show plays an important role for healthy skin. Thanks to ingredients such as pre-, pro- and postbiotics, Skinome’s formulas strengthen the microbiome.
Dr. Johanna Gillbro is a Swedish skin researcher and founder of Skinome
3.Work
Skinome uses skin-identical ingredients which are substances found naturally in the skin and therefore support the skin’s own (super competent) system. These ingredients provide benefits such as a strengthened skin barrier, a more even skin tone, reduced fine lines and of course – lots of moisturization!
Learn more at skinome.com
Just like fresh food, Skinome’s products should be stored in the fridge
160 billion live bacteria in a small bottle for your skin health
Vegeljung, Ängelholm. 600 homes, nursing home, preschool, service, park etc., close to the golf course and the sea. City plan + landscape + architecture. Photo: Radar Architecture.
Radar Architecture is a leading Swedish architecture firm for designing and planning the housing and public spaces of tomorrow. With a team of 45, it’s at the forefront of many of the major construction projects in Sweden, handling a variety of responsibilities therein. By paying detailed attention to how people interact with their homes and public spaces, Radar Architecture has become synonymous with beautiful, thoughtful humanist architecture, for which it has been recognised with a number of prestigious awards.
By Alejandra Cerda Ojensa“We are very aware of how people react to different materials and how they react when they come home, which is what we build from when we are working on a project. I think this is part of what has made us so successful in competitions, which is very rewarding,” says founder Oskar Götestam.
Götestam established Radar Architecture in his hometown of Gothenburg 19 years ago. He is not only the CEO but also one of the leading architects and planners. His projects combine an in-depth under standing of sustainability with an empha sis on beautiful and thoughtful design.
“We aim to create spaces that make both people and the environment feel good. The starting point is always the individual. Based on that, we create something timeless and caring that is both economically and environmentally sustainable, and that will last a long time. In this field, what we create will be around for many years, which is thrilling but also a great responsibility,” he continues.
Across its two offices in Malmö and one in Gothenburg, Radar Architecture’s architects, who specialise in different areas, work alongside city planners, allowing
them to learn from one another’s work. As such, the firm is fluent in large-scale projects from housing to schools and public spaces, able to draw on a diverse range of skill sets to understand complex client needs and open briefs.
“We focus on creating solutions based on how the people will react to and interact with the space, and try to not add so much of the architect to our projects. The children’s perspective is one of the seven key initiatives that we use as a starting point in every project. If we use the children’s perspective, the rest will follow, as the children are the future and we’re building something that will last into their lifetime,” Götestam explains.
The seven key initiatives are seven guid ing points, all of them within sustainabil ity, that the firm use to navigate and help them prioritise the different decisions. “The purpose of the seven key initiatives is to help us sharpen our skills. They range from us deciding to choose wood as a
building material because of its beauti ful properties, to applying the children’s perspective to help us think long-term, or using a circular approach to design, to be more eco-friendly,” he continues.
Radar Architecture always strives to de velop its knowledge. To test new ideas and gain new skills, it takes on passion projects, in which it acts as its own client. Currently, Radar Architecture is working on its third project of this kind – a set of houses in Lund in southern Sweden. The process begins with buying a piece of land. By owning the whole process, the firm can push the envelope when it comes to both
sustainability and design. Through this, its designers gain new knowledge and expe riences which can be used to improve the solutions offered to its clients.
Radar Architecture’s projects can be found in cities all over Sweden. Every city has its own needs and challenges, but also different possibilities and visions. Building anew always requires respect for the surroundings. Currently, Radar Architecture has many ongoing largescale projects. In the neighbourhood Örgryte in Gothenburg, it is answering the need for high-quality, spacious apartments. Elsewhere in Gothenburg, in the Gamlestaden area, it is working on a new
office building, and just outside of Gothenburg, in Mölndal, 48 apartments will soon be finished. On top of that, Radar Architecture is working on creating a whole new residential district in the city Ängelholm, called Vegeljung, comprising apartments, parks and new facilities.
No matter the city they work in, the land scapes they shape, or the homes they create, the talents at Radar Architecture always work with a sensitivity and care for human everyday life and the environment.
www.radararkitektur.se
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Brunnshög, Lund. Six rowhouses. Own project. Exciting spatiality for an urban life. Architecture + landscape. Photo: Radar Architecture Top left: Fredriksborg, Gothenburg. 50 homes around a protected yard. Architecture + landscape. Photo: Studio Superb. Bottom left: Office building, Gothenburg. 10 000m² office space, restaurant etc, in a historical context. Architecture. Photo: TMRW. Right: Pedagogen park, Mölndal. 50 homes in a park environment. Nordic Swan Ecolabel certified. Architecture + landscape. Photo: Aspelin Ramm.Acting on current challenges in society such as climate change, Krook & Tjäder architects offers well-designed and sustainable architecture as part of the solution.
Established in 1988 in Gothenburg, Krook & Tjäder is one of Scandinavia’s largest architectural firms with around 300 employees and offices in Sweden
and Norway. The team has a substan tial and varied portfolio, with annual projects in architecture, urban planning and landscape, as well as interior de sign and product design.
tects have long been well-established in Sweden, it has not been so common with the reverse. It’s great that we can take on projects in our neighbouring country, which has such a fantastic architectural tradition and many great architects.”
Kvartetten.
“We’re building for a better city, with interpersonal relationships and high ambitions, and the dedication and re sponsiveness of a small office,” says CEO Johan von Wachenfeldt. In addi tion to projects in Sweden and Norway, Krook & Tjäder is also expanding into Denmark. Two recent projects include Villa Copenhagen in the city centre and Comfort Hotel Copenhagen Airport – a new hotel at one of Northern Europe’s largest airports. “Whilst Danish archi
Conscious luxury at top hotel in Denmark The exclusive Villa Copenhagen opened its doors in summer 2020, housed with in the historic head office of the Danish Post in the heart of the city. The building from 1912 was originally designed by architect Heinrich Wenck, who also de signed Copenhagen Central Station. The starting point was to change as little as possible of the exterior and instead work with the existing structure to create a modern, top-class hotel. Villa Copen hagen is considered one of the world’s best hotels and was nominated as one of five hotels at Mipim Awards 2021 in Cannes, where it won silver in the cat
By Malin Norman | Photos: Felix Gerlach, Visualisation: Krook & Tjäder
egory Best Hotel and Tourism Resort. It also won the prestigious Projektprisen in Denmark in 2020.
“We are proud to be recognised interna tionally,” says Tobias Magnesjö, office manager at Krook & Tjäder in Malmö. “It has been an amazing and challenging journey to take on the over 100-year-old building, and make it accessible to locals as well as visitors, conference guests and gourmands. With a strong focus on sus tainability, we and the operator have de fined Villa Copenhagen as ‘conscious lux ury’, as the most sustainable buildings are those that have already been built.”
Krook & Tjäder designs beautiful, flexible, inclusive and robust living environments with a focus on what the team calls ‘good architecture’. “By good architecture, we mean sustainable architecture with a high level of expertise,” explains von Wachen feldt. “Of course, we design new environ ments and structures, but also focus on developing what already exists. We want to feel proud that our architecture acts on the challenges in society and contributes to a good life. Now and in the future.”
The office building Kvartetten in Malmö, developed in close collaboration with Wihlborgs Fastigheter, is a great exam ple of the sustainability focus. The build ing has been pre-certified with SGBC’s self-developed NollCO2 certification.
This means, among other things, that the property will achieve a net-zero cli mate impact during its lifetime. “The project has had high ambitions from the start and, in order to succeed, all actors have had to challenge themselves,” says von Wachenfeldt. “In addition to focusing on well-being and climate, we have also designed the building flexibly, for longterm use and the possibility of change over time.”
Another sustainable office building is Habitat 7 in Gothenburg harbour. The ex terior design is based on the traditional warehouse buildings of the old quays, and the building has a frame of solid wood and exposed columns and beams, which contributes to a pleasant indoor
Habitat
environment. “In Habitat 7, nature has been a central concept and source of inspiration, with lots of light, movement and lush greenery,” explains Anders Pettersson, architect and studio manag er. Habitat 7 will be certified according to the new NollCO2 certification.
Krook & Tjäder is one of the fastest growing architectural firms in Sweden, much thanks to its personal approach. “Our business is based on strong per sonal relationships and high architectur al ambitions with a great understanding of the customer’s business,” concludes von Wachenfeldt. “That personal rela tionship is our strength. The concern for the customer, the employee and society are a common thread in everything we do. It creates a sense of pride and gives assignments a higher meaning.”
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Habitat 7.Meet Ringvide, the furniture-makers who breathe life into each and every design. These creations are not just functional features of a room, but tell their own story with a beating heart. Designed to inspire a deeper connection between object and owner, a Ringvide piece is made to pass through generations.
By Emma Rodin | Photos: Ringvide
The story of Ringvide is not the classic one of an unfaltering childhood dream, finally realised. In fact, it was quite the opposite: the brand was born unexpect edly and organically.
Before things took off, founders Lukas Dahlén and Leila Abd Alwaheb had oth er commitments. Alwaheb was working as a teacher and Dahlén, who was al ready moving around in the land of fur niture design, was showing his pieces at various exhibitions, hoping to score gigs to design for established brands.
As it happened, during an exhibition in Milano, one of Dahlén’s showpieces (the now highly popular Weave cabinet) caught the eye of visiting architects and private buyers alike, and kindled a de mand for his designs.
“Me and Leila had toyed with the idea of creating something together but were unsure of what that adventure might look like,” recounts Dahlén. “So, when the opportunity of starting our own busi ness presented itself, we thought ‘why not?’”
The rules of Ringvide Dahlén and his team find inspiration everywhere: sometimes in historical events or surroundings, other times new and old creative techniques, or in a con versation over morning coffee.
“I have always been fascinated by ideas and how they can turn into something much greater. We all have a compote of ideas inside our heads and the more we have, the more ways they can take shape. I guess I am drawn to the idea of ideas,” says Dahlén.
Speaking of techniques, origami and weaving have always been two pillars of Dahlén’s creative style. Indeed, weaving inspired one of Ringvide’s most successful product lines, Weave, which includes a bold yet timeless collection of cabinets, bedside tables and desks – all handmade with natural wood and a hefty dose of care and respect.
There is also the newer Sumi line of Russian-doll style tables, whose name derives from the Japanese word for ink. The Suminagashi technique, which is used to create a completely unique pattern on each individual table, translates literally as ‘ink liquid’.
Defined by expressive minimalism and timeless quality, Ringvide designs are balancing acts between beauty and function. Historically, furniture has seen its design focus turned upside down from being purely functional, to placing form over function – as per modern con sumer demand.
“Today we live in a very functional world where techniques constantly evolve.
However, the basic functions of a piece of furniture are still the same. What has changed is the way we make and ex press them,” says Dahlén. “At Ringvide, we are driven by the will to present fur niture and interiors with true value, not just the beautiful and practical, but ob jects with soul.”
As an extension of beauty, Dahlén crafts designs that make emotional connections. It could be the scent of the wood bringing back special memories from childhood, or the shape of the furniture bringing the mind elsewhere. Or it could simply be that the purchase itself comes
after a time of deliberation, during which the customer has had time to emotionally bond with the product. There is also the option of ordering pieces in bespoke colours, making this bond even stronger.
“We make furniture that is tactile, where you cannot help but run your fingers across the surfaces or corners as you pass by. Furniture that boasts a satisfying sound, as you close the door or push back the drawer,” says Dahlén.
From an environmental standpoint, Ringvide designs are made with mostly Swedish or Scandinavian wood. In fact, the team is currently working with local sawmills to make use of high-quality timber offcuts which would otherwise go to waste. This is beneficial not only from a sustainable perspective, but from a creative one, as the use of various wood types will create more visual depth in future products. Additionally, Ringvide products are always finished with a surface treatment that does not contain any harmful alkyds.
Dahlén and his team are always striving to be even more sustainable. That includes streamlining their shipping and transport, as Ringvide have followers all around the globe. And the transport dream according to Dahlén? Delivery by zeppelin.
Essem Design is the family company in which enduring design comes first. Simplicity, functionality and history shapes its timeless collections, comprising classics such as the Nostalgi Hat Rack, the Classic Shoe Rack and the Mama Hook that have graced design-conscious hallways for decades.
By Nina Bressler | Photos: Essem
Essem Design has been around for a while. With roots going back to 1937, the company understands how to cre ate timeless pieces that will retain pur pose and quality. Founded in Anderstorp in the region of Gnosjö, famous for its Gnosjö spirit and part of the impressive furniture tradition that springs from the landscape of Småland, the venture was born when Gunnar Bolin decided to cre ate a hat rack from melted-down scrap aluminium from World War II.
The company grew as its name became synonymous with iconic design pieces.
In 2002, the former quality manager Sten-Roger Bladh took over the reins and acquired the rights to the products through a spin-off from the foundry. His two children, Frida and Robert Bladh, joined in 2013. The offices have re mained in Anderstorp since the begin ning and, by maintaining a production that is as local as possible, the compa ny stays true to its Småland roots and keeps its design legacy intact.
From the beginning, hallway furniture has been Essem’s forte and focus. That
the hallway is where first impressions are formed, guests are greeted and parting ways takes place is the foundation of each furniture item’s design. Building on these ideas is what the company does best. “Ex tracting tradition and history to build our furniture is how we manage to create a story about the hallway. In our view, this isn’t just a passage, it’s a welcome into someone’s space, an entryway into new impressions and memories. We believe it should be celebrated as such and be a
Celebrated and award-winning – the Mama Hook. Create a new story for your hallway.space dedicated to quality and design, just as every other room of the house,” says CEO Robert Bladh.
Essem’s designs encompass hat racks, shoe racks, hangers, mirrors, benches, shoehorns and any other accessory that a hallway requires. Its products are widely used in offices and public spaces, as well as private homes, and they are a popular choice for architects, thanks to their sim plicity and functionality. These focal points haven’t gone unnoticed abroad; Essem’s Scandinavian design is exported widely to Europe, the USA and beyond.
Sustainability is a given and has been since the founding days. Essem’s first hat rack Nostalgi is still produced with recy cled aluminium, and all raw materials are sourced as locally as possible. Its produc tion facilities use 100 per cent green ener gy and the company produces a sustaina bility report on a biannual basis to declare its expenditure, with a constant mission to become better at what it does.
“Sustainability is not just about production or materials, it’s also about mindset, and we believe true sustainability is achieved when all these variables come together. The design is created to last today, tomorrow and for the next 50 years.
Our team culture is also framed with a sustainability mindset: happy people want to do better and create better ideas, and they want products that have a positive impact on their surroundings,” says Bladh. Essem products are made to last a lifetime, with a ten-year guarantee issued on every item. As such, the company is constantly innovating to find new and clever ways to make it easier to repair small parts, instead of exchanging an entire product.
You’ve probably seen them. The Essem collection is a veritable showcase of clas sics that have played an integral part in in numerable homes in Sweden and beyond for a substantial part of the 20th century and into the 21st. The Nostalgi Hat Rack collection comprises three clean single bars of wood, perfectly locked together with a couple of metal bars and finished with three hooks. The Classic Shoe Rack sees a grid of thin steel bars perfectly assembled without sharp edges – a ret ro oeuvre designed by Gunnar Bolin. The award-winning, simple yet functional Mama Hook subtly sits on the wall and holds anything from jackets to keys.
Thanks to successful collaborations with prominent designers, past and present, Essem’s reputation as a Scandinavian
design beacon lives on. “Our products have been loved by the public for decades and seeing how they stand the test of time is a true testament to the design. Functionality, sustainability and personality will always be at the core of our products – a combination we believe will work as well in the next century as it did in the past,” Bladh concludes.
www.essem.se
Instagram: @essemdesign
Pinterest: Essem Design
Hall interior. Sustainable material. Hall interior.Britt Almqvist, owner and CEO of Ahlqvist & Almqvist Architects, has 35 years of professional experience as an architect and urban planner. “I became an architect to create good environments for people,” she says. Her work has spanned analysis, design and implementation of various buildings and urban infrastructures, including housing, offices and schools.
By Lotta Lassesson | Photos: Ahlqvist & AlmqvistThe headquarters in Stockholm houses a team of 20, with a broad competence in architecture, urban development and infrastructure . Their combined expertise enables them to combine innovative and sustainable architecture with economic solutions, in projects that provide security and social community.
In 2009, Britt was recognised for her sustainable leadership, and several of the firm’s projects are guaranteed under the SGBC’s Miljöbyggnad (‘Environmental Building’) and LEED system for sustainable building certification, and have achieved a Nordic Swan Ecolabel. “We as architects have an obligation to continue exploring and developing, to strive for ecological and social sustainability,” Britt explains.
By focusing on environmental, econom ic and social sustainability, and using the self-developed urban planning tool ‘Sustainable City’, Ahlqvist & Almqvist can support their clients through all phases of the project.
In 2001, Ahlqvist & Almqvist was selected from among 138 international architecture firms by the city of Madrid to design one of the urban quarters, Carabanchel 10. They created two courtyards from a two-storeyhigh portico that spans the courtyard; each courtyard giving a feeling of belonging to a smaller part of a larger whole.
In 2021, the firm won an award for the city of Luleå’s first urban net-zero CO2 project. They achieved this by minimising emissions during construction, building with timber, ensuring passive energy efficiency and implementing solar panels for renewable energy production.
