Input #3 EN

theme: fall favorites

Inspiration from Input interiĂśr - autumn / winter 2017

as the weather changes we find this season’s favourites

case: zander k hotel

a nature-inspired experience in the centre of Bergen

Time to come inside! We’ve collected the inspirations for this autumn and it’s looking bright. Exciting new products and trends are putting us in a creative autumn mood. Maybe it’s time to pick up that idea or draft plan that somehow never really came to fruition? We’ll offer a few ideas of our own to guide you through the season’s challenges.

Our autumn edition offers a cavalcade of inspiring case studies.

Come with us to Bergen, Norway, and check in at a hotel which puts peripheral detail up front and centre. Afterwards we’ll head to a colourful, green workshop environment for culture and then finish up at a triangular-shaped building with extreme geometric influences. On top of that we’ll provide interesting news and discuss the importance of time and time-out when we present this autumn’s clocks and armchairs.

We’ll also squeeze in our 30-year anniversary! Thirty years of challenging projects. Inspiring clients. Innovative architect partnerships and fantastic furniture. Trends may have come and gone since 1987, but Input interiör has always been there.

By offering customised solutions and freedom of choice, we create the perfect functionality for spaces that affect people every day, all throughout life. We’ll celebrate our 30th birthday with a trip down memory lane.

Please feel free to immerse yourself in our little contribution to a stylish season. No matter where you are in the process – at the ideas stage, the planning stage or if you only have one foot in the project – we hope to inspire and challenge. Put simply, we want to give you our input on the latest in design and furnishing.

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Fall favorites

Case: Zander K

The seasons are changing and it’s time to get ready to research this season’s trends and new products. Find your favourites amongst the signature products and classics of autumn.

Surrounded by dramatic mountain peaks and wild fjords, Zander K offers a modern, nature-inspired hotel experience in the centre of Bergen, Norway.

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Theme: Armchairs

Case: Alingsås Cultural Centre

The homely armchair offers a personal space, no matter where it is. Lean back and discover this autumn’s armchair favourites, each with different features and personalities.

A creative workshop environment and reuse concept has transformed Alingsås Cultural Centre from a library to a cultural living room open for all.

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Theme: Time and space

Case: Segerstedthuset

A carefully selected clock can dress up both time and space. Details such as colour, shape and size determine whether telling the time remains a practical affair or an eye-catching accessory.

Graphic and natural. The geometric shapes of the facade and flora of the surroundings inspire and contribute to the interior of Segerstedthuset.

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Beetle Dining Chair GamFratesi.

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1 Circle Pendant Hannakaisa Pekkala.

2 Accordion Pendant HAY. 3 Perch Light Umut Yamac.

4 Bumling Mini Anders Pehrson.

5 Compendium Daniel Rybakken.

6 Open Wall Bowl Jenny Nordberg.

7 Catifa Chair Lievore Altherr Molina.

8 Eolo Table Lievore Altherr Molina.

Fall favorites

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3D Dining Chair

Design Boris Berlin / Poul Christiansen

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1 Platform Tray Sam Hecht / Kim Colin. 2 Arches Coat Rack Ingrid & Olle Wingård.

3 Bumling Mini Anders Pehrson. 4 Eames Elephant Charles & Ray Eames.

5 Eames House Bird Charles & Ray Eames. 6 w103 sempé Inga Sempé.

7 Candleholder Cecilie Manz.

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Spokes Pendant Design Garcia Cumini Input interiรถr #3

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1 Ambit Pendant TAF Architects.

2 Fiber Bar Stool Iskos-Berlin.

3 Corky Glasses Andreas Engesvik.

4 Panton Wire Unit Verner Panton.

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Boss and Mini Boss are playful wastepaper baskets that encourage associations with nature. You can see that the Norwegian designer Tuva Rivedal Tjugen gained her inspiration from nature through the overlapping steel sheets that resemble the bark of a tree.

