Input #7 EN

colourful autumn Inspiration from Input interior - autumn / winter 2019

favourites attracting attention

a sense of wood nature’s own super material

After a wonderful summer, autumn is now approaching, and what could be more fitting as temperatures get cooler and nights draw in than inspiration for creating a cosy indoor environment?

For us here in the Nordic region, wood has long been a raw material close to our hearts, and in this autumn issue of our inspiration magazine we take a real in-depth look at nature’s very own super material. We take a journey through Sweden and Finland, where we hear from both producers and designers about the charms and challenges of making furniture from wood, and we discover some personal favourite wooden items among Input interior’s employees.

Autumn is also the season for curling up and getting cosy on your sofa. So we have gathered together some of this season’s favourite designs to up the cosiness factor. Or why not a smart sofa that can double as a workstation? Another area that can benefit from being designed for both work and relaxation is the lunchroom, and this issue features 12 pages filled with inspiration for dining areas, lunchrooms and restaurants.

And talking of food, we also take a look at Ica’s new head office, which has an entire floor dedicated to food, including special sensory rooms for testing flavours and aromas.

Welcome to autumn! Whatever the size or status of your project we want our input to inspire and motivate you to enjoy a season packed with stylish interiors and design.

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Content

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Colourful autumn

Nature’s own super material

A bold colour palette complements a dark season. This season’s favourites stand out and attract attention.

Join us on a journey through Sweden and Finland, where furniture producers and designers give their views on that most classic of materials: wood.

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Case: Brogårdaskolan

Theme: Sofas for chilling out

We visit a school that has been designed in keeping with the concept “from the inside out”.

Get comfy and take a look at the best autumn sofas for everything from relaxation to work.

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Case: Ica Head Office

Theme: Furniture for mindful dining

The focus is on modernity, environmental thinking and food at the Ica Group’s new activity-based head office.

Make mealtimes a more sensory experience!

We offer 12 pages filled with the most attractive furniture of the season for kitchens, dining areas and restaurants.

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1 Fienile Table Lamp Daniel Rybakken.

2 Open Wall Bowl Jenny Nordberg.

3 Museum Shelf TAF Studio.

4 Dots Ceramic Hooks Lars Tornøe.

5 Eames Fiberglass Chairs Eames.

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6 Atelier Chair TAF Studio.

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PC Table │ Pierre Charpin

Dots Ceramic │ Lars Tornøe

Lord Bouquet │ Niclas Hoflin

Terne │ Bjørn van den Berg

Hundranian │ Jonas Lindvall

Elefy │ Jaime Hayon

Carousel │ Gunilla Allard

Lilla Åland │ Carl Malmsten

Halves Side │ MSDS Studio

Halftime │ Cobe

AAC127 │ Hee Welling

Lean │ Daniel Enoksson

Nero │ EKV

Stool 60 │ Alvar Aalto

Magazine │ Paul McCobb

Inter │ Tim Alpen

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1 Montana System Peter J. Lassen.

2 Paravan Space Divider Lievore Altherr.

3 Cila Go Chair Lievore Altherr.

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Foto Lennart Durehed

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1 Grain Pendant Lamp Jens Fager.

2 Strand Pendant Lamp Benjamin Hubert. 3 Viva Armchair David Regestam.

4 Cone Base Clock George Nelson. 5 Portia Armchair Superlab.

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Bonbon │ Ana Kraš

CH24 │ Hans J. Wegner

Filigrana │ Sebastian Wrong

Lightsome │ Holm-Sørensen

Søborg │ Børge Mogensen

Chapeau │ TAF Studio

Wiener Stuhl │ Gebrüder Thonet

Planner │ Paul McCobb

Grade │ Foersom / Hiort-Lorenzen

Noor │ Form Us With Love

AAC22 │ Hee Welling

Matin │ Inga Sempé

Stool 60 │ Alvar Aalto

S70-4 │ Lindau & Lindekrantz

Plinth │ Norm Architects

Quickly │ Foersom / Hiort-Lorenzen

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nature’s own super material

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1 Workshop Chair Cecilie Manz.