Parallel assignments include partaking in the innovative thematic competition
‘Europan’, urban planning in London, Stenungsund and Luleå, and research on urban trends, innovative construction for young people, and projects in England, Holland, Spain, Poland and China.
www.ahlqvist-almqvist.se
2021 Mjölkudden, Luleå, markanvisningstävling
2021 Kv Daedalus, Gamla stan, Finalist i Årets bygge’
2020 Telegrafberget, Nominerad Nacka Stadsbyggnadspris
2020 Business park Poznan, The best environmental building in Poznan
2020 Skärgårdsskogen, Skarpnäck, markanvisningstävling
2020 Skuruparken, Nacka, markanvisningstävling
2016 Riddersvik, Hässelby, markanvisningstävling
2015 Malmudden, Luleå, markanvisningstävling
2011 Jakobsbergs bus station, Järfälla kommuns byggnadsmärke
2010 Solgårdsterrassen, Stenungsund, SA inbjuden arkitekttävling stadsplan
2009 Flemingsberg student houses, Huddinge kommuns skönhetspris
2009 Hållbart Ledarskap, Britt Almqvist
1997 Greenwich Millenium Village, London
1996 Europan 4 winner, Britt Almqvist
Britt Almqvist, CEO. Malmudden.Fyrhusen.
The airport is where the journey begins. In a fast-paced world of air travel, welcoming seating areas play a key role, giving people the chance to relax, unwind and enjoy the experience.
By Malin Norman | Photos: Green Furniture ConceptGreen Furniture Concept is setting new standards for airports and public spaces around the world by creating sustainable, human-centred and comfortable waiting areas with tailored, modular seating solutions. The design concept is called ‘placemaking design’ and furniture is a vital aspect in achieving architectural impact, improving passenger satisfaction, and boosting the retail experience –ultimately making public spaces such as airports thrive.
“As passenger confidence has taken a major hit during the pandemic, our primary focus is to regain that confidence by creating comfortable places where passengers can feel safe again,” says Adele Kamel, marketing director of Green
Furniture Concept. “Airports shouldn’t be places you just pass through. It’s where the journey begins and should therefore set the standard from the start.”
Thriving transport hubs with inclusive design
Green Furniture Concept reimagines public spaces and elevates waiting areas, creates a green oasis in the middle of the hustle and bustle, connects people and boosts retail opportunities. The concept can be seen in airports, shopping malls and train stations, such as Stockholm Central Station, London Victoria Station and Dubai Airport.
The Autumn 2018 National Rail Passenger Survey in the UK showed just 36 per cent passenger satisfaction at London Bridge Station. By working with the architecture of the building, bringing nature inside, and using the warmth and natural feeling of the shape of wood, Green Furniture Concept managed to increase the passenger satisfaction at the busy station to a whopping 80 per cent.
”With inclusive design, natural materials and greenery, we create welcoming
spaces that meet the needs of all pas sengers,” says Kamel. “People should feel at ease, be able to sit down together or keep distance if they want, relax and have a coffee or a snack, charge their phone, and so on. By increasing the wellbeing of passengers and providing a
seamless experience, we see that peo ple actually come to the airport earlier, stay longer in the waiting area, and also spend more money. The added value is much more than the actual seating.”
A comfortable experience from check-in to gate
Edinburgh Airport in Scotland chose Green Furniture for high seating densi ty, and the number of seats on the same footprint increased by 44 per cent. De sign was also important and passenger satisfaction in the waiting area increased from 52 to 81 per cent. “Edinburgh Air port liked our design and wanted to see how it could influence the passengers. Seeing a satisfaction increase in this proportion was a great joy!” says Johan Berhin, designer and founder at Green Furniture Concept.
Keflavik International Airport in Ice land has also incorporated seating from Green Furniture Concept. In a space through which five million people pass every year, the design slows down the pace and gives passengers a natural place to stop and relax. “Iceland is a top destination for nature lovers,” says Ber hin. “We designed seating with contours inspired by waves to represent Iceland’s coast, hilly landscapes and lagoons. Not only did the seating areas bring impres sions from nature indoors, but they also
made spending time in the terminal a memorable part of the trip.”
Hobart Airport in Tasmania, New Zea land has also transformed its departures lounge into an inviting area where trav ellers can slow down, sit back and relax. Seamless placemaking public seating and lighting can transform small and large-scale spaces, by adapting to the surroundings with flexible shapes and colours. A project like this leads to an increased passenger capacity, passen ger satisfaction and an improved sense of place.
IoT is taking airports to new heights What Green Furniture Concept offers is a timeless, flexible design with circular ma terials that can be easily touched up or re used. The placemaking solution can also make waiting areas smarter by integrat ing seamlessly embedded IoT systems into seating, so that passengers can sit down to recharge their devices or connect with others. “IoT placemaking has great potential in seating area designs, making digital technologies meaningful and ac cessible,” concludes Kame. “It’s part of a safe and seamless journey.”
www.greenfc.com
Instagram: @greenfurnitureconcept Facebook: greenfurnitureconcept Contact: adele.kamel@greenfc.com
Inclusive design is buzzing everywhere now. But what is it and how can airports achieve an inclusive space? Green Furniture Concept wants to set new standards of inclusivity and their in-house design team is on top of the game.
Inclusive design includes all people, regardless of health, ability, age, culture and ethnicity, sex and gender, class and socioeconomic status, and preferred use of space. Examples include making spaces accessible to the disabled with wider doorways, ramps, wheelchair spaces or elevated seating with armrests, and engaging families by providing play facilities and playful components in furniture and public spaces, including spaces for strollers.
Keflavik International Airport.
Remember when the office was just a place to work? A generally soulless space with desks and chairs, with little room for inspiring environments? That is now part of the past, and at the forefront of change is Rumrum – the interior design agency transforming offices and public spaces to promote wellbeing and boost efficiency.
By Emma Rodin | Photos: RumrumCelebrating Rumrum’s 25th anniversary this year, co-founders Magnus Anders son and Nicklas Jansson describe the experience so far as a challenging learn ing curve – in the best way possible.
The duo started their journey togeth er back in the late ‘90s, selling premi um-brand furniture in Malmö, Sweden. However, as the years went on, they no ticed a demand for conceptual interiors and began focusing on delivering be spoke interior packages for restaurants, shops and later offices. This organic shift included the creation and incorpo ration of their own furniture within the offering itself.
“In those early days, we took part in a competition which ended quite well. That
helped us fully believe in our knowledge and abilities, plus gave us the confidence to really go for it – and good thing we did,” recalls Andersson.
To say that customers get the full pack age is no exaggeration. A Rumrum part
nership offers thorough expertise, and an unwavering commitment to projects from concept to grand opening that sets the agency apart from competitors.
Traditionally, an interior architect would draw up the plans for a space then hand them over to the next party. At Rumrum however, the team works closely with builders and craftsmen to oversee every step of the process and to stay close to its development.
“By keeping things close, we can mini mise any unexpected changes and make sure that customers get exactly what they asked for. It also helps us from a learning point of view as we can see what does and doesn’t work when translated from sketch to reality,” explains Jansson.
In recent years, the Rumrum team has focused their efforts on office de sign, in response to a growing demand strengthened by the post-pandemic re turn to offices.
Indeed, office design today has acquired a whole new meaning and needs to in corporate a lot of things beside simple workstations. On top of this, offices need to cater for a more flexible way of work ing, with employees coming and going.
“It is a competitive market out there and businesses need to entice workers with thoughtful spaces,” says Andersson. “There is a great correlation between wellbeing and efficiency, and we are here to maximise that bond which in turn will help businesses grow,” he adds.
At the start of a new partnership, the Rumrum team will look at the client’s functional needs and tactical solutions. This will help form a floorplan which then acts as the backbone for the visual concept. The team will then focus on the identity of the customer, asking ques tions such as ‘who are they?’, ‘what do they stand for?’ and more importantly, ‘where do they strive to be?’ – and then the magic happens.
“Some clients have a clear view of what they want, and some do not. Either way, the creative process is always shared, and we work together to find the best possible solution that ticks all the boxes,” explains Jansson.
In general, this solution is far more com plex than making a space that is ‘nice to work at’. It should have the right light and ventilation, and should encourage social
interaction, a sense of calm, and creativ ity. “The way we see it, we are essentially selling a feeling which is experienced with all the senses,” says Andersson. In addi tion, the interior concept not only takes into consideration the feelings of the em ployees, but also the external perception of the space – such as on social media.
The need for great office solutions will continue to grow as employees demand more from their employers, while em ployers themselves wish to inspire the best from their workers.
Some would call that a win-win, particu larly if you are the founders of a very suc
cessful interior agency. And having just opened a second office in Copenhagen, there is a whole lot more on the horizon for Rumrum.
www.rumrum.se Instagram: @rumrum.se
Reflex Arkitekter is the architectural bureau that knows how to make the right impact in the right place. With an impressive portfolio of buildings that have become beloved landmark pieces in cities around Sweden, they are approaching the inauguration of the latest addition to the evolving Gothenburg cityscape: Kineum, a building dedicated to movement, dynamic encounters and luxurious leisure.
By Nina BresslerReflex Arkitekter, based in Stockholm and Gothenburg, consists of a team of around 70 architects who are dedicated to their craft and to creating new spaces where people can meet and grow together. With an analytical approach and profound craftsmanship that has helped to establish ingenious buildings around Sweden, the team creates a meaningful impact for the city and its inhabitants.
“We need buildings where you can ap proach the city from different levels. We can’t keep building sky-rises with out opening up access to the top floor for the people. It’s about giving back to the inhabitants of a place and allowing a flow between spaces – vertical as well as horizontal. We design our buildings to seamlessly complement their sur
roundings, while also standing out from the crowd,” says Marco Folke Testa, CEO and architect.
The company has been part of a number of awe-inspiring projects and was the firm behind the Swedish pavilion at Expo 2020 Dubai. As a company that believes in sustainable materials, reusing and innovating for the next generation, they provided an all-wooden edifice to the international event. It was an homage to the peaceful and life-giving Swedish forest, utilising a material that is gaining ground around the world: Swedish wood –a strong, versatile material that not only saves CO2 during production, but also captures it.
The Swedish pavilion at Expo 2020 Dubai. Photo: Johannes Edberg
Gothenburg welcomes Kineum Gothenburg is evolving, and so too is the cityscape. Reflex is proudly presenting Kineum, an ingenious building that has been in progress since 2014. Kineum is a celebration of movement in its very literal and figurative sense, with a name derived from the Greek ‘kineo’ – meaning ‘to set in motion’. The elegant grid net that em braces the glass-clad building is a cele bration of Gothenburg, its traditions and close-knit connection with the sea.
“It’s built with a purpose: to become one with the city. The grid net is a play on the fishing tradition and engineering history that runs deep in Gothenburg. We want it to become an integrated part of the location, to engage people, because we believe that this is the true purpose of a building: the organic exchange between the city and its inhabitants,” says Testa. Kineum stretches 28 storeys high and will be officially opened in November 2022.
Kineum provides a space that promotes dynamic progress, interesting encoun ters and relaxing getaways. A bustling environment of offices, as well as a new hotel with a restaurant, bar, pool and spa, will welcome holiday guests and daily visitors. Jacy’z is the prestigious hotel that will inhabit the bottom and
top levels of the building – the crowning glory where visitors can enjoy a drink by the Miami-inspired pool, while enjoy ing the majestic view and atmosphere. The boutique rooms provide an equal ly breathtaking view over the city, for a perfect city getaway.
The attractive offices provide a close con nection to the hotel, offering an added layer of workplace luxury via exclusive meeting rooms and services. “The house is designed for a flow of activities. The way that the hotel embraces the office space from both lower and top level creates this dynamic energy that runs through the building. It makes for an exciting stay on a trip to Gothenburg, as well as a beauti
ful everyday for office workers, which has become increasingly important after the pandemic,” says Testa.
The building has already caught local at tention and, as per Gothenburg tradition, a witty nickname is on the horizon. “We’ve already heard a number of options, ‘Kex choklad’ being one of my favourites. We see it as a welcoming sign that we are be coming a part of the foundational struc ture of the city, while also increasing its wow-factor. That’s when we know we have succeeded,” Testa concludes.
www.reflexark.se
Instagram: @reflex_arkitekter
YouTube: Reflex Arkitekter
Kineum. Photo: Markus Esselmark
Kineum is the latest addition to the Gothenburg skyline. Photo: Markus Esselmark
Marco Folke Testa. Photo: André Eriksson
Expo 2020 Dubai. Photo: Rory Gardiner
With sleek product designs and clever interior solutions for hotels, offices and public spaces, Svedholm Design is pushing boundaries in the furniture sector.
By Malin Norman | Photos: Svedholm DesignSvedholm Design, established in 1993 by furniture designer Jan Svedholm, de signs and produces timeless furniture along with interiors for public spaces and offices. In a market dominated by a few large furniture chains, Svedholm Design is like a breath of fresh air. The Uppsa la-based team is highly experienced, with specialist skills and a high-quality guarantee at the core of each project.
“We work closely with our clients, from idea to delivery,” says Jan. “Products and
solutions are developed in collaboration with architects and custom-made to fit each specific brief. Being a small compa ny, we can be more flexible in our approach and more direct in our communication, which is appreciated by our clients.”
Elegant hotels and public spaces
Svedholm Design’s niche products are made from sustainable materials such as metal and glass, often for clients who operate public spaces. Many high-profile hotels are attracted to its stylish designs
and clever solutions, for instance Down town Camper by Scandic in Stockholm. The hotel has installed One More Minute in its showers, a five-minute hourglass with a powder-coated stainless-steel holder. “With today’s focus on sustain ability, we hope this product will en courage guests to think about how long they’re in the shower,” says Jan.
Downtown Camper by Scandic has also opted for Borderline, a sleek mirror with a frame in chromium-plated or pow der-coated wire. As with many of Sved holm Design’s products, the Borderline collection is approved by Byggvarubed ömningen, a non-profit organisation owned by large constructors and prop
Odeon Cinema Oslo, mirror Borderline.erty owners in Sweden, and assessed in SundaHus Material Data.
Haymarket by Scandic, another hotel in Stockholm, has incorporated Sved holm Design’s illuminated mirrors and commodes in its restrooms, as well as bedside tables and coffee tables in guest rooms, and chandeliers and tables in the lobby and restaurant. Svedholm Design’s products can be seen in many other hotels and public spaces, such as the glass hangers and pendant ceiling lighting in Phil’s Burger in Stockholm, or the Prisma table in mirrored glass at the Sony Music Entertainment head quarters in Berlin, Germany.
Some designs are for products not usu ally perceived as stylish; such as dis pensers for paper towels in public re strooms. However, Svedholm Design’s bathroom series Slits is a great example of how innovative design can bring ele gance to otherwise overlooked products. “It’s an inspiring challenge to design for a pre-determined function, as with paper towel dispensers or toilet brush holders,” elaborates Jan. “But we see it as an op portunity: what can and can’t we do with the design and the production? How can we make it interesting and bring it into the future? This is where the charm lies.”
The latest addition, Curve, is a series of playful and colourful tables in different sizes and shapes. Named after their soft curving forms, the tables are made of powder-coated aluminium and are available in any colour upon request. Other examples of creative design are the two one-eyed mirrors Cyclops, which can be combined in many ways, and the mirror Orbit with a frame in powder-coated wire. Svedholm Design also creates modular shelf systems such as Millimeter, with a chrome-plated wire frame and a shelf in veneered oak, and Unit which is made of perforated powder-coated steel.
All production is based in Sweden, with a focus on sustainable and reusable materi als. “Our production is local, which means short lead times and transport to mini mise the carbon footprint,” says Jan. “It’s an important part of our business model.”
www.svedholm.se Instagram: @svedholm_design
Meet Svedholm Design at ORGATEC, the leading international trade fair for the modern working world. It takes place 25-29 October in Cologne, Germany. Scandic Park Stockholm, mirror Borderline. Sony Music Entertainment headquarters Berlin, table Prisma. Photo: Stefan Lucks Mirror Orbit PIHR’s Stockholm’s office, shelf system Unit, design by Malin Berglund and Anna Sjöberg. Sony Music Entertainment headquarters Berlin, bathroom series Slits. Photo: Stefan Lucks
Architecture is about more than designing extravagant and impressive houses. It is about creating environments which enrich the lives of its inhabitants – from the moment they step into the space, until the day they might move out or move on. It is about quality, passion and atmosphere. These are the words that Studio RAM, an architectural and interior design firm based in Stockholm, lives by.
By Hanna Andersson | Photos: Studio RAM“We always strive to achieve soulful en vironments. Regardless of the nature of the project, private or commercial, we are dedicated to creating spaces that cli ents will fall in love with at first sight and continue to thrive in over time,” says Ariel Ramirez, founder and CEO of Studio RAM.
To do this, Ramirez and his team focus on forming a detailed understanding of their clients before deciding on how to approach a project. “The very first stage of a project is about understanding both spoken and unspoken needs. While spoken needs can be listed on a sheet of paper, unspoken needs are often what drive the individuality of each project and are derived from an understanding of the client’s personality and ambitions. This encompasses how they would like to live, what inspires them in the world, what their interests are, and what they would like to accomplish in life. This is also true
for commercial projects, where architecture should work to elevate the business it is associated with,” says Ramirez.
Harmony, from start to finish Ramirez emphasises: “Good architecture builds the experience dynamically all the way from its methodology to the heart of the house. The transition between different spatial features, materials, textures, lights and acoustics all fundamentally affect how we experience it.”
He is quick to add that architecture is equally as much about harmony. “We always have two main goals in every project. The first is that the outcome should be nothing short of iconic, characteristic and beautiful. The second goal is equally important: that everyone involved in the project, from client and consultants down to every craftsman involved, enjoys it from start to finish. In our experience,
there is nothing as important for achieving a good end result as an inspired, motivated and joyful team.”
Studio RAM’s current focus is on exclusive private villa projects, but their repertoire also includes commercial hospitality, residential, office and retail projects, amongst others. Although based in Stockholm, Sweden, they are active globally. As Ramirez emphasises, this broad set of perspectives is a great asset to the outcome of each individual project.
www.studioram.se
Instagram: @studioram
Facebook: Studio RAM
L house. S house. N house. Ariel Ramirez.