1 Reap / Burrow / Merger Rugs Hella Jongerius.

2 Star 1 Pendant Jonas Bohlin.

3 Campfire Bench Note.

4 Boss / Mini Boss Tuva Rivedal Tjugen.

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Plane │ Front

AM Chair │ Alberto Meda

Mesh │ Francisco Gomez Paz

Kiila │ Daniel Rybakken

Storm │ Alexander Lervik

Plastic Side Chair │ Eames

Babila │ Odo Fioravanti

Archetto │ Note

Wiener Stuhl │ Gebrüder Thonet

Standard SR │ Jean Prouvé

Belloch │ Lagranja Design

Hoop │ Tim Alpen

Elbe │ Marguerre / Besau / Schöning

Reykjavik Daybed │ Included Middle

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Photo Åke E:son Lindman

Surrounded by the Norwegian nature, with dramatic mountain peaks, wild fjords and green forests, Zander K offers a modern, nature-inspired hotel experience in the centre of Bergen, Norway.

The city of Bergen was founded over 900 years ago. For hundreds of years, Norway’s second-largest city was one of the most important trade centres in the Hanseatic League and formed the intersection between Norway and the rest of Europe.

Even in modern times, business travellers and tourists continue to flock to this naturally beautiful city surrounded by dramatic mountain peaks and lively fjords.

Zander K, located in the centre of Bergen, melts into the city’s built environment with its six floors, the upper two of which were built recessed so as to be harmonious with the low-rise appearance of the city. The hotel contains 249 rooms, though you would never tell from the street. There isn’t a large, overbearing sign on its blue facade either, but rather a small, discreet one. This is part of a desire to create a feeling of exclusivity, though not necessarily luxury.

The hotel’s visual motifs were created by Henrik Nygren.

The first oversized thing that captures your attention is an eight-metre-long table from Nikari. Behind it is a bar made of zinc. The reception counter, in brown marble, adds a feeling of solidity, just like the six-metre-long block of marble in the dining room hanging off of a raw concrete wall.

– I like two sorts of hotels. The first is the classic luxury hotel where every detail has been carefully thought through. This type of hotel is like a grand dame. It never gets old. The second sort is a warm, friendly hotel that isn’t too glitzy. It ought to feel like a home. The challenge with Zander K was to build something entirely new that felt genuine and not artificial’, says Eeero Koivisto, who, together with a team from architecture firm Claesson Koivisto Rune, was behind the design concept for Zander K. Input interiör oversaw procurement, delivery and installation for the project and also realised the architect’s vision.

– When the elements are already there it’s easy for us to select the furnishings. The functions, materials and colours have already been put in place. It’s just a matter of working with the palette that’s already there. If we don’t find what we need then we make something specially for it’, explains Eero.

Zander K holds many exciting yet discreet details. The hotel has, for example, design classics that have been modified to a certain degree without it being completely obvious. Like the Thonet chair. To create something unique and interesting, the chairs were installed in a mix of dark and light wooden hues.

A subtle connection with the 280 days of rain the city experiences every year is made through the curtain pattern in the hotel rooms.

The inspiration for Zander K was drawn from the Norwegian nature, made up of deep, green forest. The intention is for guests to feel it as soon as they arrive, along with the hotel’s homeliness and beauty. To create architectural order and balance, Claesson Koivisto Rune started with large and small elements and put them together to form the basis for the hotel.

– Think of it as meeting a friend for coffee. When you’re chatting and concentrating on each other you don’t take much notice of your surroundings. However, if your friend is late and you’re sitting by yourself waiting, that’s when the surroundings should capture your attention and get you thinking. It’s quiet and a little bit complex rather than loud and obvious’, Eero concludes.

– When you enter the building, you enter a green world.

It only takes a few seconds to go through the entrance doors made of green glass, but it’s a vivid experience that carries you right through to the lobby. In the lobby you’re met by concrete pillars placed asymmetrically, adding to that forest feeling. To provide guests orientation in the lobby, which opens up to all parts of the hotel, each section was given an element at a scale larger than normal’, says Eero.

Case: Zander K

Input interiör partnered with Claesson Koivisto Rune to deliver Zander K as well as Villa Terminus and Bergen Børs, which all belong to the De Bergenske hotel chain. n 16

Case: Zander K

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Case: Zander K

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theme: armchairs Armchairs are always a welcome addition to the home.