2 Lilla Åland Armchair Carl Malmsten.

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Wood is a material like no other. It lives and breathes, expands and contracts. Consequently, there’s a distinct art to producing furniture and fittings from wood, on the part of both producer and designer.

We talked to Martin Johansson from Stolab, Johanna Vuorio from Nikari, and Jonas Forsman, a freelance designer, about the charms and challenges of working with nature’s very own super material.

The region around Smålandsstenar boasts a wealth of forest.

This is dominated by spruce and pine, but beech, oak, ash and birch are also strongly represented. Beside the river Nissan, not far from the boundaries with both Halland and Västra Götaland, stands a factory emitting a pleasing scent that takes us back to our woodwork activities in school. It’s a factory where Stolab has been producing furniture for over one hundred years.

“Wood is something that has always been available close at hand for humans, especially for us here in the Nordic region.

It’s not a raw material that’s refined in a laboratory; you can actually see it with your own eyes out in nature. I feel that this creates a special, natural connection to the material for us as humans.”

These thoughts come from Martin Johansson. He is CEO of Stolab, and perhaps has an even stronger bond with wood than he feels exists in general among people.

“When I handle wood, I get the sense of a material that is very tactile. Whereas metal can feel cold and plastic slightly artificial, wood has a warm, natural feel to it. The whole physical relationship with wood is really positive.”

Martin Johansson, CEO of Stolab.

From forest to chair As mentioned, Stolab has been producing furniture at this same site for over one hundred years, and it was no coincidence that they ended up in this particular spot. Production of wooden furniture begins with forestry operations, and in the region around Smålandsstenar there’s no shortage of know-how, or of raw materials. Trees are generally felled in winter, as there’s

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“Here at Stolab we come from a tradition of using birch.

Our production has been Swedish from the start and many sawmills in our vicinity worked with birch, making it the natural choice at the time. Solid birch is ideally suited to finishing with various colours, and it’s a wood that has long been a favourite with many people, not least in public environments.

It’s a tough, medium-hard timber that is elastic, and you can work with small dimensions and still have a durable material.

It’s easy to dry and easy to glue, but has a tendency to warp at times when bending.”

As Stolab has expanded its range, other kinds of wood have been introduced into their operations. All with their own individual peculiarities.

“Oak, for example, is heavy, strong and hard with really good wearing qualities, but it is slow to dry and can require great care when gluing. The material selected is governed by the product to be manufactured. For a table top or something else that needs to be stable and resistant to wear and tear, oak can be the perfect choice. For a bentwood chair, however, ash may be a better option, as it bends more easily than either oak or birch.”

less water content in the wood, which makes it simpler to dry the material and reduce its moisture ratio. And moisture is one of the biggest challenges when it comes to creating furniture.

Timber from a single tree can also differ. Martin is in the habit of comparing timber raw material with beef cattle, and believes that even organic, natural-grazing cattle yield both fillet steak and cuts better suited for mincing. A metaphor that also lends itself to Stolab’s efforts involving re-use as a means of creating new production in a sustainable way:

“Wood behaves a little like skin, in that it swells when it absorbs water. With a table top that is 1 metre wide, its dimensions can differ by 1 cm between summer and winter. Or take our Lilla Åland chair as an example. If one of the turned spindles for the chair back is too moist when it is assembled, it will dry out once the chair is placed in dry indoor air. This will result in the wooden component ultimately becoming too small and suddenly no longer fitting properly.”

“Naturally we only want to use the fillet steak. A casual onlooker might think “wood is just wood”, but there are huge differences. This approach resurfaces in our recycling.

A restaurant doesn’t throw away a fillet steak that hasn’t been cooked, they make steak tartare or something else from it.

In the same way we use waste material that is left over and make something new out of it.”

After felling, the timber is air-dried, and in many cases placed in a drying kiln to get the moisture ratio down to 7% – the standard for furniture production.