Our design philosophy has been deeply rooted in our DNA since the start 1942. We create harmony by merging aesthetics and ergonomics with functionality and sustainability. The sweet spot is found where 80 years of experience and knowledge meet curiosity and visionary thinking. The result is something that is timeless, honest and thought out down to the smallest detail. Above all, it’s interior design that is always based on people’s actual needs, abilities and dreams. Furniture and solutions that contribute to well-being and success. Creating design with a purpose continues to be our driving force - for you and the next generation.
Read more at kinnarps.com
A right for all, not a privilege for the few: that is the foundation that has shaped the history of Danish architecture. In its autumn exhibition Our Architecture, the Danish Architecture Center (DAC) is showcasing this story through the lens of star architect Vilhelm Lauritzen, and his most iconic buildings of the last 100 years. Lauritzen’s timeless designs have become part of the cultural heritage of Denmark –institutions that have borne witness to a society in a state of change.
Opening on 17 November, the exhibition unwraps the story of a quiet giant of modern design, who always insisted on a democratic approach to architecture.
By exploring Lauritzen’s defining projects like Copenhagen Airport, for which he designed the first terminal in the
late 1930s, and the iconic Danish Radio House, the exhibition will set the scene for a tour de force of his architectural masterpieces and the lives lived within their walls.
Interactive installations will allow visitors to explore the architecture using new
technology. Here, you can experience his designs with all your senses, and discover first-hand the impact that well-executed architecture has on the way we work, travel, learn and live.
When visiting DAC in Copenhagen, be sure to explore the many architectural gems and contemporary projects in the city. Every week, DAC organises guided walking, boat and bicycle tours to the city’s historic gems and modern mas terpieces, designed by architects like Bjarke Ingels, Henning Larsen and Lun dgaard & Tranberg.
In 2023, Copenhagen will be named World Capital of Architecture, during which DAC will offer a wide range of activities and exhibitions. Landmark venues, like the
Copenhagen Open House and other historic buildings usually closed to the public, will be opened for visitors. Plus, don´t miss the summer exhibition Copenhagen
in Common, where DAC will celebrate all the Copenhagen architecture we share.
www.dac.dk
About Danish Architecture Center (DAC):
DAC is an international cultural attraction for anyone who wants to experience and understand how architecture and design create the framework for our lives. DAC is based in the heart of Copenhagen, by the inner harbour, in the spectacular building BLOX.
Our Architecture:
17 November 2022 - 9 April 2023
Copenhagen in Common: 4 May - 22 October 2023
Open house 15 - 26 March 2023
Danish Architecture Center (DAC)
Bryghuspladsen 10
1473 Copenhagen
Opening hours: 10am to 6pm daily, Thursdays until 9pm
Photo: DACIn recent years, going green has become more important than ever. With the current rise in gas, electricity and heating prices, it’s crucial to be aware of not just energy usage, but where that energy comes from. One solution is to become self-sufficient, and this goal can be achieved with the help of Danish construction company Klimahuse.
By Karen Gilmour Kristensen | Photos: Klimahuse
Interior
As Denmark’s first construction compa ny to completely commit to low-energy housing, Klimahuse (literally ‘Environ ment Houses’), has some 50 years of experience in building homes and ten years of experience in building in an eco-friendly way. Today, the company is in the lead when it comes to building houses with a minimal carbon footprint.
Drawing upon their many years of exper tise in energy efficient construction, the team behind Klimahuse has managed to develop a house that doesn’t rely on fos sil fuels, has the lowest carbon footprint possible and is 100 per cent self-suffi cient regarding electricity and heating –an asset that has suddenly become much more important in the last few years.
“The market has changed, but we ha ven’t,” says Claus Keld Hansen, chair man of the board of Klimahuse. “Our goal is still to construct low-energy houses. But now it has become histor ically expensive to heat up your house, whether you use gas, district heating or a different source of heating, which means that keeping the house warm has become a significant expense for most people. That’s why we have made a special offer with some changes to our standard product.”
A house built by Klimahuse has always featured solar panels but due to the cur rent situation, the number of panels has increased – from 2kW to 5kW. What’s more, the house will be equipped with a house battery for storage of energy. Not only will the solar panels produce more electricity than before, the battery will also allow you to use the electrici ty gained during the day in the evening, when the sun isn’t shining.
Another new feature of their standard house is a heat pump with an efficiency of five to seven times the input. Since the houses are well insulated, they don’t need a large supply of heat and there’s hardly any heat transfer, as only a small amount leaves the house. And now, Klimahuse has become self-sufficient on the heat that they supply – the last step in constructing 100 per cent self-sufficient houses.
“We can now document that we are self-sufficient,” says Hansen. “And we can help all our clients to become self-suf ficient when they buy a house from us. This is a goal we have worked towards for several years. No other standard house business in Denmark can provide the solutions that we can. And who doesn’t want to be self-sufficient? Especially now with the higher bills on gas, electricity and heat.” Klimahuse’s houses are rated in the lowest energy class, which in Den mark is A2020. As a client you can choose between a sloping roof or a flat roof.
As a client of Klimahuse, you’ll start by choosing one of the company’s seven architect-drawn model houses. Then, the team behind Klimahuse will help you modify the interior design and the
materials used inside and out, to fit your needs. “We make traditional houses that are both visually and functionally like or dinary houses,” Hansen says. “We take pride in constructing houses in this sim ple Nordic style. It’s important to us that the houses are functional, as we make them work for everyone. The house must first and foremost be a home.”
Whether you’re on the lookout for a large or small living space, Klima huse will help you design a house that meets your needs. “It’s important that the house reflects the people that live there,” Hansen says. “We do our best to fit the house to the individual family, no matter how it’s configured. It’s all about fulfilling the needs and wishes of the cli ents. The house should meet the client’s needs not just now, but in ten or twen
ty years down the line. It’s important to consider whether this is the first, next or last home of the specific residents.”
To Hansen and his team, it’s crucial that the houses they build are long-lasting.
Keeping up with the newest develop ments in construction and environmen tal technology is key. The company sets high environmental standards and strives to achieve them through tried and test ed solutions and high-quality materials.
Buying a house from Klimahuse is an in vestment, as it will still be sustainable in years to come, saving energy expenses for its residents. At the same time, there will be fewer bills for renovation in the future.
www.klimahuse.com
Instagram: @klimahuse
Facebook: Klimahuse A/S
By Lena Hunter
Photo: ARDESS
Aarhus-based architecture studio ARDESS has seen extraordinary organic growth in the past few years. Working in Denmark and abroad with a Nordic approach to materials and technique, it combines the expertise of a large architectural firm with the attention to detail of a small, dedicated studio.
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Theme | Danish Architecture and Interior Design
“I worked for ten years in an internation al architecture studio – primarily largescale housing and culture projects. But my big passion was the smaller scale –villas and summerhouses with builders that you work very closely with,” says ARDESS founder Sebastian Schroers.
Long before he established his own stu dio, Sebastian began designing private residences as a side project. In 2015, his vision was rewarded when he received two architecture prizes for the G18 sum merhouse and the V3 villa in Denmark.
The pair share a modernist appeal: hardlined, ascetic façades and a refined yet raw finish throughout. Inside, the V3 villa’s open-plan layout spans four levels. Sightlines are never obstructed, the eye is always drawn further, expanding the interior beyond itself. Light resonates throughout, tumbling though large windows and glancing off glass. Despite their stripped back form, Sebastian’s houses are never cold. The greyscale palette is warm and neutral, while natural wood flooring, pendulous light-fixtures and a mixture of sleek leather and dark fabrics lend texture to the space.
“That was the basis on which I founded ARDESS,” says Sebastian. “A high level of ambition to create architecture like that of our old Nordic modernists and masters – Arne Jacobsen, Kay Fisker, Friis og
Moltke – where it’s natural that exterior and interior are one.”
As ARDESS’ (which stands for ARchitecture, DEsign, Sebastian Schroers) portfolio grew, so too did the size of the projects. “After three years, we began to move up in scale, but retained the same level of ambition. We only collaborate with builders and developers who care about the materials and details as much as we do.” At Sebastian’s side is business partner Philip Sørensen, a trained carpenter, consultant, architect and construction economist. “He’s very talented at overseeing large projects and their legal and contractual aspects. Though we’re a small studio, it allows us to work in broad contexts.”
The third partner is Rune Ager Brund –an expert on technical management, construction and economy. “He leads projects during the building phase. Between us, we can follow a whole project from concept design to final construction,” says Sebastian.
Today, ARDESS realises projects ranging from small, private homes all the way up to commercial constructions and largescale interior architecture designs – employing a Nordic approach throughout. “In the Nordics there’s a design heritage
around natural and raw materials and their treatment, that ensures their quali ty and longevity,” says Sebastian. Indeed, like Japanese and Swiss architecture, Scandinavia’s is world renowned, with an aesthetic identity defined by beauti ful proportions and attention to detail. “Timeless architecture is about under standing the materials and the place, and giving form according to those re lationships,” says Sebastian. “A Nordic approach is holistic: to understand, prac tice and refine.”
ARDESS’ sustainability credo is equal ly innovative: “It’s integrated into every project via passive solutions,” explains Sebastian. “Instead of finding a sun
screen in an eco-friendly material, for example, we design geometry that elim inates the need for one.” ARDESS em ploys a wealth of passive sustainable design techniques: positioning façades according to the spread of light and shadow; relying on local materials; and providing high levels of insulation and thermal comfort to ensure its builds are naturally energy efficient.
Purity of vision, translated in scale
One of ARDESS’ flagship large-scale projects is the Ambiente Head Office, for which the studio received the Office Building of the Year Award in 2020. “The client asked us to help with the concept design phase. His own business is man
ufacturing sites for design fairs – so he is used to creating architectural univers es,” says Sebastian. “It became a really exciting collaboration.”
The site, beside highway E45 near Aar hus, accommodates an office, a timber and metal workshop, and storage facil ities. “Some fairly rough functions, but each is valued equally,” says Sebastian. “So, it was about understanding their philosophy and methods and communi cating that architecturally.”
The design is intelligent and economical: at the heart of the build is a courtyard with connecting paths between the three fa cilities – a practical and symbolic shared centre. Seen from above, the space is in tegrated into Ambiente’s logo. Elsewhere, the visual language is contemporary and stripped back – comingling functionality with aesthetic. “It’s raw and honest, but sharp on details and colour palette. The floors are concrete. We filled the cracks that formed during casting with gold fill er, Japanese-style, treating them as art works rather than faults,” says Sebastian.
“On the opening day of the Ambiente project, someone who had seen our V3 villa – without knowing who had de signed it – said to me: ‘this architecture reminds me of a villa I saw once’. That was a fantastic accolade for us,” says Sebastian. There were seven years be
Ambient Headquarters. Ambienttween the two projects. “I always say that we’re not married to certain mate rials. I want each place to define what we design. So, that was proof to us that we had cultivated a raw design identi ty that can be instantly recognised by someone without a highbrow academic background.”
Scaling up again, space planning and the interior design of large venues has come to the forefront of ARDESS’ current work.
“Now, we’re able to design and realise huge interior spaces, from accountancy or law firms to concert halls. It’s further
proof that our approach is well-rounded and comprehensive.”
Still, at every scale ARDESS champions attention to detail and close collabora tion. Visually, its projects bear a family resemblance that testifies to Sebastian’s purity of vision. “My passion was born in summerhouses, but it’s beautiful that it can be broadened to so many other con texts,” he says.
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V3 Villa.
V3 Villa.
Company House.
V3 Villa.
Karlsson Architects is the name behind some of Scandinavia’s most ambitious humanist architecture. Its award-winning portfolio of psychiatric hospitals and care homes has seen enormous clinical success and paved the way for its ambitious new project, demensX – a pioneering model for designing better dementia care homes.
By Lena Hunter | Photo: Karlsson Architects“There are many major healthcare pro jects that aren’t truly designed for the people that use them – they’re more focused on the staff facilities or the broader urban picture,” says the found er of Karlsson Architects, Christian Karlsson.
Not so with the studio’s flagship 2015 project, a 1.3 billion DKK psychiatric hospital in Slagelse, Denmark, which won Architectural Review’s inaugu ral Healthcare Award in 2016 and the MIPIM Award – considered to be the Os car of architecture awards. Nor with its
high-security mental hospital in Trond heim, Norway, for which it received the European Healthcare Design Award in June 2022.
Both have become touchstones for healthcare architecture, but the real ac colades are the clinical improvements facilitated by the designs. “Our success is in our method,” explains Karlsson. “We seek out projects and collaborations with experts who understand the unique problems in healthcare. Together, we find solutions that can be translated into architectural concepts.”
Karlsson Architects’ latest project de mensX employs this approach. demensX is a digital architectural model in which its humanist designs for future dementia care homes can be explored with VR glasses and presented to potential developers.
The project began in 2017. “I went to visit a dementia care home for the first time. It was well-meaning, but I was struck by how primitive it was. There were some 100 res idents, well dressed, who had had break fast, and then they just sat there – com pletely passive. And the staff sat separately having coffee and lunch. The ‘problem’ had been solved, but for the individual resident there was no real life. When you don’t know the day or the time or what you should do, you may become angry or scared, and that complicates caregiving. We decided straight away that this was something we wanted to work with,” says Karlsson.
demensX
“When you have dementia, every moment should be precious”
The founding notion of demensX is that the environment around people with de mentia must be simple to understand and use – but at the same time more ex periential and stimulating. “We conduct ed research with a group of clinicians with an understanding of the illness, the treatment culture and individual cases. Our goal was to identify the basic emo tional and cognitive experiences that would improve quality of life,” says Karls son. “When you have dementia, there’s no before and after, no plan, no memo ry of what happened yesterday. It’s only here and now, so every moment should be precious.”
“It sounds very simple, but we all know that when you hear evocative music or feel the warmth of the sun, it affects your experience of the world,” he says. “The architecture had to accentuate
nature – the seasons, the sunrise and sunset – and allow awareness of per sonal rhythms like the heartbeat and the breath.”
The result is multiple smaller living units laid out around a large central garden, threaded with various paths, which fa cilitates joint activities like workshops, greenhouses and animal husbandry. It also offers the potential to host visi tors – relatives, children or volunteers. The buildings’ interior and exterior are designed to incorporate light, weather, plants and wildlife in bright and stimu lating spaces, with open sightlines. “It’s incredible how someone’s behaviour and disposition can change when their envi ronment is inspiring,” says Karlsson.
In Denmark, dementia politics is shift ing towards a more socially integrated
model. The next ten years will see the development of numerous new institu tions, for which demensX is a bench mark. Beyond Scandinavia, the demand for Karlsson Architects’ knowledge and method is equally high; Karlsson has presented the studio’s work at Yale Uni versity, and to architecture firms from North America and Australia.
Meanwhile, the studio is engaged with a major healthcare project in Belgium, as well as on home ground in Hillerød, Den mark, where a large-scale development called The Generations Quarter will com bine elderly care, day-care and recreation in one integrative urban district. “We will all get old,” says Karlsson. “This kind of design affects us all.”
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We spend most of our time indoors. Buildings therefore need an indoor climate that contributes to our well-being. Troldtekt natural acoustic solutions make a positive difference that you can hear, see and feel, the minute you step into a room.
By TroldtektAt Troldtekt’s factory in the heathland landscape of western Jutland, raw wood is stacked in neat piles. The wood, which comes from Danish forests, is – together with cement – the raw material used to manufacture Troldtekt acoustic panels. This is how it has been since the first panels left the factory, back in 1935. To day, production takes place using highly advanced, energy-efficient technology, and Troldtekt is one of the leading solu tions for ensuring a healthy indoor cli mate in northern European buildings.
The contemporary architectural trend for spacious interiors and hard materi als has spurred the need for aesthetic acoustic solutions and paved the way for Troldtekt’s growth. However, the need
for a green transformation of the con struction industry has also contributed to Troldtekt’s popularity.
“Stone, glass, plaster, concrete and steel are popular materials in construction,
while curtains and rugs rarely find their way into interiors. This cocktail presents considerable acoustic challenges, be cause sounds bounce around between the hard surfaces, turning conversation into noise,” says Michael Christensen, an architect at Troldtekt. “It is therefore necessary to use the largest surfaces –the ceilings and walls – to regulate the acoustics. At the same time, it opens up the possibility of adding a textural and characterful look to the decor.”
H.C. Ørsted Gymnasium near Copenhagen has been conceived and designed for young people with a love of science. Grey Troldtekt acoustic panels were chosen for all the ceilings. The project is a shortlisted finalist at the World Architecture Festival (WAF) 2022.
Ørsted Gymnasium. Photo: Helene Høyer Mikkelse
Photo: Helene Høyer Mikkelse
Thanks to the open structure of Trold tekt acoustic panels, the sound in a room quickly dies out. Where a concrete ceiling only absorbs one to two per cent of the sound, a Troldtekt ceiling will typ ically absorb 80-90 per cent. Superior acoustics can play a vital role for learn ing in schools, for productivity in offices –and for people’s general well-being in all types of buildings.
Ten years ago, Troldtekt decided to base its strategy on the sustainable ‘cradle to cradle’ design concept. Here, the focus is on healthy and recyclable materials, with a production based on renewable energy and social responsibility.
“98 per cent of the energy used at our factory now comes from renewable sources, while production waste is recycled as a raw material in new cement. At the same
time, we can document that the acoustic panels do not contain substances that are harmful to humans or the environment,” says Tina Snedker Kristensen, head of sustainability and communications at Troldtekt.
In parallel with the green transition, Troldtekt has refined the design of its acoustic panels in recent years; among other things, with a design series in which the panels feature longitudinal grooves or special patterns milled into the surface.
“For architects, using standard products to design something unique or with special character is a classic discipline. The goal of the design series has been to create a marriage of form and function in a very wide range of products. Some of the solutions dovetail perfectly with Nordic design, with straight lines and angles,
while others are more expressive,” says Christensen, who designed the series.
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In 2020, Troldtekt received an award from the Confederation of Danish Industry – Denmark’s leading business organisation – for its green transformation.