Big or small, tall or short. Warm and embracing or stiff and elegant. Here you’ll find a selection of this autumn’s favourites, each with different functions and personalities.

1 Bonnet Easy Chair Broberg & Ridderstråle.

2 Bonnet Table Broberg & Ridderstråle.

3 RO™ Easy Chair Jaime Hayon.

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1 Isole Nendo / Luca Nichetto.

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2 Cloud Luca Nichetto.

3 About A Lounge Hee Welling.

4 Dormi Josefine Alpen.

5 Superkink Osko + Deichmann.

6 Pocket Stone Designs.

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Beetle Lounge Chair Design GamFratesi

1 Cobra Floor Lamp Greta M. Grossman.

2 TS Coffee Table GamFratesi.

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1 Wilmer Easy Chair Stefan Borselius.

2 Queen Easy Chair Hans J. Wegner.

3 Georg Stool Chris L. Halstrøm.

Theme: Armchairs

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1 Oslo Anderssen & Voll.

2 Fauteuil de Salon Jean Prouvé.

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3 Honken Bernstrand + Lindau & Borselius.

4 FRI™ Jaime Hayon.

5 Catch Lounge Jaime Hayon.

6 Pucca Stefan Borselius.

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1 Steeve Jean-Marie Massaud.

2 Guest Monica Fรถrster.

3 Outline Anderssen & Voll.

4 Occasional Jasper Morrison.

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Cité │ Jean Prouvé

Swoon │ Space Copenhagen

Shell Chair │ Hans J. Wegner

OW149 │ Ole Wanscher

Pato Lounge │ Welling / Ludvik

Yak │ LucidiPevere

Foster 520 │ Foster + Partners

Mute │ Joel Karlsson

Tiki │ Andreas Engesvik

Via57™ │ KiBiSi

Mr. Jones │ Alexander Lervik

Portus │ Foersom & Hjort-Lorenzen

Miskito Chair │ Herman Studio

Emma │ Färg & Blanche

December │ Morrison / Kumano

Hedwig │ David Ericsson

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Portus │ Foersom & Hjort-Lorenzen

Eleven │ PearsonLloyd

Can │ Bouroullec

Eye │ Foersom & Hjort-Lorenzen zen

Gender │ Patricia Urquiola

Eugene │ Stefan Diez

Julius │ Färg & Blanche

Nakki │ Mika Tolvanen

LC2 │ Corbusier /Jeanneret / Perriand

Happy │ Roger Persson

Chester │ Sandell / Sindre

Dapper │ Doshi Levien

Ezy Wood │ Christophe Pillet

Rondino │ Yngve Ekström

Edith │ Alexander Lervik

Haddoc │ Johan Lindstén

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Cajal Easy Chair / Table Design Gunilla Allard

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1 Westhausen Sofa Ferdinand Kramer.

2 Habibi Side Tables Philipp Mainzer.

3 That Lounge Chair Stefan Diez.

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4 Kavir Carpet Mainzer / Ebrahimi.

5 Lounge Chair Charles & Ray Eames.

6 Couronne Coffee Table Johan Lindau.

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7 Ram Easy Chair Färg & Blanche.

8 CH25 Lounge Chair Hans J. Wegner.

9 Leo Lounge Chair Stefan Diez.

10 Habibi Side Tables Philipp Mainzer.

11 Alex Side Table Philippe Allaeys.

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Focussed attention to detail is needed to create an appealing, cohesive environment. Cushions and other accessories can provide the right tones thanks to their colours, patterns and materials, making the setting complete.

1 Nima Cushion e15.

2 Kerman Pouf Philipp Mainzer / Farah Ebrahimi.

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case: alingsĂĽs cultural centre

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Alingsås Cultural Centre has turned the notion of the silent library on its head and opened the door for an attractive, creative and cultural living room for all.

Photo Åke E:son Lindman

Alingsås Cultural Centre has almost exclusively been associated with its role as a library. However, there’s more to this place than there seems. To open the building up and show visitors the breadth of culture found in the centre, a sweeping renovation was carried out with rocking creativity and sustainability.

behind the cultural centre is to provide a progressive oasis where ideas can be exchanged freely. An exciting and creative place where everyone is welcome. But how have these values been translated into spatial form and reality?