“It’s an essential and fairly risky process that requires a cool head. If you rush the drying process, this can result in discolouration and cracks.”

The next step is to saw the material up into smaller piece known as blanks. These blanks are then sawn, milled and worked, to ultimately be turned into component parts for a product. This is where a wood manufacturer’s biggest enemy of all begins lurking in the wings. An enemy that is something of a contrast to moisture, namely fire.

“That is what anyone working with wood is most afraid of.

Piles of shavings or swirls of wood dust represent a major ignition risk. We have to work hard in the factory to keep our working environment clean and safe. Stolab has survived two world wars and a number of global financial crises, but fire is, and always has been, the biggest threat.”

Different woods, different characteristics The kind of wood you choose to work with may often be determined by cultural factors, in the opinion of Martin, especially further back in time when many of today’s wooden furniture producers first set up their operations. If a factory was located close to a coniferous forest, then the shop-floor would produce furniture made from pine or spruce.

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A couple of quick questions about wood as a material and wooden products for Joakim Berzelius, regional manager at Input interior.

What is your relationship to wood?

After 20 years out on the ice rink I relinquished my hockey stick, which for many years was made of wood, and today totally different wooden products are a natural part of my day-to-day life at Input interior.

Your favourite wood?

I like lighter woods. In recent years numerous excellent ash products have appeared, and that has certainly become a favourite. The fact that the material is close at hand for us here in the Nordic region is also a positive thing.

A timeless wooden classic?

When I think about classic pieces, wooden furniture is frequently what springs to mind. The CH24 from Carl Hansen is beautiful. Otherwise, I like Scandinavian design with a more modern touch like Around from Muuto.

What should you bear in mind when buying wooden furniture?

Think aesthetics and quality. A solid wooden chair made in the right way will last forever and is also simple to update, so choose a product you won’t tire of. It pays off in the long run.

How is demand for wood looking?

The wood trend remains strong. It’s a living and sustainable alternative that is in perfect keeping with the times. In addition, there has been a sustained shift towards making offices and public environments more homelike.

Wooden furniture plays a major role in this, as it adds a sense of calm and creates a more mellow impression. n

Joakim with Around Table, design Thomas Bentzen.

Photo Emmy Jonsson

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Nordic handicraft tradition

Timeless over trendy

We leave Smålandsstenar temporarily and head just over 800 km north east, across the Baltic, to south-western Finland and the little village of Fiskars. Here, housed in the oldest machinery workshop in the country, we find Nikari, combining traditional wood craftsmanship with modern design.

As is well known, the aesthetic element of interior design is an area where trends and fashions can shift rapidly from year to year. The classic look frequently manifested by wooden furniture is often described as timeless, and Nikari don’t give too much thought to matching their designs to a specific trend, although naturally they should have a modern feel.

Nikari was founded in 1967 as a one-man workshop run by one of Finland’s best-known cabinet makers of all time – Kari Virtanen. Schooled in traditional carpentry, he shaped the future of the company in close collaboration with his first two customers: architectural icon Alvar Aalto, and one of the leading figures within Finnish design history, Kaj Franck.

The combination of traditional craftsmanship using solid wood and the latest in design and architecture immediately became part of the company’s philosophy. Nikari has since grown to become one of the Nordic region’s leading producers of wooden furniture and fittings, and at the same time an instructor in and protector of Nordic woodworking traditions.

“It’s more about the fact that we are curious and interested in improving the collections we have. By collaborating with a variety of talented designers, with the aim of creating something that is slightly better than what we have seen previously, we hope to create products that are timeless. Products that fit well in various settings dating from different periods, and that can be used for centuries to come,” says Johanna, and continues: “We have also noted that the handicraft tradition in our region tends to add something extra to the products. It could be the radius of curvature of a corner or the assembly of the base on a table. Small details that reflect the Nordic heritage in our craftsmanship.”