In 2022, its German subsidiary Troldtekt GmbH received an HRH Crown Prince Frederik International Business Award in the ‘Green Solutions’ category.
New Troldtekt acoustic panels based on the low-carbon cement type FUTURECEM™ have won a Green Product Award 2022 and the German Innovation Award 2022 – and have also been nominated for a German Sustainability Award 2023.
Erlev Skole in southern Jutland is one of the shortlisted finalists at the World Architecture Festival (WAF) 2022. The newly built, sustainable school is primarily made of wood. Wood is also the raw material in Troldtekt acoustic panels, which helps to ensure a healthy indoor climate with superior acoustics. Erlev Skole. Photo: Helene Høyer Mikkelse Photo: Niels Nygaard Photo: Niels Nygaardwhat will be at the forefront of their work in the next ten years?” says Thomsen.
ArkiTours programmes are grounded in three basic themes: New Building Materials, Sustainable City Development, and Communities and the Built Environment. “Trips that examine new building materials often centre on wood and Cross Laminated Timber (CLT) – a type of timber composite as strong as concrete. The legislation around wood construction is evolving, so we offer visits to very progressive, large-scale timber projects – in Sweden, for example,” explains Thomsen. Elsewhere, ArkiTours visits sites that make use of recycled materials –such as old bricks and roof tiles – and sustainable concrete.
The Sustainable City Development theme runs through every ArkiTours trip. “From hospitals and schools to pri vate or public housing – all our clients are interested in how you can build sus tainably, with minimal CO2 emissions,” says Thomsen. ArkiTours’ approach is comprehensive and integrative, ranging from energy efficiency and green mate rials to public transport and community management. “There are many param eters in sustainability,” says Thomsen. “The DGNB system is an assessment of the sustainability of a building. It’s based on a holistic understanding of construc tion in which environment, economy and social conditions are given equal weight. We offer a study tour specifically about DGNB-certified projects in the Copen hagen region.”
Meanwhile, the theme Communities and the Built Environment explores new ways of living together, via innovations in public and private housing projects in cities like Amsterdam, Vienna and Copenhagen. These programmes might focus on restoration and transformation of large residential areas, new types of apartment blocks, recreational areas and biodiversity. “People are becoming more interested in how to create communities in dense urban environments,” explains Thomsen. “There is a big demand for this kind of expertise amongst stakeholders and the boards of housing companies.”
Both Thomsen and Augustenborg have their ear to the ground when it comes to architectural trends – particularly in Scandinavia. “The drive for more urban community is very prevalent – akin to a 1970s-style model in which people live close together, but with more social spaces and urban gardens around. People don’t want to live in boring boxes. In Norway they’re building unique residences for divorced families, in which the adults live separately, but either side of a wall, so the children don’t have to move every week. It’s very experimental,” says Augustenborg.
Other key trends on their radar are the ‘mixed city’, and sustainability. “When you’re transforming old docklands or industrial areas into a new city district, people dream of the ‘mixed city’, with small businesses, workshops, schools, residences and people at home during the day. It’s an active district, not sim-
ply a commuter zone or dead residential area,” says Thomsen.
Some 12,000 CEOs, directors and employees have already travelled with ArkiTours Consulting, but 2023 will be a particularly exciting year, when Copenhagen is named UNESCO World Capital of Architecture. Presenting their home city’s state-of-the-art architecture to international visitors, Augustenborg and Thomsen will be in their element. Ambitious projects need ambitious people, and here are two of those people.
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Dorte Augustenborg and Pia Thomsen at Søfartsmuseet in Helsingør, designed by BIG Architects. Photo: Hans Høite Augustenborg Housing collective, Tinggården, Herfølge. Photo: August Fischer Werkraum Warteck, Basel, Switzerland. Photo: Ricardo Gomez Angel
Following a pandemic that forced millions to merge their homes and workspaces, Magu Design is on a mission to make the office environment an efficient and attractive place where ideas flourish, through the introduction of new technology and unexpected but precise interior architecture design.
By Celina Tran | Photos: MaguThe Norwegian interior architecture brand Magu was founded in 2013. Since their establishment, they have worked towards creating work environments that encourage and bring forth efficiency, cre ativity and wellbeing. “We see ourselves as ‘change architects’ – architects who oversee major transitions, who deliver change and new ways of working,” says Magu founder Marian Knudsvik.
Post-pandemic, Magu has strengthened its position as the leading independent interior architecture design company in Norway by integrating the Magu Connect and Magu Branding services into its core interior architecture deliveries. Magu Connect provides clients with methods to connect people and organisations to fully
utilise their new work environments, while Magu Branding helps clients strengthen and deliver a clear, authentic brand voice, connecting the new environment to the company’s values and culture.
“With Magu Connect and Branding, the interior architecture is taken to the next level. It helps build company culture, while contributing efficient company strategy delivery,” Knudsvik says. “The oil company Shell’s new headquarters in Stavanger Norway, opening Janu ary 2023, is a great example of such a co-creation.”
Mari Espedal of Magu Connect adds that Magu designs concepts and work envi ronments via a sustainable and holistic
approach. This method emphasises hu man needs and the human experience by creating a sense of connection and be longing within each workspace.
“In our process we work to understand the needs and wants of every client through close communication with their project management and leadership team. Then, we co-create tailormade workspaces and connect programmes to fully utilise the potential of the interior architecture. All our processes are anchored in relevant research and technology to provide the unexpected but precise,” Espedal says.
The Magu team contribute to insight and discussion of how interior design affects the human state and, in their efforts to understand each client, use multidisci plinary research. Knudsvik explains that clients often don’t expect the solutions Magu brings to the table, as its approach often challenges the traditions of interior architecture.
Aker BP’s activity-driven workplaces in OCC, see different offshore and onshore disciplines work seamlessly together, in an interior that is easy optimised for different needs and collaborations.“It’s unexpected, but the solutions are always precisely chosen for the best ef fect,” Knudsvik says. “All of our designs are grounded in thorough research that considers everything from the psycho logical to strategic aspects that will lead to successful long-term effects.”
The unexpected is an important ingredi ent in Magu’s journey towards the future of workplace interior architecture. To achieve it, they rely on a foundation of architectural knowledge, but also great leadership, research, and communica tion, and a process with services that allow for the best new ways of working.
“Every client should feel at home and in some ways identify themselves in the en vironment we create. We work with our clients to help them understand and ad just to how their new spaces can encour age desired outcomes, such as identity, agility, effectiveness or creativity. It is
also important to us that they thrive in the space they work in, and that it allows for curiosity,” she says.
During the pandemic, meeting rooms were switched out with Teams calls, and office spaces with spare bedrooms. In many ways, the time working from home has hastened the introduction of tech nology into many workspaces. Espedal explains that the future of workplace col laboration looks very different from what we are used to, and that Magu has taken the next steps to better understand how the office can be designed to bring em ployees back together.
One of Magu’s clients, Aker BP, is on a mission to digitise core end-to-end pro cesses. In challenging traditional work spaces, it has co-created an Onshore Collaboration Centre (OCC) along with Magu, in order to strengthen cross-sec
tor collaborations and create cost and delivery-efficient processes.
“Combining outstanding technology and untraditional collaboration areas with re laxed fireplace conversations has made the area very popular amongst Aker BP employees,” Espedal says.
The OCC design is an example of how Magu contributes to making surroundings both inspiring and purposeful, enhancing curiosity and connection – human to hu man, and human to environment. As a re ward for forward thinking, the OCC design won bronze in the prestigious internation al design competition WIN Awards for the world’s most innovative office design for areas under 10,000 square metres.
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In a collaboration with Magu Design, facility manager at Aker BP, Thor Inge Bollestad, says the interior developments have been a welcomed and needed change, igniting the company’s vision and the exciting way forward.
“The effects of increase in cooperation have been great,” he says.
Following the new interior architectural designs provided by Magu, Aker BP and Bollestad report more cost-efficient and effective work, and increased attractiveness in the marketplace.
“Experience and Insight from our Onshore Collaboration Centre will set the standard when we start designing our brand-new Aker BP building in October,” Bollestad says.
The heart of the OCC is a lounge and relaxation zone that creates a homey feeling. Behind the fireplace is the popular shuffleboard. Connect with a colleague or visitor over a coffee in the lounge area’s coffee bar! Seamlessly integrated communication technology in the “Lykkeland” meeting area provide optimal connection and co-creation between colleagues and different office locations. The artistic wave-like ceiling with integrated speakers and light also deliver optimal sound mediation.Architecture may not be the first thing one thinks of when hearing the word sustainability, but the buildings we live, work and study in play a big part in a sustainable future. Common Ground was established in 2015 by Anita Berglund and Christoph von Mach. Both were experienced architects with a passion for sustainability. Their company has sustainability in its DNA and wants to be the creative glue in their clients’ projects.
By Hanna Margrethe Enger“Since the beginning in 2015, we’ve been lucky to work on many sustainable pro jects,” says von Mach. “Sustainable ar chitecture can mean a lot of things. It can be in a social way, in a socioeconom ic way, or it may lie in the location and function of the building you are work ing with.” Common Ground helps their clients reach their environmental and energy ambitions by programming and fine-tuning their proposals.
A climate-neutral business
Common Ground think it is important to practice what you preach and is itself a climate-neutral business – something not
many other architects in the world can match. “We can’t tell our clients to have greater ambitions and not meet those ambitions ourselves,” Von Mach says.
Since 2015, Common Ground has taken on many publicly funded projects. This is something they take very seriously. “We want to create value and quality with the resources we manage for a large range of people,” von Mach explains. “We work with architecture the world really needs, like kindergartens, schools and health care buildings such as care homes and dementia homes.”
“We now see more private clients with ambitions of climate neutrality and we are ready to work with them,” says von Mach.
Common Ground works on new builds, but also the retrofitting of existing and listed buildings. Across all builds, it maintains very high standards, imple menting measures to reduce greenhouse gas emissions, acquire environmental certifications or make use of ecological timber, low-carbon concrete and recy cled steel.
Hjertnes Kulturhus’s new extension. Photo: Tove Lauluten
Rødtvedt kindergarten with its ample outdoors space. Photo: Tove Lauluten
For building and construction projects in Norway, there are several types of en vironmental certifications one can get. The most commonly used is Building Research Establishment Environmen tal Assessment Method (BREEAM). At Common Ground there are environmen tal experts who are BREEAM certified.
Norway has its own BREEAM certifi cation system and it requires a lot of work across all disciplines to make sure those standards are met.
Common Ground’s first project was the rehabilitation and rebuilding of a listed kindergarten building from 1967 and the establishment of an extension. Rødtvet kindergarten is an energy-plus building, which means that it produces more en ergy from renewable sources than it re quires from external sources. The mix of old and new is seamless, and in 2019 it was nominated for Oslo City’s architec ture award.
A recently completed project is a black box theatre in the coastal town of San defjord. It is an extension to the existing Hjertnes Kulturhus, a concert hall, cin ema, town hall and library. During the process, it was crucial to treat the listed buildings with respect. They therefore emphasised the existing building’s char acteristics with a new building of high ar chitectural quality, within the constraints of a tight budget.
“We must reuse what we’ve already got,” von Mach explains. “Most of the time it’s practical, both economically and social ly, to use the buildings that are already there.” With this project they had the ex tra challenge of the building being locat ed in a conservation area for Sandefjord Hjertenespromenade and Sandefjord Park, which are both national cultural heritage sites.
Skoklefall in Nesodden, just outside Oslo, consists of two buildings with care homes in one and dementia homes in the other. In these types of buildings, it is important to create a home-like feeling and a strong connection to surrounding
nature. Therefore, the two buildings are surrounded by a large, beautiful gar den for the residents to enjoy. Common Ground wants to create environments that give people meaning and a sense of belonging. Both buildings are built to passive house standard, with energy wells and heat pumps. There is also a strict environmental follow-up plan.
Some projects do not become reality, but are still worth mentioning. In 2017, Com mon Ground was invited to an interna tional design competition for the exten sion of Oslo Central Station. This was a challenging project with listed buildings, strict security requirements and a train station in use during the proposed con struction work.
Another proposal – for a high-rise with an energy-efficient double facade that provides partially natural ventilation with very low energy requirements – was a no table conceptual project. It could achieve energy-plus standard and a BREEAM NOR outstanding certification.
At Common Ground it is all about the long term. They want to help create a ze ro-emission society through architecture and landscape. They dream of a world where short-term profit is not at the ex pense of sustainability, and where the buildings we use the most, are the best.
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Skoklefall’s exterior fits nicely into the surrounding environment. Photo: Tove Lauluten Rødtvedt kindergarten’s interior allows for different types of play. Photo: Tove Lauluten Fjordporten, Common Grounds proposal for the new Oslo central station. Photo: Common GroundOf all of Norway’s enchanting coastline, the Lofoten islands have a special repu tation. Known as some of the most beau tiful islands in the world, Lofoten attracts tourists from all continents. It is as if all of the country’s natural beauty is concen trated in these wonderous islands, where the deep blue sea and steep, majestic mountains produce a unique combina tion of scale and beauty.
In recent years, the allure of Lofoten has made it a prime spot for tourism as well as for a whole range of creative profes sionals, digital nomads and others look ing for a cut of the Lofoten boom.
A Norwegian Klondike “There’s a bit of a Klondike atmos phere here right now,” explains Markus Schwarz. Schwarz runs architectural
studio VÅG Lofoten AS together with his partner, Tora Arctander. Originally from Germany, Schwarz has worked on pro jects all over Europe, including on the Champs Elysées in Paris, but now finds himself on a remote island tucked be tween tall Norwegian mountains.
It was love that made Schwarz make the journey. Tora, his partner in life as well as in business, was born and raised in Lofoten. After some years in Oslo, the couple decided to move north and, in Lo foten, found opportunities for architects that gave reason to remain.
The architects at VÅG bring the world to Lofoten and Lofoten to the world – with sustainable, locally-anchored projects that go beyond traditional architecture.
Arctic Landscape Park. Photo: VÅG
“Being a small studio in a rural setting means we cannot be specialists. We need to be generalists who can deal with a large variety of challenges, typologies and scales. Architecture is so much more than the building itself; we see each of our projects as an opportunity to learn more about our surroundings and as a way to participate in the community we live in. That being said, the core of our work will always be to design beautiful and well thought-through buildings and public spaces,” says Arctander.
She adds that it is inevitable, working with architecture in the particular con
ditions in Lofoten, that architects also become involved in zoning plans and master-planning projects.
“There are few people here and each single project has much more impact than what it would have had in an urban context. We work hard to find solutions that are good for everyone. In addition, there is not that much space to build on – the mountains are high and the sea is a natural boundary. As architects, we need to look at the bigger picture and Lofoten is a very different context than a city would be,” Schwarz underlines. “We work on unique and really spectacular sites here,” Arctander adds.
Responsibility to protect Having grown up in Lofoten, however, she is also keenly aware of the importance of balancing new constructions with local tradition and needs. Conflicts can easily arise in small local communities; from one day to another you may find that the entire world is knocking on your door.
“There is good and bad development. As architects, we need to anchor projects in a local context,” Arctander stresses, adding that such local context does not necessar ily mean reproducing maritime patterns and motifs, but goes far beyond that, and should be based on an understanding of local construction techniques and aes thetics. Yet, while respecting the existing, there is still room for new expressions and contemporary architecture. In many cas es, reproduction can even be more harm ful than adding something new.
This need to tread carefully is particularly acute in Lofoten; the islands are a natural treasure that need to be taken care of. The construction sector has a huge negative impact on the environment and lowering emissions is a responsibility the architects at VÅG take seriously. Schwarz and Arctander underline that they always base their work on sustainability and that they make sure to suggest environmentally friendly solutions to their clients.
“Economic incentives for environmentally friendly constructions have changed
Cabin at Sund. Photo: Stephen Citrone Destination Gjermesøya. Photo: VÅG Cabin By The Sea. Photo: VÅGmany clients’ perspectives on sustaina ble building. For many of our clients this has become an increasingly important sales argument,” Schwarz says.
While VÅG is based in Lofoten, their ar chitects do not limit their work to the is lands, but take on projects all over Nor way. Wherever they work, both Schwarz and Arctander underline that natural beauty is a source of inspiration in a cre ative profession such as theirs. At the same time, however, both architects stress the need for the type of inspiration rooted in human encounters. To make sure they stay in touch with and get inspi ration from the external world, Schwarz and Arctander travel regularly and main tain a broad international network.
In that way, VÅG brings know-how and inspiration from the outside to Lofoten, while making sure that whatever they design contributes positively to the fu ture of what remains a small and frag ile community. At the same time, they bring the beauty of Lofoten with them as a source of inspiration when working elsewhere.
That two-way flow is an apt metaphor for all that is happening in Lofoten right now. These small islands that, for centu ries, were a very small Norwegian fish ing community, have become a magnet for people from all over the world. That massive external influence needs to be tempered and fitted into a particular lo cal context. That is the essence of what the architects at VÅG do.
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Hattvika Lodge. Photo: Stephen Citrone
Destination Gjermesøya. Photo: Kaiserbold
Moloveien. Photo: VÅG
Hattvika Lodge. Photo: Stephen Citrone
Meet the interior architects who sought to complement and enhance history in a contemporary and sustainable manner by refurbishing one of Norway’s most esteemed libraries.
By Åsa H. Aaberge | Photos: Jon Gorospe
With a vision to entice the public in, Andersen Interiørarkitekter (Interior Architects) and Katrine Kristiansen took on the prestigious task of redecorating the venerable National Library of Norway in Oslo in 2017. Set in a building over a cen tury old, the pursuit of the project was to preserve and prolong history in a timeless and contemporary manner.
“The building and its original interior are listed, meaning no new installations and interiors can be attached to walls, floors or ceilings. A site like this demands care ful consideration,” says interior architect Kari Cecilie Andersen.