– The description of a progressive place for creation, tension and challenges led us to think of a workshop. A hardy place with tools for creating your own, unique cultural experience.

In this workshop, durable materials, creativity, long-term change and activity are everyday matters’, says Jenny Andersson.

– It was important to create a cultural hub where the various activities conducted could be made visible and made to work together to show the breadth of culture on offer here’, explains Jenny Andersson Höfvner, architect at Bornstein & Lyckefors, who was responsible for the design and planning of the renovation.

The workshop idea suggested materials with a robust feeling, like plywood, steel partition walls and a stone floor that promotes creative cleaning. The partitions were perforated so that information and announcements can be hung up like tools on a workshop bench.

The new, modern cultural centre is today made up of Alingsås Museum, Art Gallery and Library as well as the Palladium theatre, youth centre and associated offices. The mission Case: Alingsås Cultural Centre

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Roughly 30 per cent of the interior was renovated and reused, giving the project character and a soft, welcoming atmosphere.

Colours were used as communication tools in order to guide visitors to what they want. Lifts, staircases and the loans desk were marked yellow. Other functions received metal frames in green, pink and turquoise.

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The various activities at AlingsĂĽs Cultural Centre have been made visible and visitors can now take full advantage of the breadth of culture available there.

Case: AlingsĂĽs Cultural Centre

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Case: AlingsĂĽs Cultural Centre

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Reuse creates character It was also important to break and soften up the interior of the workshop environment to create a more welcoming atmosphere.

Yet to maintain that raw feeling, inspiration had to be drawn from flea markets and ‘Grandma’s cushions’. Armchairs, stools, tables, counters and similar permanent furnishings were created specially to reflect the vision. Furthermore, roughly 30 per cent of the existing interior was renovated and reused. A process that lent character to the project and provided economic benefits for the client.

promising on the integrity of the whole, you should challenge yourself and do it. On this project, reusing parts contributed to a crazy level of detail which in the end made Alingsås Cultural Centre more personal and likeable with materials characterised by large patterns, cheerfulness and expressiveness’, says Jenny Andersson Höfvner.

Communicating with colours To create a flow between the centre’s different functions, things had to be reorganised. The art gallery was moved down a level and the organisation’s floor space made more efficient by introducing activity-based workspaces. The layout and signage for visitors in the physical environment was also updated and colours used as powerful communication tools. The various areas in the cultural centre were linked together through a vertical cross-section through the building, where connections such as lifts, staircases and loans desks were marked with yellow. Other functions, such as information and the cafe, were marked with metal frames in different colours such as green, pink and turquoise.

– There’s no reason to get rid of fully functioning furniture – it wastes our shared natural and economic resources. As part of the project we also completely renovated the library shelving system. It was a logistical challenge as we had to first disassemble the system and transport all the parts to local painters only to then have to reassemble all the parts again. Even magazine holders were reused as table supports, which themselves got new tabletops and chairs that were polished, cleaned and coated in new materials’, says Daniel Olofsson, project and sales leader at Input interiör, who oversaw the reuse of furniture and delivery of newly produced pieces.

– This is very much a project that I want to think of as a whole, though if I have to go down to detail level I have to say that I really like the perforated steel walls. They ended up looking fantastically good’, concludes Jenny Andersson Höfvner. n

Despite the mix of new and old, Alingsås Cultural Centre has successfully created an integrated environment that works well.

– When there are times that you can reuse parts without com-

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sustainable decor with humble roots It was a response to cold floors and empty wallets from the start, in a time when textiles were expensive and rugs few and far between. To decorate the floors of a home, old pieces of material had to be reused and, in combination with some craftsman flair, the patchwork rug was born.

At Kasthall, in Kinna, western Sweden, much thought has gone into reusing resources instead of letting them go to waste, although it could be said that Kasthall’s answer to the patchwork rug, Harvest, perhaps has a bit more of an exclusive character than the first patchwork rugs rolled out at the end of the 19th century.