“In addition to craftsmanship and modern design, our philosophy has always been deeply rooted in sustainability and education – manufacturing products with minimal environmental impact and keeping handicraft knowledge alive in the modern world,” explains Johanna Vuorio, CEO of Nikari.

A popular material Perhaps it’s this Nordic handicraft heritage, together with the proximity to forests, as mentioned by Martin Johansson, that has made wooden products so popular and appreciated in Scandinavia? Johanna feels that the popularity of wood is steadily increasing. And in recent years this popularity has also spread to latitudes further from the Arctic Circle, and often goes hand in hand with increased interest in sustainability.

Outside collaboration Jasper Morrison, Louise Campbell, Alfredo Häberli and Harri Koskinen. These are just a few of the names from Nikari’s impressive list of design partnerships. Many of the company’s products have been designed by external designers, a significant number of them with no previous knowledge of wood as a material. This is something that can be a major challenge for both producer and designer, yet also something that can yield exceptional results, in the opinion of Johanna:

“There seems to be growing interest in natural materials and in the common sense of using these throughout the world.

We are pleased to see that more and more people are going in for more sustainable construction in close collaboration with architects in order to create natural, healthy and comfortable environments in offices, schools, hotels, restaurants,… well, everywhere really! Perhaps the time of fast, synthetic interiors that wear out and are discarded on an annual basis is gradually coming to an end, with the focus shifting instead to recycling and only refurbishing when necessary.”

“Wood is a living material, and the designer must respect its properties, strengths and weaknesses. The laws of physics have to be taken into account in order to create a functional product. Once a talented and dedicated designer understands this, the end result can be truly inspiring, perhaps even a classic. We appreciate skilled professionals who can understand the material and design products that will stand the test of time, both technically and aesthetically.”

1 July Stool-Table Nao Tamura.

2 Twine Ochre Carpet Alexander Lervik.

3 April Tables Alfredo Häberli.

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Zoe Chair

Design Jonas Forsman

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A designer’s point of view So far our journey has given us a perspective on manufacturing and how producers view the material, but what’s it like as a designer working with wood? To answer this, we head back to Sweden, and Gothenburg more specifically, which is home to Jonas Forsman’s design studio, where he develops products that combine form and function and puts his woodworking skills to good use.

A quick glance at Jonas’ portfolio reveals impressive versatility.

Everything from sofas and chairs to fire extinguishers and baby monitors have come from this studio. The list of collaborations is extensive and includes Moooi, Housegard and Innermost; likewise the list of awards, which includes a number of Red Dot Awards. Right now he is focusing on the Evo lounge chair and the Zoe chair, both using wood as their principal material.

“I actually started out in the field of wood, you could say. As a youngster, wood is often the first material you get to work with.

I whittled heaps of butter knives in my younger days,” laughs Jonas, and continues: “There was also a lot of carpentry involved in my studies at Stenebyskolan. You need to work a lot with wood to get a good sense of how the material behaves. It has a will of its own, and you have to ‘make friends’ with it, and in a way be guided by it.”

The design process

According to Jonas Forsman, exciting forms arise from smart functions, a process he refers to as ”from inside to outside”.

For Jonas, who also has a background within industrial design, the process often involves working “from the inside out”, with exciting forms derived from a smart function. This strategy involves employing materials suited to the purpose.

Photo Charlotte Hoflund

“This has steered me in the direction of wood on numerous occasions, as it’s a flexible material offering various advantages.

Apart from the pure aesthetic aspects, wood provides greater scope for actually running tests and producing prototypes than other materials. A wooden product also develops its own soul over the years, with any marks becoming memories. That’s a major reason why I end up wanting to work more and more with wood. The products last a long time and take on a more authentic feel as time goes on.”

The more materials, the greater the challenges These challenges were very much present when designing the Evo lounge chair, which was showcased at a number of fairs in the spring. The chair has been designed with a solid wooden base, with a knitted textile cover stretched over the seat for increased comfort. Small metal wires were required to secure the textile cover, as it was not possible to manufacture these components from wood.