For the project, Andersen teamed up with fellow interior architects and long-time colleague Kristiansen. Today, we meet them in the library foyer, an airy, stately space with arched ceilings, adorned with original hand paintings. “We wanted to conform and complement the existing premises rather than contrasting,” ex plains Andersen.
The National Library has ambitions to become a bustling meeting place in the heart of the Norwegian capital. To create a welcoming ambience, the interior archi tects focused on revitalising the public ar
eas of the building bit by bit, whilst bring ing the library back to life and enhancing its former glory. That included establish ing a new in-house café, a lecture hall, main reception, a lounge and a bookshop.
Meanwhile, existing spaces have been made more attractive and accessible for the public without compromising the conservation requirements. “The inte riors, lighting and reception desk have all been specially designed by us. Exist ing benches and stools got new leather seats, and we have consistently incorpo rated iconic Nordic design elements as well,” says Kristiansen.
Improving the library’s Universal Design was a priority, with new and improved ramps and elevators added to ensure accessibilty for all. Making the library a more soothing space to spend time in
was another major consideration. For better sound quality, floors were set with carpets and all hard surfaces replaced with smoother, less noisy materials to ensure good acoustics and to muffle dis turbing sounds.
“In the cafe and lounge areas, it was im portant for us to ensure comfort and a warm ambience, with armchairs, soft fab rics and floor lamps for a cosy setting,” says Kristiansen. Throughout the library, Andersen and Kristiansen have empha sised good light via repeating ring-shaped LED lights, specially designed in different sizes, that hang from the airy ceilings. The Café Å features custom-made pendants over each cafe table.
“We chose colours and materials with careful consideration of sustainability and durability. We chose solid oak for the custom-made furnishings and linoleum on worktops, counters and lecterns,” says Andersen. The materials are nat ural, long-lasting materials that can be recycled, repaired and reused. Chairs and other furniture have been uphol stered in leather and solid wool fabric.
“We use tailored solutions to ensure dis tinctiveness and identity, as well as lon gevity,” says Kristiansen.
As for the colour palette, tones used in the new interior took inspiration from the existing interioirs of the National Library,
which rely heavily on oak and dark brown shades, and from the old leather-bound books’ golden fonts and rich notes of red, green and black. In the cafè, the tables have durable marble tops with brass bases, paired with leather sofas that complement the wood-panelled room.
The National Library project was con ducted in collaboration with Entra, who had the role of head builder and oversaw the practicalities on behalf of the Nation al Library. Entra is one of Norway’s lead ing real-estate companies in developing and managing energy-efficient buildings. Entra describes Kristiansen and Anders ens’ interior work as creative.
Whilst maintaining the authentic at mosphere and interiors was a priority, blurring the lines between history and contemporary was important for Ander sen and Kristiansen. “Arguably one of the biggest tasks was designing and in corporating a new hub for the National Library’s map centre. The maps are ex tremely fragile and sensitive to air and
light, dating back hundreds of years,” says Kristiansen.
In the back of the existing building, once a courtyard, Andersen and Kristiansen de signed a lightproof, box-shaped alumini um construction as a modern contrast to the art deco-style building. It looks like an installation – a room within a room. The space exhibits one of the world’s largest collections of ancient maps, atlases and geographical books of the Nordics.
Andersen and Kristiansen continuously work together and separately on interior architectural projects, including plan ning, refurbishing and decorating public spaces ranging from offices to parking garages and private homes. The duo work together as Oslo Interiørarkitekter and separately as Andersen Interiørarkitek ter and Katrine K AS.
www.aintark.no www.katrinek.no Instagram: @oslointeriorarkitekter @katrinek_interiorark
At a time when new buildings are being drawn and built at record speed, architect Lise Vabø finds inspiration in preserving and investigating the history and culture of her projects, ensuring sustainable buildings in harmony with their surroundings.
By Synne Johnsson | Photos: Studio VabøVabø started her architectural practice in 2016 after returning from her studies in London. Since then, she has worked with a range of projects such as restorative work, private houses and cabins, as well as feasibility studies for larger commer cial projects and competitions, always keeping in mind the architectural herit age of her projects.
“I want to contribute to an architecture that respects its surroundings and its historical context. Giving projects a rea son for being and creating moments of happenstance,” she says. “The aim is a more conscious aesthetic and use of the resources we have. Instead of building
just to build, it’s important to carefully consider how the design works with its surroundings. Is it environmentally and economically durable and is it robust enough to cope with the climate chal lenges we are facing? Ideally a building, be it old or new, should remain standing for 100 or more years.”
Based in Stavanger, Vabø is passionate about the city’s history. Here, timber has always been an important building ma terial. Throughout the last six years of practicing Studio Vabø, she has ‘collect ed’ projects from every decade, from the
1850s until the present day. According to Vabø, the work contributes to a mapping of the local architectural narrative, the objective of which is to generate more in sightful architecture and a new outlook.
Vabø is a firm believer that good, consid erate architecture can generate change, improve quality of life and ultimately im prove the world. She says: “a lot of the answers for future development should lie in what has been.”
Vabø is currently working on a complete renovation of a Jugend-style property from 1912. Photo: Per Bendiksen
Photo: Marie von Krogh
Returning from London, she noticed that, due to the good economy of Stavanger, which is dubbed Norway’s oil capital, many new buildings had not considered the history and the culture of the city’s architecture. Vabø’s impression is that the focus on the value of existing form, construction methods and history is not as highly appreciated in Norway’s build ing industry as in England’s.
“All architecture schools teach the his tory of architecture, but the emphasis on heritage is remarkable in England. At Kingston University and London Metropolitan University, classicism, for instance, was a major influence. Stem ming from ancient Greece and Rome, classicism produced a built aesthetic focusing on proportion, structural clari ty and form,” she explains.
Vabø’s career started with a win when her first housing project was to draw a detached house for a private client, in the middle of a larger area of a building development. “It was very exciting be cause the regulations allowed for build ing in height, but not in width and plan. This resulted in a tall house consisting of two pitched volumes. The proportion and composition of the facades became decisive factors in the project,” she says.
“The properties on either side of the site were owned by a developer, which
planned to build plain, box-like houses. However, because we got building per mission first, the municipality said no to the developer’s initial box design and forced them to redesign. As a new archi tect, that was a pretty big win for me – to be able to contribute to creating a neigh bourhood with more character.”
Recently, she drew a detached house on previous farmland, taking inspiration from the neighbouring barn and using the steep land to create a building that blends in with the terrain. “As cladding, we used heartwood of pine, which is one of the best materials we have in Norway, ensur ing that the building could handle stormy weather. In addition, we used tree-fibre insulation, which restores heat very well, but is also breathable, taking in and let ting out moisture. The roof is clad with reclaimed clay tiles from a derelict barn.”
Although she values the historical aspect of the architecture, Vabø balances the old and new to create modern buildings that complement the culture and the history of the area. Her work is centred around research and knowledge of each area’s history, culture and visual aspects. At the same time, she values collaboration with her clients, always striving to find solu tions that work best for them.
“It’s a huge privilege that people come to me with their dreams for a new house, cabin, garden shed or whatever, and to be part of bringing that dream to life,” she says. “It is not something I take for granted and it is very important for me to ensure high quality in every project I do.”
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For a recent project, Vabø was inspired by a neighbouring barn to create a building at one with its surroundings. In the renovation of a property from 1915, Vabø had to salvage many memories, as the property had been in the family for generations. Photo: Marie von Krogh Photo: Sindre Ellingsen Vabø’s career started with a win when her design prevented a large developer’s box-like design in the same neighbourhood. Photo: Sindre EllingsenBased in southern Norway, the small architectural team behind Ark-Tellus creates not only living spaces, but homes. Focusing on personalisation, quality and cooperation, the company designs modern homes that help to preserve, and glide seamlessly into, the surrounding natural landscapes.
By Celina Tran
Ark-Tellus was founded in 2011 by archi tects Eivind Hanch-Hansen and Sverre
Aaker Sondresen. Since its establish ment, Ark-Tellus’ team has grown from the duo to a small architectural family. Including Vera, the lump of joy of an of fice dog, there are now six employees.
With the exception of a few larger hous ing projects, Ark-Tellus mostly works
with smaller home or cabin designs for private, individual clients. As a result of this, they value and prioritise personal isation in their work. “We discuss each new assignment as if we have at least two clients. One is the family with their own personality, needs and dreams, while the other is the plot itself with its own character and unique potential. Our mission is to listen to both,” Sondresen explains.
In addition to personalisation, the Ark-Tellus team places great emphasis on preserving the surrounding landscape in which they build. “When we do our work, we try to ensure that as little as pos sible affects the surrounding nature, while also contributing to a modern architec tural language for our time,” Sondresen says. “In many ways, we try to make our designs coexist with the landscape, creat ing homes that almost glide into it in an effortless way. This can be done through a gentle approach to existing terrain and a conscious use of materials.”
Sondresen explains that the conser vation of surrounding nature is a part of Ark-Tellus’ mission to be more sus
Ospedalsholmen. Photo: Jan Roger Bodintainable in their work. “There are many aspects to consider for an architectural firm when trying to promote sustainabil ity. Every little detail matters, from nat ural ventilation to picking long-lasting materials. We try to discourage plastic use in our designs, focusing on greener alternatives,” he says.
He adds that sustainability is a concept that is constantly discussed among the Ark-Tellus team in order to create un derstanding on a personal level. “In our projects, sustainability is mainly about building something that lasts, respecting the situation and landscape we are a part of, employing a local understanding of resources and an awareness of what we leave behind for future generations,” Son dresen says.
Building modern homes, while retaining history
As a part of their effort to minimise their ecological footprint and to retain the value of both landscape and history, Ark-Tellus only make alterations where necessary. An example of this is a project they did for a family home in Ekelunden, where the original building is a small house from the late 19th century.
“To retain its old charm while produc ing something modern and new for the family, we decided on a contrasting ex tension that also pays homage to the old and its surrounding nature.” The home’s design takes inspiration from the forest, the plot’s oak trees and the area’s lovely, stone-filled landscape. It is modern and
contemporary without damaging the history of the home and avoids clashing with the ancient nature around it.
A quiet place in the archipelago
www.ark-tellus.no Instagram: @arktellus
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On an islet outside Risør, the office has made a cabin framing an outdoor atrium that provides shelter and also acts as an activity space. Facing west, the cabin has a balustrade with moveable sunscreens made of wood, which provides a changeable play of light and privacy.
Ekelunden bedroom. Photo: Espen Grønli
Ekelunden, exterior. Photo: Espen Grønli
Ospedalsholmen interior. Photo: Margaret de Lange
Most of us probably have a fantasy about what our dream home looks like: the materials it should be made of, if it should be open and bright or have cosy separate areas, and how the outside space should be. Step one is buying a plot of land but, to make the dream a reality, many more choices need to be made and considerations taken into account. Luckily, there are people who can help.
By Hanna Margrethe Enger | Photos: Byggfag ArkitekterNorway is a sprawling country of moun tains, valleys and fjords. The distance between Norway’s southernmost and northernmost point is 1,749 kilometres. That is just 30 kilometres more than the distance between Oslo and Bologna, Ita ly. This means there are plenty of beauti ful plots of land to build a home on, but also vast distances between bigger cities and small towns and villages. But Byg
gfag Arkitekter is accessible to everyone, everywhere, and works on both small and large construction projects.
Flexible and accessible Byggfag Arkitekter was established in 2000 and is a subsidiary of the construc tion goods chain Byggfag. Their head office is in Ålesund, but their dealers cover large parts of Norway. They have
extensive experience and broad expertise to help guide you through your projects from start to finish.
Together with the rest of the team, CEO Aina Pauline Torvik is deeply involved in all projects. “Our goal is to achieve the
Aina Pauline Torvik, CEO. Photo: Kristin Støylen
best out of all our projects, with a focus on location, form, function and quality of life,” she says. “Together with our deal ers, we can help our clients from the first sketch to turnkey houses.”
For Byggfag Arkitekter, accessibility is crucial and they aim to be local and close to their clients. That’s why they have warehouses and dealers in smaller towns and villages, instead of focusing on the larger cities.
Location, form, function and quality of life are the cornerstones of how the ar chitects at Byggfag Arkitekter work. This is what turns a house into a dream home.
By analysing the location, the house can be positioned to give the best view, sun and wind conditions. Norway’s weather can be fierce and changeable, and that needs to be taken into consideration. A terrace that is sheltered from the wind will be used much more than one ex posed to the elements.
When Byggfag Arkitekter starts working with a client, they assess the plot, the area, the environment and the client’s preferred style. A house’s main function is
to keep its inhabitants warm and dry, but needs vary beyond that. A ‘forever home’ needs to adapt to different life phases. That affects the floor plan, space and storage requirements and maintenance. One size does not fit all. “We do analysis together with the customer. We focus on how to make the house function in all phases of life, so that it becomes a home you can grow old in,” Torvik explains. “
It is often said that home is where the heart is, and a good home is a great base from which to lead a fulfilling life. It is well known that our immediate surround ings affect our mood, so a house must take care of both physical and emotion al needs. You invest in more than just a house, you invest in a high quality of life.
Realising the dream home or the dream cabin starts with a non-binding meeting, either in person or virtually, to discuss the client’s wants, needs and budget. This is followed by an inspection of the plot of land with the client.
“Based on our analysis after looking at location, form, function and quality of life, we create a sketch,” says Torvik. “That sketch provides a good basis for estimat
ing the price. We also check the regula tions in the area, and prepare the building application. Once it has been approved by the municipality, work can begin.”
Detailed drawings will be made, followed by a meeting with the client, architect and construction manager, and quality checks will be carried out throughout the con struction. “We are humbled and proud to help create the most important space for people – a home,” Torvik concludes.
www.byggfag.no
Instagram: @byggfagarkitekter
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Finnish architecture is usually known for its closeness to nature. The reasons for this are a low population density and late urbanisation, which is why people still know to live with northern nature and the use of local resources, such as wood as a building material.
high-rise residential and office complex es in the centre of Helsinki.
This tradition offers Finnish archi tects good conditions for pursuing car bon-neutral construction, although its potential has not yet been fully exploited.
In any case, timber construction has in creased its popularity, and the Wood City, designed by Anttinen Oiva Architects, shows that it can even be used to build
Many architects today think that, instead of complex technical systems, the path to sustainable architecture can be found in traditional building techniques. For exam ple, K2S architects have designed a new church in Ylivieska with solid masonry walls, timber roof trusses and natural ventilation. The steep-roof exterior ref erences medieval parish churches, while
By Kristo Vesikansa, editor-in-chief of Finnish Architectural Review, in collaboration with the Finnish Association of Architects (SAFA) | Photos: Tuomas Uusheimo Anttinen Oiva Architects, Wood City, Helsinki 2021.natural light fills the interior in a way sim ilar to that in modernist sacral buildings.
The pursuit of sustainability has made conserving, reusing and transforming existing buildings an increasingly im portant part of architects’ work. This is indicated by the fact that the Architec ture Finlandia Award has been given to such a project three years in a row. The most recent winner is the Kirkkonummi Library by JKMM Architects, where the old building was wrapped inside a cop per-plated extension.
www.safa.fi
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K2S Architects, Ylivieska Church 2021.
JKMM Architects, Kirkkonummi Library 2020.
For studio founder Mathias Nyström, less is more: “I tend to favour simple wooden structures over ones with many com ponents. It makes sense from a userfriendliness viewpoint, but also in terms of possible future repurposing,” he says.
He takes pride in treating clients’ wishes with the utmost care, and being able to tune into what their needs are – at times putting it into words even better than the clients themselves. “I like to maintain a constant dialogue with the clients about their wishes and goals. I don’t consider myself a great artist who is in this to ful fill my own dreams – I offer my expertise and artistic vision to help others create their dream houses,” Nyström explains.
MNY Architects designed Åkerudden, a single-family home located on the shore of a small lake in Tenala, Finland. The
cornerstones of the project were authen ticity and locality – both of which have found expression in the final design. The space feels vast, airy and light thanks to the use of locally-sourced wood, which has been left untreated, as well as large windows to maximise natural light.
Another interesting project is Two Sisters in Salo, Finland, where MNY Architects designed a holiday home for (yes, you guessed it) two sisters. “The brief was to create a place where some spaces would be shared, while also allowing the option for privacy: together, but separate. The two homes share some indoor space, but the majority of the common space is lo cated outdoors,” Nyström explains.
Soon, the architecture firm will be work ing on a project in Ekenäs old town, which is protected by the Finnish National Board
of Antiquities. The construction will be a big challenge, due to the cultural and his torical significance of the iconic old part of the town, which is known for its wooden houses and a town structure dating back to the mid-1500s. Nyström highlights the importance of respecting the traditional designs of the existing houses. “It’s not a case of copying the old designs, but you have to stay humble and respect the sur roundings. This is something I live by and apply to all my projects,” he concludes.
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MNY Architects’ Mathias Nyström is experienced in working with unique, smallscale projects, as well as complex larger developments with various collaborators. The starting point for each project is simple: sustainable and natural materials and an ecological approach to building. These ingredients are the stuff that dreams are made of. Project Å, a single-family home in Raseborg. Visualisation by Aisto Åkerudden misty day. Sauna, hand-hewn log, located in Ekenäs archipelago. Visualisation by Aisto 90 | Issue 147 | October 2022 Scan Magazine | Mini Theme | Finnish and International Architecture and Interior Design Two Sisters project.
A modular recycling unit designed by Annica Doms. Awarded the Red Dot Design Award for its innovative form. Designed for modularity in different configurations. Kite can be placed against the wall or as a free-standing accent in the room.
The many possible combinations challenges the imagination and inspires creativity. Lids with eight different designs with varying shapes and screen printed symbols for different types of waste. Kite is available in 11 RAL colours and Kite Raw.
Designed concepts for future storage and recycling Showroom in Stockholm, Gothenburg, Oslo and Norrköping | trece.se
Design | Annica DomsVerstas Architects came from humble beginnings – but their endless drive and a passion for designs that withstand the test of time have made them one of the leading architectural firms in Finland. Thriving under pressure, Verstas Architects are always up for a challenge.