– To avoid warehouse storage, we always custom-make our rugs to order. For every rug produced, there are always one to three bobbins of yarn in a certain colour left over. That’s because we always make sure to have an extra few bobbins in case part of the rug needs to be done over. Our quality requirements mean that we can’t reuse leftover bobbins for new rugs due to the small differences in colour in the yarn. The colour variations

on leftover bobbins challenged and inspired us, and made us think about how we could do something with them in an exciting way. That’s how the idea for Harvest was born’, explains Ellinor Eliasson, the rug’s designer.

Leftover bobbins are sorted into six different colour groups: green, grey, red/yellow, pink/purple, blue and brown/beige.

A three-shuttle rug is then woven from the yarn. When the bobbin in the shuttle is used up, it’s swapped with one in a different colour, creating an exciting colour contrast and surface. To give the Harvest rugs their own clear hallmark that distinguishes them from Kasthall’s existing woven rugs, they also create a unique finish with an edge that picks up on and blends the rug’s colour changes.

– Sustainability is at the core of our creative design process as well as production. With this sophisticated and modern concept, we can show how we work using sustainable design and production. Our vision is to be 100 per cent sustainable, and Harvest is an important step in that direction’, says Lena Jiseborn, Head of Design at the Kasthall design studio. n

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30 years of input What’s your relationship with Input interiör? An exciting new friendship or a faithful and reliable partner?

lessly impersonal. Today, 30 years later, the dream has become a reality. Throughout its journey, Input interiör has been part of a change that has taken place in public spaces as well as the world around us.

For some, it could be our boundless product range that shapes your image of us, or maybe the many impressions gained from our inspiring spring fairs. Others associate Input with customised solutions, while for most people our image will surely have something to do with a personal meeting with one of our 400 employees.

Much has changed since 1987, yet it’s what’s still to come that feels even more interesting. The things we don’t really know about yet. About our homes, for instance, or how we will live, work and do our thing in 10 years’ time. What environmental factors will affect how we set up our workplaces and public spaces in 20 years’ time? No matter what the future holds, our desire to offer tailored solutions with the greatest possible freedom of choice has never felt more right.

This year Input interiör is celebrating its 30-year anniversary and we are proud of all these aspects that define us. The various parts that make up Input interiör are nurtured, adapted and developed with great care so as to continually create a version of ourselves that is better than yesterday’s.

Generally we prefer to look ahead, since we choose to believe that everything does get better over time. However, this autumn we’re going to let ourselves take a look in the rear view mirror, just this once. We’re going to take a moment to stretch and celebrate a fantastic journey, with hundreds of projects successfully completed, inspirational clients and innovative partner architects. Autumn 2017 will be marked with a road sign, though it won’t be the end of our journey. n

In 1987, Sune Lundqvist was driven by the dream of an independent interior furnishings company specialising in good design. Back then offices were simple and austere, classrooms rectangular, waiting rooms dreary and many restaurants hope-

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Trends

come and go, while many products make an impression and last!

We’re celebrating 30 years with a trip down memory lane.

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1987 │ L1

1988 │ Thinking Man’s Chair

1989 │ Bench For Two

1990 │ Lumiere

1991 │ Big Easy

1992 │ Campus

1993 │ Trinidad

1994 │ Aeron

1995 │ Modus

1996 │ Söndag

1997 │ Globlow

1998 │ PJ71

1999 │ Kvist

2000 │ May Day

2001 │ Innovation C

2002 │ Atlas

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2003 │ Tree

2004 │ Spira

2005 │ Puppy

2006 │ Baby Rocket

2007 │ Airflake

2008 │ E27

2009 │ Oppo

2010 │ Ogle

2011 │ Miss Holly

2012 │ Spin

2013 │ Comet Sport

2014 │ Allstar

2015 │ Belleville

2016 │ Officina

2017 │ Lucky

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theme: time and space

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A clock should give you more than just the time. Details such as colour, shape and size determine whether telling the time remains a practical affair or becomes an eye-catching accessory. Regardless of the function the surroundings require, careful selection can do justice to both time and space.