The versatility of Jonas’ work has resulted in experience with many different types of material. Although the basic strategy of the design process is similar whether it involves wood, plastic, metal or something else, certain elements of his approach differ when wood comes into the picture.

“Our starting point was sustainability, so wood seemed a natural choice. I wanted the chair to be perceived as wooden furniture that offers a comfortable feel without padded material. The challenge was in finding natural ways to combine the materials. How do I stretch the textile? How do I keep it taut over time? How do I create attractive interactions between metal, textile and wood?”

“With wood it’s slightly easier to draw inspiration from traditional, classic furniture. I know that the product will last and still look great 30 years down the line, so I often try to focus on a more timeless design. With wood I also tend to be more detail-oriented and take great care with every little detail.”

Using a variety of materials also means a complex collaboration between different suppliers and factories, and it can also make recycling more difficult. This is something that Jonas is meticulous about:

However, with a material that is not only living but also has a will of its own, challenges arise along the way.

“You can’t make everything precise with wood. Overly thin components and highly curved small parts are not possible, so you then have to combine it with other materials. You can’t achieve a really good cushioned feel either with wood. There’s a certain amount of give to wood, but if you want something softer you have to incorporate textiles.”

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“I want to try to minimise the number of materials, and at the same time isolate them. It’s essential for the wooden base to be separate, the metal to be separate and so on, so that the overall product can be separated into individual materials for recycling.”

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A bright future When Jonas, Johanna and Martin are asked to look ahead by way of conclusion, they are in agreement: the future of wood as an interior design material looks bright. All three have noticed a positive trend and feel that wood is a perfect fit for the times.

A vision where a natural material like wood assumes a prominent role, naturally enough: “I hope that we will get to see shrewd long-term solutions in the construction and interior design sectors, involving smart use and recycling of natural materials. Wood, with its natural ability to absorb carbon dioxide from the atmosphere, is perfect for use in buildings and furniture that can be utilised for centuries to come. Healthy environments, natural materials and architecture on a human scale are interesting prospects for the future,” she concludes.

From a manufacturer’s perspective, Martin thinks that the biggest challenge is securing raw material supplies so that good-quality wood continues to be obtainable. Huge demand for building and construction timber in Sweden and the rest of Europe has resulted in a declining number of sawmills focusing on hardwood:

The environment is also the focus for Jonas and he agrees with his industry colleagues that the future for wood as an interior design material is looking bright, especially if we are aiming for a sustainable society:

“This could be due to the fact that there are so few of us hardwood furniture producers in Sweden today. But actual views on wood among consumers are becoming increasingly positive. This particular development is clear from the fact that we are painting our products less and less, and instead varnishing or oiling them. It seems that people want to experience that closeness to trees again,” says Martin.

“Wood has been increasing in popularity for many years now and I don’t really see that dropping off. With society becoming more and more careful about the environment and the climate, wood is a natural choice. Just think, such a strong and workable material that at the same time absorbs carbon dioxide – the greatest threat to our environment. If you were to discover such a material today, you would scarcely believe it was true!” n

Johanna has also noted the positive trend, and when she looks ahead, sustainability and environmental considerations are central elements of the vision for the future.

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1 Skandinavia Separat Space Divider Cecilie Manz.

2 Pinzo Chair David Ericsson.

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Soft Edge Chair Design Iskos-Berlin

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Svall │ Cecilia Cronelid

Mr Collins │ Stefan Diez

Rival │ Konstantin Grcic

Grand Prix ™ │ Arne Jacobsen

Dent Wood │ o4i

Petite │ David Ericsson

Tablet │ Sipa

Cavetto │ Kaschkasch

Arka │ Yngve Ekström

Cut │ Sipa

Eames Storage Unit │ Eames

Miss Holly │ Jonas Lindvall

Tabouret Solvay │ Jean Prouvé

Spin │ Staffan Holm

Arv │ Studio David Thulstrup

Libri │ Michaël Bihain

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case: brogårdaskolan From the inside out. That has been the key concept during construction of the new Brogårdaskolan in Bjuv, with pupils and educators helping to design the school interiors to suit their activities.