By Ndéla FayeVerstas Architects is an award-winning architectural practice, founded by Väinö Nikkilä, Jussi Palva, Riina Palva and Ilk ka Salminen in 2004. In the early days, Verstas Architects spent their time par taking in competitions, which shaped who they are today, and the team found a way to complement one another’s skills. “We all had day jobs, and entering competitions was our hobby. Our first studio was in the laundry room of our old apartment building. A bit like a ga rage band,” Jussi Palva laughs.
Since then, Verstas Architects has grown into a team of 50 specialists, compris ing architects, urban designers, inte
rior and landscape architects. Climate issues and sustainability are important for the firm: natural materials are used in their designs, and they are committed to designing spaces that withstand time. “We believe this to be the most sustain able approach to architecture. Instead of solely focusing on providing solutions for now, we always keep an eye on the future, and design places that can be transformed, depending on the users’ needs,” says Väinö Nikkilä.
Verstas Architects has cemented itself as one of Finland’s leading architecture firms numerous times, with numerous competition-wins under its belt, as well
as an impressive portfolio. “Our staff are able to work at various scales from mas ter planning down to intricate details. The name Verstas (meaning workshop) de scribes our methodology, which entails close-knit collaboration between clients and our team to ensure a tailored final de sign,” Nikkilä expands.
One of the architecture firm’s recent high-profile projects was the Helsinki Biennial Pavilion, commissioned by the City of Helsinki in a bid to make the city’s archipelago more accessible. “The pa vilion’s aim was to give visitors a taster of the Helsinki Biennale, located on Val lisaari island. Our goal was to attract as much attention as possible to the busiest part of the city, both physically and vis ually,” says Ilkka Salminen.
As a contrast to the angular government buildings in the city centre, the Helsinki Biennial Pavilion’s circular shape and
Pavilion and surrounds. Photo: Pyry Kantonen
smooth surfaces are a nod to Vallisaari’s ponds and pothole formations, while the island’s cliffs were used as an inspira tion for the pavilion’s timber walls. “This project was a challenge for us as well as the carpenters, who curved the wood using steam. The pavilion was assem bled in-situ from prefabricated mod ules,” he adds.
For Verstas Architects, creating places –as opposed to just spaces – that are com fortable and peaceful is important. “This applies to both indoor and outdoor spac es. In the age of digitisation, daily screenuse and the subsequent visual chaos, it feels important to counter-balance that with an environment that invites harmo ny into our lives. Everyone leads busy lives, and the time we spend outside our home should be as calming as possible,” says Riina Palva.
One of Verstas’ core philosophies is to consider various perspectives to produce designs that are human-centred. A good example is Väre, a new building complex attached to Aalto University, which is lo cated on the iconic Otaniemi campus site in Espoo. The campus was originally de signed by architect Alvar Aalto and is in ternationally renowned for its 20th-cen tury functionalist architecture.
Standing alongside the most prominent buildings designed by Aalto, the Väre
building forms a new square at the very core of the campus and combines univer sity premises, a metro station and com mercial spaces. “The project has been a success, and the campus site has trans formed into a social space and a public transport hub. These culturally signifi cant environments inspire us to respect the current surroundings while strate gically enhancing the existing context,” Jussi Palva continues.
Verstas Architecture is motivated by chal lenges, and the team gets a thrill from working on demanding projects – and then seeing them come together through skilful design. Currently, one of their big gest logistical challenges is the extension of the Lapland Central Hospital, slated for completion in 2023. The hospital exten
sion includes a new building as well as an internal street, which connects the vari ous parts of the hospital campus.
True to their style, the project design draws inspiration from nature: the hos pital’s sweeping forms are reminiscent of the northern landscape, while its modern façade uplifts the hospital environment.
“Building an extension while the hospital remains fully functional is difficult, but these are the times where we are able to utilise all our expertise and truly shine,” says Riina Palva. “We are building peo ple’s everyday lives, and we want to make those moments meaningful and memo rable too,” she concludes.
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Saunalahti School. Photo: Andreas Meichsner
Aalto University. Photo: Andreas Meichsner
Pavilion from the inside. Photo: Pyry Kantonen
Architectours organises trips and tours for groups wishing to learn about architecture and design in a range of destinations around the world.
By Tina Nielsen | Photos: Architectours
Learning about cities through their architecture gives visitors a different perspective on a place. Visitors with a special interest in buildings can benefit from the vast range of trips and tours organised by Barcelona-based travel agency Architectours.
“We are a travel agency, focused on and specialised in architecture,” explains Jordi Puig, co-founder and director. “All our guides around the world are architects.”
Founded in 2005, Architectours began by offering architecture tours of Barcelona, but today operates in more than 30 countries and 90 cities globally, from Japan to Germany. “We started out in Barcelona and, when that was very successful, we expanded to other cities in Spain, then Europe, before adding worldwide destinations,” says Puig.
The majority of Architectours’ clients are corporate groups, looking to learn and be inspired by architecture around the world. “They are often incentive or study trips for large architecture and construction companies,” he explains. “They want to travel to and experience special projects that can inspire employees for their future work.”
Looking after groups from 20 to 500 people takes some organisation. “At the moment we are planning for trips of around 3,000 people in September. We have clients all over the world, looking for thematic content.”
All trips are tailored to each individual client group. Architectours looks after all logistical details, making trips and tours customisable, with the option to have all or just part of the trip organised. “We organise everything, including tickets for
flights and other transportation, hotels and restaurants – everything you need for a good trip,” says Puig.
“Our trips are really bespoke with high added value for clients; a normal travel agency could not prepare this level of content and itinerary. We are very specialised. We go everywhere, but we are not located anywhere in particular.”
While the in-demand destinations change with trends, Puig says Hamburg and Berlin are both popular with clients. “It changes. When we had the Olympic Games in London, a lot of people wanted to go there,” he says. “When we get a new building, everybody wants to go to that city. Paris and Barcelona are well known for experimental urban planning too.”
Don’t hesitate to contact Artchitectours’ professional team to organise your next tailormade study or group trip focused on architecture and urban planning; you’ll be in good hands.
www.architectours.com
Barcelona, Superilla Poblenou. Barcelona, Superilla. Barcelona, Superilla.Can you enjoy long, nice showers without wasting water and energy? Yes, you can.
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The ‘Eleiko Feeling’ is something frequently associated with our bars, but to us it is bigger than that - it’s what we strive for in all our products and best achieved by keeping the user experience at the heart of everything we do.
— Erik Blomberg, Eleiko CEOEleiko, headquartered in Halmstad, Sweden, designs and manufactures precision crafted strength products for the world’s leading competition, training facilities and home gyms. BAR
The Spanish cuisine provides the perfect sharing experience and is, with its many delicacies and native wines, a popular choice for both small and big events. Tapas, pintxos and seafood all make for amazing sharing dishes and can certainly set the tone for a joyous dinner or work party. This is the vibe at Boqueria, a restaurant located in the Mood Shopping Centre in Stockholm.
By Hanna Andersson | Photos: Boqueria“Boqueria is Spanish for ‘a place to meet’. We offer a fun and dynamic way of eating, where the food comes out as soon as it’s ready and we present each dish with a story of where it comes from,” says Bo queria’s CEO and owner Napolyon Sürer.
Visit the dining hall or ‘the square’
Boqueria consists of a dining hall with high chairs and cosy interior where guests can enjoy a delicious dinner in a chill environment, and ‘the square’ which is the ultimate venue for lunch, after-work drinks, and pre-drinks before a night full of adventures.
“The square offers the popular concept Pintxos - small Spanish dishes which are perfect for an exciting after work session or some mid-shopping nibbles. You can simply grab what you like the look of and
continue to mingle with your friends and colleagues,” says Napolyon.
“We usually have two DJs, one in the dining hall and one in the square. At around 9pm, we turn up the volume in the square to provide the perfect mood for our guests. We want it to be a dynamic hub where people meet up for both food and drinks,” he continues.
Try something new, every time The menu is extensive and changes often, which contributes to the dynamic vibe. It is adjusted depending on the season and the produce available. “We have themes throughout the year where we base our menu around a concept or ingredient. Soon we’ll have a seafood feast with 20 different kinds of seafood from all over Spain,” Napolyon says.
Suckling pig, squid, paella and music have been popular themes throughout the years, and it keeps the restaurant alive and thriving. “It’s exciting and you’ll have a different experience every time you vis it Boqueria,” says Napolyon with a smile. “You will never get tired of visiting us.”
Boqueria has now extended, and you can visit the fun and innovative Spanish restaurant in both Gothenburg and Åre, where they provide the right mood for every occasion. And, of course, delicious Spanish food.
www.boqueriastockholm.se
Instagram: @boqueriastockholm
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Restaurant of the Month, Finland
It’s no stretch to accredit the arrival of ramen in Finland to the people behind Momo Toko. The first restaurant opened in 2015 and now, with eight restaurants in Southern Finland, and two about to open in Tallinn, Momo Toko is showing no signs of slowing down.
By Ester Laiho | Photos: Momo Toko
Momo Toko is renowned for their cus tomer service and hand-made noodles. When the owners learned the craft of making ramen noodles, they set the Finnish restaurant apart from ramen restaurants across Europe, which rely heavily on European importers. Today, hand-made noodles are a cornerstone of their success. All Momo Toko restau rants make them from scratch, as with everything on the menu, as a nod of re
spect to Japanese food culture and tra dition. Even the sauce and broth recipes are their own and made in-house.
Unfortunately, along with every other business in the hospitality sector, Momo Toko had to alter their business model to survive COVID-19. “We launched takeaway products in Lidl and R-kioski. We also only sold takeaway for a while, and kept changing our model, depending on
what the Finnish government guidelines dictated. We wouldn’t have done as well as we did, if it wasn’t for our amazing staff,” COO and training officer Jouni Quisbert explains.
Momo Toko may have started with ra men, but today, their menu includes rice-based dishes – such as donburi, gyozas and edamame. Momo Toko’s most popular dish is an excellent rep resentative of the company’s ethos and dedication to traditionally crafted Jap anese flavours: Original Tonkotsu. It is made from Tonkotsu pork broth that has been boiled for ten hours, ramen, oven-roasted pork belly, house-made soy-marinated egg, wakame sea
weed, sugar snaps and corn. This dish is garnished with rocket, fried garlic and black garlic and sesame oil. Even though making a ramen broth takes ten hours, the base concept of the restau rant is fast food of a high quality. This is all made possible by a highly skilled workforce who enjoy their work, and therefore serve a quality dish every time.
“Even if customers only drop in for a quick bite, we want them to feel welcome – from
being greeted at the door until they finish their last scoop of matcha ice cream,” Quisbert explains. It’s a collaborative ef fort between front of house and the kitch en: guests are treated to a warm and at tentive service, while they taste the love in the chefs’ skilfully cooked Curry Katsu Chicken Donburi or Chicken Karaage.
Quisbert himself joined Momo Toko as a restaurant manager in Espoo, after a friend who worked there recommend
ed it. After being promoted to training officer, he worked his way up to COO six months ago. “I appreciate the open workplace culture we have. It’s very encouraging and everyone’s opinion is heard. We are also very hands on in our management team. This way, we ensure our employees and customers both enjoy their time,” he explains.
Quisbert and the Momo Toko team are excited about launching a new menu –but he is coy about what precisely it will entail, revealing only that it reflects the ideas of their employees and wishes of the guests. “The new menu will repre sent what we’ve done thus far: Japanese flavours made possible by fresh Finnish produce – but now with more vegetarian and vegan options, which I’m very excit ed about.” The new menu will be rolled out in all restaurants, while the two new venues will open their doors for the first time in the Telliskivi Creative Hub and in the Noblessner harbour area in Tallinn, later in the summer.
While ten Momo Tokos for Southern Fin land and Tallinn might sound like a lot, Quisbert reframes the number: “There are over 30,000 ramen restaurants in Japan, so we’ve got a lot of work to do to match that!”
www.momotoko.com
Instagram: @momotoko Facebook: momotoko
Though Fasangården is just a few minutes by metro from Copenhagen’s vibrant centre, you’d never guess so. Nestled in Frederiksberg Gardens, the restaurant occupies an old brick farmhouse from 1682, on parkland once used for royal pheasant hunts during the reign of King Christian V.
By Lena Hunter | Photos: Marie Louise Munkegaard
“It’s very peaceful here. Some of the trees around us are over 200 years old. It feels like you’re in the countryside,” says head chef Anika Madsen. Inside, the restaurant balances rustic charm and restrained Nordic elegance, mixing heritage patterns with sleek, white furnishings. A balance of nostalgia and inventiveness goes for the dining experience too: “The red thread is the feeling of homeliness, but we want to surprise on both the food and the wine front,” says Madsen.
Fasangården serves a three-course lunch and four-course dinner menu, all-day à la carte and a laidback Sunday dinner of sharing plates and snacks – “The kind of good food we ourselves would like to eat on a Sunday,” says Madsen. “Here on the old farm, we get eggs from our own chick ens and vegetables from our own garden.
Outside of that, we use other small farm suppliers and growers around Denmark. It’s our way of keeping a farm mentality in the middle of a big city,” she says.
The kitchen adapts the menu according to the fresh produce available each sea son, and the same goes for the European wine list: “We don’t order in huge batch es, we pay attention to what’s drinking
really well right now,” says Madsen. “We take the winemaker’s story into account when we select bottles. For us it’s vital that we pay respect to the producers by sharing the stories of where our dishes and drinks come from with our guests.”
Autumn’s harvest October is the beginning of the wild season. “We love to use wild deer instead of beef in our tartare at this time of year. We’re very proud to work with a high-quality sustainable supplier involved with wild deer population control in Dyrehaven park in Klampenborg, just outside Copenhagen,” she says.
Here’s not just a stunning spot to enjoy autumn’s harvest, but the changing colours in Frederiksberg Gardens. Combining cultural history, innovative cuisine and a farm-to-table approach, Fasangården offers the best of the city and the countryside under one roof.
www.meyers.dk/restauranter/ fasangaarden
Instagram: @fasangaarden_frb
Facebook: Fasangaardenfrb
HÖRBY BRUK was founded in 1920 and today we are the leading manufacturer of wheelbarrows in Sweden. We are also a leading producer of playground equipment for private use in the Nordic region and our presence in other European markets is growing. Many of our products have become well known classics. This is because of the unique combination of long lasting flair for craftsmanship and modern production techniques.
Going out for a meal in Norway used to be a formal undertaking. It was perhaps because Norwegians didn’t use to go out so often, that when they did, they preferred for things to be a certain way. But in 2013, in an old wooden house in Fredensborgveien, a new kind of restaurant was born.
By Eva-Kristin U. Pedersen | Photos: Margrethe MyhrerInspired by high-end Spanish chefs that opened small gastrobars and served cui sine in less pretentious scenery to make ends meet during the financial crisis, Bon Lio set out to give Norwegian clients something new: superb food in a very re laxed atmosphere.
So relaxed in fact, that it borders on disor derly. The music is a bit louder than in oth er places, the temperature slightly higher, the interior is somewhat disorganised. Even the food is continuously changing.
Bon Lio aims for perfect imperfection. In short, it’s a mess. But it’s a good mess. It’s Bon Lio.
“We don’t really have a menu. It changes all the time, depending on what ingredi ents are available. We use whatever sea sonal products are available and create from that,” says Cato Pedersen Wara, who owns Bon Lio together with his wife, Kitty Knutzen. “The most important thing to us is that clients feel welcome and relaxed
while they’re here. We take care of them as if they were coming to our home.”
In this extraordinary atmosphere, guests can enjoy contemporary Span ish food with a twist: the ingredients are almost exclusively Norwegian. The only exception are those products that really cannot be reproduced outside of Spain, like the Pata Negra.
The reasons are sustainability and qual ity. Bon Lio takes extreme care to ensure that ingredients are the very best avail able and that they are in season. “It is very important to us to use local, organic food and to make use of the excellent in gredients we have available here in Nor way. In the end, that’s what they do in
Wonderfully Spanish Restaurant of the Month, Norway Quale, romesco and chantarelles at Bon Lio. Cato Pedersen Wara grew up in Mallorca and brought his Spanish cooking to Oslo.Spain and that’s what makes the food so tasty,” Wara says.
According to Wara, the most difficult to source are the vegetables. Tomatoes, for example, are only used for a few selected weeks and only from one organic produc er who can guarantee the quality they’re after. “That’s why we’re able to make a really good gazpacho,” Wara says with a smile, underlining that while the base of the traditional Spanish vegetable soup is the same as in Spain, Bon Lio has person alised it.
Another example of a ‘Norwegianised’ Spanish dish is Bon Lio’s turbot, one of their signature dishes. The chefs treat the turbot as if it were a piglet, frying the skin until it becomes crispy and then serving it with carrot purée. In general, there’s a lot of seafood at Bon Lio, thanks to the restaurant’s proximity to fish of supreme quality. “Out of 12 servings, only one is meat,” Ware says.
One dish you’d might expect to find at a Spanish restaurant, but is yet to be served at Bon Lio, is paella. The reason is that the ingredients just don’t make for a paella as good as the original. And if it’s not good enough, it will not be served at Bon Lio.
Wara explains that in spite of the twists, all dishes have a background. “The food speaks for itself but has undeniable Span ish roots. We’ve taken a lot of old Spanish
Bon Lio makes its guests feel at home.
Spanish cooking with Norwegian ingredients.
recipes and turned them into our own,” says Wara. He grew up in Mallorca and is passionate about bringing not only Span ish food, but also the laid-back approach to eating it, to Norway.
Ambassador for Spanish gastronomy His and his wife’s efforts to ensure both quality and authenticity have paid off, and Bon Lio, which is now located at Grüner løkka, is the only Nordic restaurant to have been designated an ‘Ambassador for Spanish gastronomy outside Spain’. Apart from the approach to food, one of the criteria for the award is to have Spanish speakers available at all times. At Bon Lio about half of the staff speak Spanish.