Steel Wall Clock │ Norm

Sunburst Clock │ G. Nelson

Picto │ Christensen / Andersen

Day Wall Clock │ S. Legald

Cone Clock │ G. Nelson

Day Wall Clock │ S. Legald

City Hall │ A. Jacobsen

Bold Wall Clock │ J. Wagell

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1 Ceramic Clock #2 George Nelson.

2 City Hall Clock Arne Jacobsen.

3 Font Clock Sebastian Wrong.

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4 Wrongwoods Cabinet Richard Woods / Sebastian Wrong.

5 Sunburst Clock George Nelson.

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Asterisk Clock │ G. Nelson

Steel Wall Clock │ Norm

Sunburst Clock │ G. Nelson

Steel Wall Clock │ Norm

Sundial │ Front

Watch Me │ R. Gottliebsen

Day Wall Clock │ S. Legald

Ball Clock │ G. Nelson

Steel Wall Clock │ Norm

Solen │ Alexander Lervik

Ceramic Clock #1 │ G. Nelson

Marble Wall Clock │ Norm

Roman Wall Clock │ A. Jacobsen

Marble Wall Clock │ Norm

Picto │ Christensen / Andersen

Camp │ Claesson Koivisto Rune

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1 O’clock Louise Hederström.

2 Wall Clock Arne Jacobsen.

3 Analog Shane Schneck.

4 Twenty Four Hours Mats Theselius / Andreas Roth.

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Solen │ Alexander Lervik

Polygon Clock │ G. Nelson

Ball Clock │ G. Nelson

Star Clock │ G. Nelson

Sunflower Clock │ G. Nelson

Norm Wall Clock │ Norm

Day Wall Clock │ S. Legald

Fan Clock │ G. Nelson

Marble Wall Clock │ Norm

Wheel Clock │ G. Nelson

Tripod Clock │ G. Nelson

Sunburst Clock │ G. Nelson

Bikupa │ Alexander Lervik

Night Clock │ G. Nelson

Eye Clock │ G. Nelson

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Marble Wall Clock Design Norm Architects

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case: segerstedthuset A house in the garden. That’s how the concept for Segerstedthuset in the Uppsala Botanic Gardens was put. The flora of the surrounding gardens and the geometric shapes of the facade exist in symbiosis with the interior of this house.

Photo Jason Strong

In the Botanic Gardens in Uppsala, eastern Sweden, the angular body for Segerstedthuset formed the basis for the modern use of forms that accompanies visitors through the entrance doors. More than 600 employees from the management and administrative departments of Uppsala University have been gathered under one roof thanks to this building. Before it opened, they were scattered across nine different places throughout the town.

yourself when angles aren’t square, as we’re used to. For this reason we used a lot of colour coding in the accent colours across the various floors’, explains Kristin Östberg.

Green tones were used as a basis for the project and tie in with the Botanic Gardens outside. Afterwards, we took the remaining primary colours, red, blue and yellow, and used them for the furniture as well as the flooring in the work lounges and meeting rooms. Even the materials flirt with nature and outdoor life.

Stone floors and woollen rugs add an aesthetically pleasing touch and oak was used to create an impression of timelessness. The oak provides an aura of gravitas that reflects the profile of Uppsala University. Large, vertical gardens round out the park concept while simultaneously contributing to the pleasant interior atmosphere.

– The building and its interior work together. The modern use of forms from the facade accompanies you inside and integrates the interior with the exterior’, says Kristin Östberg from Indicum, which on behalf of Uppsala University and in collaboration with Input interiör completed the interior for Segerstedthuset.

Geometric, natural expression The building core consists of a light, open atrium and an attractive, oak staircase that joins together the building’s various floors. It’s all life and movement inside. Clearly marked pathways lead to places with social functions such as lounges, meeting rooms and coffee stations. Workspaces that require a quieter location were placed further out in the wings of the building. The use of sculptural and graphic forms from the facade is reflected in the furniture and can be seen in multiple ways, including in the form of photographic prints and veneer laid crosswise on meeting tables.

Future-proof The university’s management tasked Segerstedthuset with accommodating all types of workspaces. You’ll find individual workrooms and office landscapes as well as split-off areas that are activity-based. Moreover, the building’s design provides the option of changing to a completely activity-based environment.