In Bjuv, Skåne, the municipality determined that it was time to improve the old Brogårdaskolan, as well as boost ongoing development of the municipality, turning it from an industrial community into a place where people choose to live. The decision was made to build a brand new school adjacent to the old one, and together with NCC and Codesign a unique school has been created, where all areas, indoors and out, can be used for educational activities. The objective has been not just to build a school, but to create a place with a real sense of unity for children, educators, teachers and parents. A place created to suit activity requirements, but also to add something to the community.

From the students perspectives The school comprises a three-part brick building that allows in plenty of natural light, and the classrooms provide close contact with the surrounding landscape. All areas have been designed “from the inside out”, with the educational needs of the school taking top priority. Pupils and educators were consulted during construction of the school and put forward suggestions that have resulted in considerations such as limiting the height of shelves and designing the school environment to make it easier for the adults to keep an eye on the children.

With flexible furnishings you can easily customize your interior to best fit with the needs that arise in the future. The teaching environments are constantly developing here.

“Children are the experts when it comes to going to school and they can tell you how annoying it is when a handle is positioned too high up or when it’s too noisy in the classroom,” says Linda Gustafsson-Lutener, architect at Codesign.

Case: Brogårdaskolan

Photo Matilda Kjell

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The different sections of the building have also been designed to suit the ages of the children. The youngest children are in a cabin, while the older ones have been given a stage.

Flexible yet not finished Creating scope for differing methods of learning is reflected in the choice of school furniture. This includes chairs adapted for different sitting positions and special study areas created outside the classrooms. The idea is to minimise empty corridor space and instead make room for small dens and other screened-off areas where pupils can sit, individually or in groups, and work in peace and quiet. Input interior has procured, delivered and assembled all furnishings and bespoke joinery components for the project.

The school opened recently for teaching, but it may remain a continually evolving project. One element of needs adaptation is that the school environment may be used in the future in ways that cannot be anticipated today. n

All areas have been utilized to their full potential, instead of empty corridors outside of the classrooms there are partitioned study areas. This creates a quiet environment for students to study by themselves or in groups.

Case: BrogĂĽrdaskolan

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Case: BrogĂĽrdaskolan

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Both students and teachers have been involved in the process of developing BrogĂĽrdaskolan to best suit them. The innovative design has contributed to the possibility of classes and activities being held in all areas of the school.

Case: BrogĂĽrdaskolan

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theme: sofas for chilling out An inviting sofa often serves as a natural meeting place for people, whether it is located in a lounge area in an office setting, a lobby, a staff room or somewhere altogether different.

The modern sofa is a versatile item of furniture that, by virtue of smart solutions for electronics and lighting, can serve as a temporary meeting place or workplace, or simply be a pleasant spot for relaxation and taking a break. We present some of our autumn favourites here for an extra helping of cosiness!

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1 Alwa One Table Sebastian Herkner.

2 Folding Screen Charles & Ray Eames.

3 Akari 7A Lamp Isamu Noguchi.

4 Soft Modular Sofa Jasper Morrison.

5 Coffee Table Isamu Noguchi.

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1 Shiraz Sofa Philipp Mainzer / Farah Ebrahimi.

2 Backenzahn™ Stool Philipp Mainzer.

3 Habibi Side Table Philipp Mainzer.

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1 Can Sofa Ronan & Erwan Bouroullec.

2 S70-5 Sofa Bรถrge Lindau / Bo Lindekrantz.

3 Bernard Lounge Chair Shane Schneck.

4 Alwa Two Table Sebastian Herkner.

5 Flower Table Christine Schwarzer.

6 Bucket Table Bernstrand / Borselius.

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Cloud │ Luca Nichetto

Madison │ Leila Atlassi

Indigo │ Erik Jørgensen

No.1 │ Børge Mogensen

Calmo │ Hugo Passos

Eave Modular │ Norm Architects

Develius │ Edward van Vliet

Bonnet Grand │ Broberg & Ridderstråle

Mollis │ ByKato

Wood │ Monica Förster

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1 Fifty Fifty Floor Lamp Sam Weller.