To make sure Bon Lio is open to everyone, guests can opt for half a menu – or just for a glass of wine with a croquette at the bar after work. “We want to be a great restau rant but also a neighbourhood café,” Wara stresses.
To accompany the food, waiters at Bon Lio are happy to suggest their preferred choices from the rich assortment of pre dominantly Spanish wine. “We use a lot of
modern Spanish wines – most clients are very pleasantly surprised,” Wara explains, while adding that they have also selected non-Spanish favourites on the list.
Bon Lio is open from Wednesday to Satur day. The restaurant being closed for three days a week, staff can rest and recuperate and come back to work energised. “It’s a matter of sustainability,” explains Wara. “Being a waiter is a full-time job. In order
for our staff to cope, we must make sure their salaries are good enough to live off, and that they get sufficient rest.”
Bon Lio’s next venture is to open a sum mer-only hub at where it all began – in Mallorca. Wara is excited. “We’re going back to the roots, but we are still search ing for the perfect venue.”
www.bonlio.no
Turbot with carrot purée is one of Bon Lios signature dishes. The staff at Bon Lio is welcoming and friendly. The atmosphere at Bon Lio is relaxed.Surrounded by mountains and sea, Hotell Maritim is an ideal destination to immerse yourself in the natural landscape of northern Norway. Located on Skjervøy, an island in the heart of the northern coastal region, Hotell Maritim offers visitors the opportunity to relax and explore its rugged scenery.
By Molly McPharlin | Photos: Hotell MaritimFor those travelling on the famous Hur tigruten ferry that winds its way up and down the western shoreline of Norway, the cosy hotel’s central location next to the water, ferry terminal, restaurants and shops makes it the perfect stop along the journey.
First opened in 1974, the hotel has been a haven for visitors to the area for many years. The newly-renovated hotel boasts 35 modern, Scandinavian-design rooms, which illustrate its strong connection to the surrounding nature with a palette of soft blues and earthy tones, and images of the sea and mountains on display.
There are numerous activities for visi tors to experience throughout the year in Skjervøy. From October to January, whale watching is very popular, as fami lies of humpback whales and orcas trav el close to the harbour with their young.
It’s the best season to spot the Northern Lights, and ski and wilderness tours are regularly organised.
In spring and summer, guests can en joy visits to nearby Jøkelfjord glacier, the only glacier in Europe that meets the surrounding water. Midnight sun tours, fishing and diving trips to local shipwrecks offer tourists the chance to explore the island and its unique envi ronment. The mission of Hotell Maritim is to connect visitors with nature as sus tainably as possible. “We hope people can take a break from their hectic daily routines, disconnect and feel free,” says head of marketing Manta Mitrike.
Hotell Maritim also runs events, such as the annual Sjømatkonferance, attended by chefs from all over Norway who create dishes using local seafood. The hotel is a meeting point for the local community,
hosting weekly buffets, while their selec tion of homemade cakes on Saturdays has become a tradition in town. Meanwhile, their menu changes with the seasons, using locally sourced fish, berries, meats, mushrooms and other vegetables.
Hotell Maritim is the place to unwind and experience all that Northern Nor way has to offer. “Wilderness is all around us, as is silence,” says Mitrike. “We invite people to come and connect with the sea, wind and mountains, and feel a little wild.”
www.hotell-maritim.no Facebook: Hotell Maritim Skervøy Photo: Visit Lyngenfjord
It all began in a sauna, where an unusual idea developed into a distinct vision. “When there is no tradition to follow, your product will be unique,” explains Sanna Dooley, CCO of Kyrö Distillery Company. With a focus on using 100 per cent Finnish rye, these trailblazers have turned a daring dream into a hugely successful business, producing exceptional, award-winning Finnish spirits.
By Trine Elskov Jensen-Martin
During a typical sauna session, a group of friends were chewing the cud over a rye tipple and reflecting on the fact that there was no such thing as a local rye whisky, despite the prominence of this grain in Finland. They set out to produce a truly original and thoroughly Finnish rye whis ky, using only local raw materials.
“For most Finnish people, rye is synon ymous with our country, and ryebread is our national dish,” says Sanna. “In
Finland, we produce and consume more rye per capita than anywhere else in the world,” she continues. The rye used
in Kyrö’s products are all 100 per cent Finnish and this has allowed the dis tillery to tailor the distilling process to get the best out of this notoriously hardto-process grain.
This passion for distilling the essence of Finland and never compromising their vi sion makes for a winning formula. Their spirits have been well-received both on home turf and all over Europe, with a second office branch now opening in London. The boldness and vision of the founders is inspiring: they have created something never seen in Finland before, and every aspect of Kyrö is unique.
The most recent addition to their port folio is the Kyrö Dairy Cream, made with local cream and rye whisky. It started
Kyrö Distillery CCO Sanna Dooley. Photo: Veera Kujala Kyrö staff group photo. Photo: Veera Kujalaas an in-house joke but has become a wonderful homage to the old dairy in Isokyrö, which houses the distillery. Like everything they do, it sprang from a small idea and a ‘why not?’ attitude that incorporates skill, humour and excellent taste buds.
“The core ethos of our company comes down to daring to dream,” says Sanna. What initially might have seemed like a crazy idea concocted in a sauna is now a multi-million-pound business – though it didn’t happen overnight and has tak en a lot of grafting, focus and faith. “We think it is important to share the stories behind our products and how they are made,” Sanna says, underlining that Kyrö Distillery Company is about more than just a whisky or a gin, and much more than a business.
But what would cement their reputa tion internationally was more of sidethought. “Distilling whisky takes time; you can’t rush the process and you have to be patient,” Sanna explains, with ev ident passion and insider knowledge.
“Our first gin sprang from an idea of what to do whilst waiting for our whisky to distil, and so we started out with a 100 per cent rye-based gin,” she continues.
This is unusual in the gin world but, nevertheless, in 2015 Kyrö won the IWSC award for Best Gin for Gin & Tonic. The gin is flavoured with local botani cals picked in the gardens, forests and
meadows near the distillery, such as sea buckthorn, birch leaves and mead owsweet. It tastes like the very essence of summer in Finland.
“We produced 20,000 bottles of gin that year, which felt ambitious,” Sanna says. But after winning the award, demand went through the roof, and by the end of the year they had sold 100,000 bot tles. “The gin became so popular that it took over the entire production, but we continue to be a whisky distillery,” she continues.
The company now employs 41 staff, with the majority working in the distillery alongside head-distiller, Kalle. They work as a team and everyone supports each other in their different roles, the key-in gredient being the right attitude and a desire to learn. Their approach to the pro cess and the products is uncompromis ing: “we never take any short-cuts but do
everything with complete conviction and passion,” Sanna says. This runs through every single product and will continue to be at the heart of Kyrö Distillery Company.
Looking ahead, the future looks bright, exciting and full of new ideas. “We are looking to increase production, and cur rently have 1.2 million litres of whisky aging in barrels,” Sanna explains enthu siastically. “We look forward to show casing what we have learnt about rye distilling, and are planning to play with barrel finishes, single cask and vintage releases,” she continues. This will no doubt cement their position in the mar ketplace as well as allowing the whole team behind this unique and quirky dis tillery to continue daring to dream.
www.kyrodistillery.co.uk
Instagram: @kyrodistillery
Facebook: Kyrö Distillery Company –tuotteiden kimppatilaus
Kyrö Napue with cocktail. Photo: Kimmo Syväri Kyrö Distillery aerial view. Photo: Kimmo Syväri
Kyrö Wood-Smoke.
Photo: Kimmo Syväri
By Xander Brett | Photos: Linda Theologou
Tucked deep in a Finnish archipelago, Kirjais Nature Inn & Villas is a clean and calm retreat for backpackers, holidaymakers and weekend tourists alike. With an emphasis on natural harmony, it sits in the heartland of the country’s Swedish-speaking community.
The small island of Kirjais seems a world away from the bustle of Helsinki. Yet, this hideaway is just a car ferry from the main land and a three-hour drive from the capital. The original building at Kirjais Nature Inn & Villas dates from the early 20th century, and it housed a school until the 1960s, when the site began passing between private owners. The original building still stands, but is now complemented by a raft of new cabins, as the current rental firm has grown to wel come visitors from as far south as Spain. Five cabins are spread around the central villa, with one of the larger cabins (the Fla mingo Family Villa), designed specifically for families with children, who receive a discount on their booking.
The company is emphatically dog friendly, and its owner, Camilla Grönqvist, keeps two of her own. They are encour aged, like her visitors, to run free, enjoying the wild beauty of these islands. The busi ness is a partner of UNESCO’s Archipelago Sea Biosphere project, and Grönqvist says sustainability is paramount. “My eventu al goal is for guests to stay here without
leaving a carbon footprint,” she explains. Little surprise, then, that customers tend to avoid high-octane thrills during their stay, opting instead for saunas, boat trips and bicycle rides around the archipelago’s ring road. Residents speak Swedish as their mother tongue, but communication is easy. “Everyone helps each other out here,” Grönqvist says, “and that includes visitors. While they’re here, they’re included in the island family.”
www.kirjaisnatureinn.com
The local village of Kirjais.
In recent years, Trondheim has developed into a hotspot for art and visual design in Norway. The city was recently described in NY Times Travel Magazine as ‘one of Europe’s northernmost creative hubs’. Within the city’s expansive scene, Galleri 7 has become an important art and design destination.
By Rune Nyland | Photos: Galleri 77 we present ARTWEAR, sculptures, wool felt and much more,” Winther explains.
Galleri 7 attracts and promotes a younger scope of artists and designers, who contribute to its dynamic creative atmosphere. A major focus of the gallery is supporting collaborations between the different artists and their artforms.
A key element in Galleri 7’s philosophy is versatility. “We are a concept gallery and collaborating design studio, not a traditional gallery,” emphasises the owner, Tania Winther. She is herself a multimedia artist who designs and curates spaces and products, working at the intersection of art, design and product design.
“We are on a journey to re-invent new artwork and designs through monthly themed exhibitions. Using fashion, textiles, design elements and art. At Galleri
“Galleri 7 offers original products that can be bought onsite and ordered through its website. “We host everything from solo to group exhibitions as well as selling specially-curated boutique items in our small, niche shop and coffee lounge,” says Winther.
The latter part of 2022 will see a variety of exhibitions and artforms on show. Some will focus on painted works, whereas other exhibitions combine new design, sculpture and more. Quality is a keyword: “particularly amongst the younger gen-
eration interested in artwork and new design, there’s a tendency to value quality over quantity,” Winther outlines.
A new concept that Galleri 7 is promoting is ARTWEAR – specially-curated pieces of art that explore the realm of fashion, by local Norwegian designers who focus on sustainability rather than mainstream ing. The upcoming plans also include lo cal pop-up exhibitions in Trondheim, and perhaps further afield. “Our aim is to help people see the possibilities with a curated space and allow ourselves to fill our walls with good art!” summarises Winther.
www.galleri7.com
www.atelierwinther.no
Instagram: @galleri_no7
Facebook: gallerinr7
Maja Stabel is one of many designers making one-of-a-kind ARTWEAR in Galleri 7, @majastabel 3D paper flower designs by Tove Svartkjønnli, @papir_lab Tania Winther - Artist and Galleri 7 owner.
Though the population of Reykjavik is just 250,000, its art scene is unusually vibrant. In the past 20 years, open studios, schools, academies and galleries have blossomed in the Icelandic capital. One such gallery, BERG Contemporary, has a particular feel for the pulse of the city. Showcasing new departures in Icelandic art alongside major global artists, BERG is a vivid platform for exchange, and a vital mouthpiece for Iceland in the international conversation.
By Lena Hunter“The art scene in Reykjavik is very strong,” says Ingibjörg Jónsdóttir. “Here in the centre, there’s a high density of galleries and artist-run spaces. It’s an exciting dynamic.” Jónsdóttir – herself an artist trained in Iceland, Denmark and Mexico – is the founder of BERG Contem porary, one of Reykjavik’s most innova tive exhibition spaces.
The 800-square-metre gallery resides in an old glass factory in the centre of the city, where it fills its halls with a di
verse roster: emerging and established artists, young and old, from all over the world. “A little over half of my artists are Icelandic and the rest are from Japan, the USA, Poland, Holland and beyond,” says Jónsdóttir.
Internationalism is woven into the fabric of Iceland’s art history. “Many Icelandic artists study abroad. We are so few on a small island, that we tend to go abroad and bring influences back. For that rea son, our contemporary art scene has
always been in dialogue with others in Europe and the United States – especially as Iceland’s first art academy was only es tablished in 1998,” she explains.
“We also have two guest apartments at the gallery, where we invite research ers, artists, curators and the like to stay. It’s part of our aim to facilitate discourse
Woody Vasulka. Glass - Lucifer’s Commission, Iris Print Series 1977-2003 Iris Print, 86.50h x 118w cm Dodda Maggý, installation view.around the works we show, on an inter national level.” Through this approach, where Icelandic and global perspectives are drawn together, and introspective and outward-looking angles are juxtaposed, BERG captures the essence of the small island’s artistic heritage.
On 14 October, a new exhibition by Ice landic Þórdís Erla Zoëga will open – her debut at BERG. Exploring intimacy and connection, Zoëga’s work contrasts col ourful and highly physical mediums with complex layering and abstract geometric forms that gesture toward the intangible realm of human perception. Take her 2020 solo exhibition Hyper Cyber: a study of our everyday digital interfaces – phones and computer screens – in which a series of neon and backlit wall hangings mimic the symbols, imagery and shapes of familiar digital objects, stripped of functionality.
Meanwhile, BERG’s newly built exhibition hall, optimised for video art and largescale installations will host its much-an ticipated first show, fresh from its spell at this year’s 59th Venice Biennale, on 22 October. Sigurður Guðjónsson’s PERPETUAL MOTION is a mesmerising six-metre-tall multi-sensory sculpture, comprising two long, thin screens – one reaching upwards, totem-like, the other on the floor, stretching out from its base. A deep, machine rumbling sound accom
panies unearthly video footage of metal lic dust clinging in bristling, mosslike formations to a slowly rotating magnet. “The scale is arresting. The new hall’s high ceilings are ideally suited to a work of this stature. It’s a beautiful installa tion,” says Jónsdóttir.
In fact, BERG is especially renowned for its video exhibitions. Not least because it’s the first and only gallery to repre sent the Czechoslovakian artist Woody Vasulka and his partner, Icelandic artist Steina Vasulka, who count among the early pioneers of the medium. During their highly experimental artistic career, the Vasulkas explored the inherent laws of the electronic image and its potential extension via analogue and digital tools. “In 1973, Woody was a professor at the first video department in the world, at the State University of New York in Buf falo. He and Steina are considered two of the most important artists in that field,” says Jónsdóttir.
In spring 2023, BERG will exhibit Woody Vasulka’s seminal installation The Broth erhood: A Series of Six Interactive Media Constructions. It will be the first time the work is reassembled in its entirety since it was commissioned in Tokyo in 1998. “This is a very important piece from an art-his torical perspective. It has been exhibited in fragments in the years since, but never as a whole. For the last few years, we have
been rebuilding the whole installation and it’ll be quite an event when it opens. I know many in the art world will be thrilled to see it,” says Jónsdóttir.
The expansion of the gallery will also pave the way for a permanent collection of Woody and Steina Vasulka’s work. It’s likely to become a touchstone for vid eo artists and historians in Europe – an homage to the family-tree of the medium, just as BERG’s broader exhibitions are an homage to the continuous evolution of contemporary art in Iceland.
www.bergcontemporary.is Instagram: @bergcontemporary Facebook: bergcontemporary
Hulda Stefánsdóttir, After Effect, 2021 Acrylic on canvas, 130h x 110w cm Páll Haukur, Untitled (evan burrows), 2019 Acrylic and mixed media on canvas, 214h x 200w cm Sigurður Guðjónsson’s PERPETUAL MOTION Photo: Ugo Carmeni Bernd Koberling, Untitled, 2019 Watercolor on paper, 66h x 52w cmAt Pust Glas, the joy that comes from blowing glass is all but hot air. Here, Leif Møller Nielsen and Christina Hellevik have set up shop, an art studio and a life together, inviting visitors to experience an ancient craft being blown to life.
By Miriam GradelIn spite of being home to only some 7,000 people, the historic market town of Ebeltoft, with its centuries-old wooden houses and cobblestone streets, offers a number of attractions and explora tions of Danish history. The port is home
to the world’s largest wooden warship, the 19th-century frigate Jylland, bring ing reminiscences of Denmark’s mari time past and former naval strength to thousands of visitors annually. And just a stone’s throw away, art pieces from
more than 700 artists from 40 different countries are on display at Glasmuseet, the world’s first museum of glass.
This is also where professional glass blowers Leif Møller Nielsen and Chris tina Hellevik first met. As graduates from Riksglasskolen, Sweden’s National School of Glass and Scandinavia’s only educational institution for profession al glassblowing, they had both come to the museum’s workshop to build their
careers in the craft. Leif, a former lighting designer in Copenhagen, fell in love with glassblowing after a spontaneous visit to the school in Sweden. For Norwegian-born Christina, however, her passion for glassblowing is one of her earliest memories. “At age 12, I was asked what I wanted to become when I grew up, and I replied ‘glassblower’,” she reveals.
Today, they share not just a home, but also a livelihood via Pust Glas, a combined shop and glassblower’s studio in the cen tre of Ebeltoft. According to Leif, roughly 50 independent glass studios are current ly in operation in Denmark, and around 200-300 practitioners make up the Danish leg of the global glassblower community. “In many ways, the global glassblowers’ community is similar to the surf culture, and we have friends all over the world,” says Leif. Indeed, for Leif and Christina, glass blowing is not so much a profession as a lifestyle. “Glass blowing has to be the way forward, and even when times get tough, you make it work,” says Christina. Leif agrees: “Glass blowing will always re main in focus, no matter the cost.”