– If we want to work based on activity in the future, it will be possible to convert the layout without having to renovate the building. The workrooms can also act as meeting rooms and all communal spaces, such as cloakrooms, personal storage and the cafe, are already here. Put simply, the place is futureproof’, concludes Kristin Östberg. n

– It’s a triangular shaped house and many of the rooms have sharp angles. We decided to interpret that and take the concept further using geometric shapes in both the furniture and the textiles. At the same time, we knew that it’s difficult to orient Case: Segerstedthuset

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Case: Segerstedthuset

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Natural materials harmonious with the building’s surroundings were used. Stone floors, woollen rugs, wooden detail and green, vertical gardens make the right impression.

At the core of the house is a bright atrium. From there the building’s occupants are led by visible pathways to social places such as work lounges and meeting rooms. Workspaces were placed further out in the quieter wings of the building.

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Case: Segerstedthuset

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It can be harder to orient yourself in surroundings where the angles aren’t square. For that reason, the various floors of the building were colour-coded in the accent colours red, blue, yellow and green so that people can find their way.

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Case: Segerstedthuset

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Oak was used to create a timeless, natural impression. The classic wooden touches add gravitas to reflect the university’s profile.

The graphic lines of Segerstedthuset are picked up in the detail of a meeting table. Triangular and rectangular shapes in different colours and directions in the veneer create an exciting and lively table surface.

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Case: Segerstedthuset

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in our next edition we will welcome spring, uncover the season’s new products and latest trends + and offer inspiring case studies, stylish destinations and new product guides.

Next issue

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Input interiör is the leading interior design company in the Nordic region. Here are our thoughts on who we are and what we offer.

The right place and the right time Our independence is our strength. We take our point of departure in the individual conditions and requirements of our clients and do not have our own furniture production to take into consideration. Instead, we guide our clients to the right product, in the right make, from the right supplier, with the right price and right delivery date.

Small, medium or large?

The best interior design is that which is tailored to the needs and unique conditions of each individual context. That’s why Input interiör doesn’t have any package deals.

Interior design in dollars and cents Interior design must be functional, ergonomic, long-lasting and economically viable, support the daily business, attract and create well-being. Interior design at Input interiör is different, and this difference is always worth it the long run.

50 000 Martindale?

We’re experts in interior design and guide you through all aspects of the furnishing process. From wear resistance, fire protection and test records to environmental certifications, chemical removal, durability and care instructions.

Circular sustainability We believe in sustainable production, smart material choices, long-term and conscious purchasing, recycling and responsible innovation. Usage of the earth’s limited resources must be part of a cycle - not a one-way journey to the landfill.

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Inspiring interior design solutions and the Nordics’ widest range. Welcome to Input interiör.

Sweden ›

Malmö Flygplansgatan 9

Stockholm Sveavägen 145

Göteborg Fältspatsgatan 2

+46 (0)8 517 112 00

+46 (0)31 799 89 00

stockholm@inputinterior.se

goteborg@inputinterior.se

Borås Olovsholmsgatan 25

Halmstad Flygaregatan 8

+46 (0)40 20 66 00

+46 (0)33 21 11 00

+46 (0)35 295 85 00

malmo@inputinterior.se

boras@inputinterior.se

halmstad@inputinterior.se

Helsingborg Ekslingan 2

Jönköping Huskvarnavägen 64

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+46 (0)42 444 96 30

+46 (0)36 585 95 30

+46 (0)480 578 00

helsingborg@inputinterior.se

jonkoping@inputinterior.se

kalmar@inputinterior.se

Karlskrona Blekingegatan 3

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+46 (0)455 68 88 20

+46 (0)54 775 66 60

+46 (0)320 20 90 30

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Kristianstad Västra Storgatan 51 K

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+46 (0)13 36 44 50

+46 (0)920 46 64 30

kristianstad@inputinterior.se

linkoping@inputinterior.se

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Skövde Gustav Adolfs gata 31

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Umeå Björnvägen 19

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Växjö Södra Vallviksvägen 10

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+46 (0)18 430 53 04

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