2 Mags Modular Sofa HAY.

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1 Mariposa Sofa Barber / Osgerby. 2 Occasional Table Jasper Morrison.

3 Plate Table Jasper Morrison. 4 Chicago Table Gunilla Allard.

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5 Rebar Side Table Sylvain Willenz.

6 Tulou Side Table GamFratesi.

7 Bucket Table Bernstrand / Borselius.

8 Hexagon Side Table HAY. 9 Gin Table Sebastian Herkner.

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1 Ro Lounge Chair Jaime Hayon.

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2 Suspence Pendant GamFratesi.

3 Tray Table Fritz Hansen.

4 Alpino Sofa Rafa García.

5 EJ 295 Sofa Erik Jørgensen Design Team.

6 Silhouette Sofa GamFratesi.

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7 Grand Sofà Antonio Citterio.

8 Baron Sofa Broberg & Ridderstråle.

9 Deep Sofa Rafa García.

10 Palais Table Sebton / Lilja Löwenhielm.

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1 Loft Sofa Morten Bo Jensen. 2 Kiik Modular Sofa Ichiro Iwasaki.

3 One-café Modular Sofa / Bruse Table Lars Hofsjö. 4 Tableau Side Table Space Copenhagen.

5 Cinema Easy Chair / Foot stool Gunilla Allard. 6 Kiik Modular Bench Ichiro Iwasaki.

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case: ica Activity-based, modern and ecoconscious down to the smallest detail are all characteristics of the Ica Group’s new head office in Arenastaden, Solna.

Opposite Mall of Scandinavia rises the seven-storey building housing Ica’s new environmentally-certified head office. As part of efforts to streamline cooperation within and between the ICA Group’s companies and functions, employees from four different offices around the Stockholm region have now been brought together in a single office.

The new building has been designed by Fojab and Reflex Arkitekter and is made up of three buildings, attractively interconnected by three glazed atriums clad with white and veneer panels.

The interior has been designed by TEA Arkitekter, with Input interior responsible for procurement, delivery and installation.

The indoor environment has been designed with the watchwords robust and honest in mind and is characterised by light Nordic materials combined with over-sized interior features and colourful accents inspired by Ica stores.

The unique Ica-house has a strong identity and brand presence. Their vision of ”the learning company” is infused in the building, where knowledge shared between the employees is the focus.

Photo Stellan Herner

Case: Ica Head Office

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The learning company As we all know, Ica stores are very much centred around food, and this has naturally had a major influence on the new office. Most of the ground floor is taken up by various types of kitchen. In addition to preparing lunches, these are used for training staff, while special sensory rooms provide areas for testing and evaluating flavour and aroma experiences involving different foods.

Upstairs, the first floor is dominated by meeting rooms, while the rest of the office follows an activity-based layout, with employees choosing the workstation best suited to the task at hand on any given day. Besides meeting rooms, there are quiet rooms, semi-quiet rooms and open areas for collaboration. Eight fitness workstations have also been provided, where employees can cycle or walk on a treadmill while carrying out desk-based work, as well as a fully equipped gym. One fundamental idea behind the design of all communal areas such as lunchrooms and meeting places has been to arrange these so that employees are facing one another and making eye contact as much as possible, with the aim of encouraging interaction and stimulating spontaneous meetings.

Nature also plays a prominent role within the building, with a number of leafy roof terraces, an orangery and a greenhouse that can be used as meeting rooms all year round. The choice of materials exudes sustainability, and the lease contract has also been signed with the environment in mind.

“We wanted to create a unique Ica building, with a strong identity and brand presence. There is a strong vision of “the learning company” and knowledge exchange between people.