The practice of glassblowing dates back thousands of years, but spread around the world via the expansion of the Roman Em pire. In the 1500s, Italy became an artis tic centre for the production of glass, and throughout the 1700s and 1800s, the re gion of Bohemia led the way with distinctly more robust designs. As industrialisation
and new technologies swept across Eu rope, glass production grew into an in dustry. As bigger manufacturers took up the market and the production facilities, the craft of glass blowing became geared towards high-volume production rather than artistic expression.
Then in the ‘50s and ‘60s, a movement of Modernist artists in America enabled the sharing of techniques and knowledge among individuals. The opportunity to pro duce glass in small studios grew steadily, and today, glass blowing has once again become an artistic practice in its own right. The craft even has its own version of Master Chef, the Canadian reality TV show Blown Away, which released its third sea son on Netflix this year.
With Pust, Leif and Christina have creat ed a space for endless artistic exploration. Throughout the year, they blow glass dai ly on-site, inviting visitors to take a peek through the looking glass and into their world. “Glass is made in the same way to
day as it was 2,000 years ago,” says Leif. “We give visitors a chance to experience the craft right in front of them, and get really close to an otherwise inaccessible material.”
Combining their individual styles and ide as, Leif and Christina have created a versa tile range of joyful glassware ranging from vases and decanters to lamps and jew ellery. With a focus on shape, colour and elegance, even mundane objects like on ions and eggs are transformed into beau tiful art pieces. “Glass, like ceramics, is a three-dimensional craft, but with glass, you are much more in the moment and the final result is instant,” explains Christina. In general, Pust’s pieces are simplistic in style and colour, with the exception of the organically shaped Nudies series, and Leif and Christina’s Kissing Vases.
The passion of Leif and Christina makes stepping into Pust much more than a shopping experience. As artists on-site work with full transparency, their per sonal expressions melt into their pieces, making way for a truly intimate art ex perience. “Pust is filled with our person al preferences, with our soul,” says Leif. “That’s what people get when they visit: a small part of us.”
www.pustglas.dk
Instagram: @pustglas Facebook: Pustglas Address: Adelgade 29E, Gården, 8400 Ebeltoft
Nudie
Christina and Leif. Photo: Businessfilm.dk
The Karen Blixen Museum, north of Copenhagen, at the beautifully preserved Rungstedlund family estate of the renowned Danish author, is a cultural, historical and ecological oasis. The museum is a living homage to one of Denmark’s most widely translated writers: a vibrant house of literature, hosting talks by writers, artists and researchers on contemporary cultural topics. In October, a fascinating new exhibition of silver, pearl and diamond jewellery, inspired by her novels, will open – shedding new light on Blixen as a captivating storyteller and adventurer.
By Lena Hunter | Photos: Karen Blixen MuseumDanish writer Gustava Brandt once de scribed Karen Blixen as “both old fash ioned, completely up to date and ahead of her time”, pointing not only to the eminently modern themes of her writing –sexuality and gender, destiny and faith, and our role in nature – but to a free-think er, climate activist, and career woman who refused to wear the 20th-century straightjacket of gender and class.
Blixen was born in 1885. Though she had a privileged childhood at Rungstedlund, she was prevented from attending school with her brothers. Instead, she drew and painted, aspiring to be an artist. Despite it being an unacceptable occupation for women at the time, Blixen spent four years training as an artist, and her per vading aesthetic sense formed the basis of her vivid writing.
As a young woman, Blixen could not rec oncile herself with the conventions ex pected of her and was deeply depressed. She took to Africa with her husband to manage a coffee farm but, after 17 years, she returned to Denmark, divorced, ru ined and purposeless. Only then, in 1934 at 49 years old, did she pen her first work. Seven Gothic Tales, published under the pseudonym Isak Dinesen, was an unbri dled success in America – though it was panned in Denmark for being too liberal. Blixen followed with Out of Africa in 1937 –her best-known work.
A new TV series on Viaplay dramatising her life has rekindled Blixen’s story in the popular imagination, turning the spotlight on Blixen as a cultural and literary figure. “Recently, Karen Blixen has had
something of a renaissance. She was, and still is, a role model for women, and indeed anyone who wonders about their purpose in life,” says museum director Elisabeth Nøjgaard.
Silver Tales: 6 October 2022 – 30 April 2023
On 6 October, a new exhibition at the Ka ren Blixen Museum, Silver Tales, will shed more new light on Blixen’s work. Co-cu rated by Nøjgaard and jewellery writer Nina Hald, 40 contemporary jewellery artists and designers have created items in silver, pearl and diamond, inspired by quotes from five of Blixen’s major novels in which jewellery plays a symbolic role.
Blixen’s own jewellery box was modest, but the pieces she wore carried senti mental value, associated with both love and loss. “With these magnificent piec es in silver, pearl and diamond, we have found a different entry into Karen Blixen’s literary universe, through a new artistic challenge,” says Nøjgaard.
“We tell, for example, a story of new ly-weds from Winter’s Tales, in which the husband gifts his wife an heirloom pearl necklace. The necklace breaks and, once repaired, he becomes obsessed that his wife should count the pearls to be sure the goldsmith has not cheated them. She refuses – but feels the implication of the
theft in its new lightness. When she can no longer resist the urge to count the pearls, she finds there is one more than there should be, and the extra pearl is so large and fantastic, it appears to be worth more than all the rest together.”
“In that process, the wife develops into a stronger, more independent woman, whereas the husband becomes smaller and smaller, obsessed with the necklace and having an heir. In losing the sensu ality and marital love that she dreamed for, she’s alone, but strong. She muses on whether they are not in fact pearls, but a golden chain. These are the kinds of richly symbolic stories we explore in Silver Tales.”
Follow in Blixen’s footsteps Elsewhere at Rungstedlund, Blixen’s well-preserved writer’s home is open to the public, decorated with original family furnishings, cherished belongings from her time in Africa, and fresh bouquets of flowers – just as she always had. Here, the permanent exhibition Courage Humour Love tells the vibrant tale of her superb literary works and spectacular life in post ers, photos, new documentary films and historic sound recordings.
An ardent ecological activist, Blixen es tablished a 15-hectare bird sanctuary on the Rungstedlund grounds – managed
today by the Danish Ornithological Society –in which she is buried. “In doing so, she established a meaningful place for all who ponder on what literature, nature and sto rytelling can teach us about humankind,” says Nøjgaard.
In September, Queen Margrethe II visited the museum to present the Rungstedlund Prize to Danish writer Peter Høeg for his ‘belief in the authority of the story, great global and historical wingspan, and the mixture of melancholy and laughter that follow in Blixen’s literary footsteps’. As a site of significant cultural heritage, the Karen Blixen Museum continues to in spire – just as Blixen did herself.
www.blixen.dk
Instagram: @karenblixenrungstedlund
Facebook: Rungstedlund
The chimney room. Photo: Jens Linde Aerial shot. Photo: Peter Leschly Karen Blixen’s typewriter. Photo: Annemette Kuhlmann
Of all the exciting music venues in the world, the Great Wall of China might not be the first to spring to mind. Yet this amazing landmark is just one of the extraordinary places where Robert Wells has played his piano. The Stockholmborn musician has an international following – particularly in China – and he has spent a lifetime bringing music to the masses, revitalising the classics with his unique modern twist. His popular Rhapsody in Rock concerts combine the beauty of classical melodies with the energy of rock and boogie-woogie.
By Joy Sable | Photos: RIR eventsWells’ love of music started young, even though there were no professional musicians in the family. As his parents had divorced while he was still a baby, he spent much of his childhood with his grandmother. “We started to play on the piano when I was four,” he says.
By the time he was seven and had taken up piano lessons, he knew music would be his life. “My first piano teacher – she was the best. She took me under her wing and we had nearly two hours of lessons every week. After the lessons, we played vinyl records by Arthur Rubinstein and other classical artists. That was the best time for me,” he recalls.
His prodigious talent apparent from an early age, he attended the Royal Swedish Academy of Music, taking classes after school. “The problem I had was that I already loved boogie-woogie, jazz, pop like Elton John, Status Quo and, of course, ABBA. I had to hide my ABBA sheet music from my teacher! ABBA was the worst thing you could play, back in the ‘70s.”
At 16, Wells was living by himself in Stock holm and playing with bands in pubs in his spare time, whilst working hard at his classical studies. “When my piano profes sor at the Academy found out that I played pop and jazz too, she was furious, so I had to change professors after the first year. That’s when I realised that you can’t force
anyone what to think about music, it must come from your heart.”
It wasn’t snobbery that he encountered at the Academy, but a lack of understanding of other music genres. “They didn’t know anything about pop and rock. It’s so easy to disregard things you don’t like,” he explains. “It’s sad because you miss so many things in music if you are just into one style.”
Though he was entranced by the classical concerts he attended at the Stockholms Konserthus, he felt something was miss-
ing. “I loved every second, but I thought the package was so boring and snobbish. I thought ‘I have to do something when I get older’ – and that’s how Rhapsody in Rock came up.”
Rhapsody in Rock was first performed in 1989. It was a huge gamble for Wells. “I came from a pop career and we played rock clubs, but my dream was to do my Rhapsody, so I rented a big symphony or chestra and we went out to the north of Stockholm. There were 67 on stage but there were only 80 in the audience! If I was a normal person, I would have told myself to quit. Instead, I said to myself ‘it will take time, but it will happen’. And it did.”
Wells has seen his share of career-highs –aside from playing atop the Great Wall of China. He composed the official television theme music for the 2008 Beijing Olympics and has played in venues as diverse as ice hockey arenas and London’s Royal Albert Hall. He even played on the 2010 Belarusian entry to the Eurovision
Rhapsody Ensemble.
Song Contest – a ballad during which, in a typical display of Eurovision excess, the singers morphed into giant butterflies during the final chorus.
“I was really proud to perform Rhapsody in Rock at the Royal Albert Hall in 2001. That was a huge production. I must ad mit, I was so nervous because when you walk out of your dressing room, you see all the pictures of the famous stars who have been there before! But it was fun.”
Ten years ago, Wells received H.M The King’s Medal for his services to the music industry and for his entrepreneurial work. He has played for the Swedish Royal Fam ily on numerous occasions and this year he received the Stockholm Culture Award. Eager to give something back to the next generation, he has, for the past 12 years, held music camps every summer for youngsters with musical talent.
“I’m pretty hard. I tell them, if you want to be in my camp, you practice, but don’t
practice for me – I don’t care – if you want to practice, it is for your own good. If you really don’t want to work professionally, then you don’t have to. You don’t know how many parents hate me! I always tell them, stop pushing your child. Nobody pushed me when I was a kid.”
For children who want to pursue a career in music, he has some sound advice: “Lis ten to your own voice and do exactly what you want to do. When you work together with other people, the most important thing is not to be interesting, but to be in terested in others. Listen and learn.”
Scan Magazine | Culture | Robert Wells
Wells Temple Of Heaven.
Final Dalhalla 2021. Photo: Ulf Stjernbo
Sister duo PRISMA, hailing from Denmark, have hit new highs with their new single. Delightful in its simple, carefree mission to stimulate the endorphins, Bangs wears all its sonic eccentricities proudly on its sleeve. It’s a tune to rave to – and not fret about how silly you might look while doing it.
Danish artist Bathsheba is back with her latest single Something About Her. It’s a mid-tempo ballad that makes a big impact right away, without ever seeming like it’s trying. This is not just through her inten tionally fragile vocal delivery of the song’s rousing melody, but also via the lyrics –which tell the story of her head being unexpectedly turned by, and thoughts con sumed by, someone of the same sex.
It’s been half a decade since we last got a solo release out of Norwegian pop icon Bertine Zetlitz. Brand-new single Soft
Hurt is an intriguingly composed marvel of a tune with a production that at first seems to be proceeding with caution so as to match the uncertainty spoken of with in the lyrics, before evolving into a much more confident beat with echoes of house. It finally blossoms into a banging synthpop soundscape right in time for the all-impor tant middle eight.
Danish songwriter to the stars Søren Emil is out with a brand-new tune of his own –his latest single Where Do You Go Tonight It’s a pretty cool pop offering that you can fall for in a big way upon the first listen. The song is atmospheric, to the point that it almost borders on unsettling, but the production and his vocals keep a lid on studio tricks to ensure a super-smooth finish.
Let’s finish with a bang! I Feel It In The Wind is the latest release from Swedish duo Smith
By Karl Batterbee& Thell. A rip-roaring country-pop romp with a melody that gives the sads, paired with a lyric that encourages hope. Sounds like their next big domestic radio smash – the latest in what’s becoming a long line.
www.scandipop.co.uk
I spent the summer in Sweden. Cycling down to the sea for a swim, picking blueber ries and exploring a few forest lakes I hadn’t been to – it was a classic Swedish summer.
But something was off. When you don’t live in Sweden all year round and are not part of the Swedish system, you are so clearly on the outside. For example, in Sweden everyone pays with a service that is linked to your phone number. Super easy and straight forward, right? Yes, if you have a Swedish phone number.
To exit the supermarket after you have done your shopping, you need to scan your receipt – a receipt that you most likely just pushed down into your bag and now can’t find because you live abroad and aren’t used to the Swedish level of paranoia in food shops. In Swedish Ikea, you can’t just order a 60p hot dog over the counter. You
have to order it at a machine. Sweden loves technology, so much so that it becomes a a hindrance, especially if you don’t live in Sweden. You just feel dumb a lot of the time.
Sometimes, when you feel frustrated by a place you love, you have to remember the things you think are important about that place. Like that there isn’t much rubbish
By Gabi Frodenon the streets or at the beach, or how light the sky is in June. There is a magic in the Scandinavian summers that is at odds with everything modern, like complicated receipt systems in supermarkets and advanced, but restrictive, payment methods. So, I pick what I love and focus all my energy on those things. That way, there will always be things to return for, like cycling to the sea, kilogrammes of free blueberries and beautiful, quiet lakes in the forest.
Gabi Froden is a Swedish illustrator and writer, living in Glasgow with her husband and two children. Her children’s and YA books are published in Sweden by Bonnier Carlsen and Natur&Kultur. www.gabifroden.com
Lahti’s Sibelius Hall impresses with its architecture, but also with its high-quality programme of classical music. The building houses the Lahti Symphony Orchestra, whose fairy-tale inspired concert combining music and animation will appeal to both adults and children this autumn. Two compositions by Maurice Ravel from the ballet Moth er Goose are brought to life by animator Grégoire Pont.
Ankkurikatu 7, Lahti, Finland
www.sibeliustalo.fi
The Tivoli Friheden amusement park in Aarhus is the ideal destination for a bit of Halloween-themed fun. From hairy spiders to Denmark’s biggest horror ride, an escape room and gruesome ex tras dressed as apparitions and ghosts, you will be able to choose your thrill –and when it all gets a bit too much, sit down for a cosy bite to eat at one of the food stalls or restaurants, while admir ing the decorations. Skovbrynet 5, Aarhus www.friheden.dk
MIX Copenhagen was organised for the first time in 1986, which makes it one of the world’s oldest LGTBQ+ film festivals. In addition to film screenings and events for industry professionals, the festival also hands out the Lili Award, named af ter transgender artist Lili Elbe, to the Best Feature, Best Documentary and Best Short Film. This year’s programme is out on 1 October, but you can already listen to the festival’s podcast, called Coming Out of the Celluloid Closet.
Venues around Copenhagen
www.mixcopenhagen.dk
–Where to go, what to see? It’s all happening here!The Royal Swedish Opera impresses in central Stockholm. Photo: Kungliga Operan / Markus Gårder
The Royal Swedish Opera is hosting a series of lunch concerts in its eye-catching Golden Foyer this autumn. A 340 SEK ticket covers a tasty lunch and performances by world-class musicians and singers. October dates cover works by Schumann, Schubert and others. Gustav Adolfs torg 2, Stockholm www.operan.se
The Swedish Museum of Performing Arts is not only a collection of 50,000 items, but also an interactive and immersive experience for visitors of all ages. Open until mid-January 2023, their current exhibition is the work of photographer Christer Landergren, who documented the Swedish jazz scene. You can also explore the permanent exhibition, On Stage, on 45-minute baby friendly tours which finish with a small performance. Sibyllegatan 2, Stockholm www.scenkonstmuseet.se
EMMA – Espoo Museum of Modern Art is always worth the short metro ride from the centre of Helsinki. In Search
of the Present, one of several current exhibitions, is a series which began in 2016 and derives its name from a Finn
ish collection of essays published in the roaring, modernist 1920s. It looks into what connections between art, tech
nology and nature look like in the 21st century. Artificial intelligence, and its potential for humanity, features heavily in the works of the 16 exhibited artists. Ahertajantie 5, Espoo www.emmamuseum.fi
The Swedish Museum of Performing Arts is a hands-on experience. Photo: Jonas André Anna Ridler: Mosaic Virus (2019). Photo: Paula Virta / EMMA - Espoo Museum of Modern Art The Sibelius Hall in Lahti, Finland. Photo: Visit Lahti Photo LibraryOctober 2022
10.2022
1757-9589
Mercedes Moulia
John Gollings
Contributors
Alejandra Cerda Ojensa
Celina Tran
Emma Rödin
Eva-Kristin Urestad Pedersen
Gabi Froden
Hanna Andersson
Hanna Heiskanen
Hanna Margrethe Enger
John Sempill
Joy Sable
Karen Kristensen
Karl Batterbee
Lotta Lassesson
Nina Bressler
Rune Nyland
Synne Johnsson
Tina Nielsen
Trine Jensen-Martin
Xander Brett Åsa Hedvig Aaberge
Emma Fabritius Nørregaard Johan Enelycke
Veronica Rafteseth
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Where the road ends and the bare mountains begin is where you’ll find Ramundberget - a small, snow-sure mountain village connected to Scandinavia’s biggest ski system.