We view it as an important meeting place for Ica to live and work in, with scope for variation in these changing times,” explains Thomas Eriksson from TEA Arkitekter. n

A recurring theme throughout the different areas of the building, such as lunch and meeting rooms, has been that employees should face each other with eye contact as much as possible. At the activity based headquarters, the intention of creating eye contact is to encourage collaboration and stimulate spontaneous meetings and communication.

Case: Ica Head Office

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Case: Ica Head Office

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Case: Ica Head Office

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theme: furniture for mindful dining You eat with your eyes, as they say. A well-planned dining area with attractive and comfortable seating makes mealtimes a more sensory experience. Dining areas in a workplace serve as a natural spot for interaction, conversation and relaxation during the course of work and outside it. For sectors such as restaurants and hotels, kitchens and dining areas are part of the overall experience and thus a central element. Here we have 12 pages of this season’s best products for meetings and mealtimes to stimulate all the senses.

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Theme: Furniture for mindful dining

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1 StringÂŽ System Shelf Nils & Kajsa Strinning.

2 Blush Pendant Morten & Jonas.

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1 Sunflower Clock George Nelson.

2 Aluminium Chair Charles & Ray Eames.

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1 Ambit Rail Lamp TAF Studio.

2 Fiber Bar Stool Iskos-Berlin.

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Passerelle │ Sebastian Herkner

Karamell │ Jonas Bohlin

Lord 1 │ Niclas Hoflin

Belleville │ Bouroullec

Exo │ Gustafsson / Lavonius

Shell │ Note

Block │ Simon Legald

Sun - Light of Love │ Tord Boontje

Hoop │ Tim Alpen

Kaz │ Nils-Ole Zib

Screw │ Tom Dixon

Cargo │ Gunilla Allard

Titus │ EKV

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A couple of quick questions about food and restaurant experiences for Christina Falkell-Nordberg, sales representative and project manager at Input interior.

Where do you ideally like to travel to eat?

To my brother in Nairobi, Kenya. We eat classic Kenyan cuisine at Talisman or Asian cuisine at Zen Garden.

Best food memory?

When a colleague of my brother prepared a genuine, homemade Kenyan dinner for us. Hearty cooking with a great deal of pride. Bean stew, side dishes and peanut sauce together with Chipati – bread that’s cooked in a frying pan – it was an experience.

Your favourite cuisine?

Asian, Italian, Kenyan and… I simply love food, of all kinds.

For me, the culinary experience is so closely associated with the atmosphere and the company you’re in that it’s difficult to choose just one cuisine.

What do you think is essential to consider in a dining and restaurant setting?

Correlation between chair and table. It should be 27-30 cm, nothing else. Also avoid high skirts under a table, as you need to be able to cross your legs and sit comfortably for a long period.

Food and design – do they go together?

Certainly. It’s a matter of balance and well-matched details between interior, staff, service and, naturally, the food. The décor of the restaurant should be in harmony with what’s on the plate in front of you. A must in order for the restaurant experience to feel complete. n

Christina with CH24 chair, design Hans J. Wegner.

Photo Emmy Jonsson

1 Grace Pendant Niclas Hoflin.

2 Visp Hanger Staffan Holm.

3 Visu Bar Stool Mika Tolvanen.

4 Result Chair Kramer / Rietveld.

5 Nærvær Table Norm.Architects.

6 Duca Candleholder Krøyer-Sætter-Lassen.

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1 Akari 50EN Pendant Isamu Noguchi.

2 124° Mirror Daniel Rybakken.

3 Cone Chair Verner Panton.

4 Dining Table Isamu Noguchi.

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Cornet │ Jonas Trampedach

Miss Holly │ Jonas Lindvall

Tree Table │ Sipa

Size Table │ Thomas Bernstrand

S18 │ Anya Sebton

Palais Royal │ Sebton / Lilja Löwenhielm

Hoop Table │ Tim Alpen

Locus │ Roger Persson

Brygga │ Åsa Johansson

Linear Wood │ Thomas Bentzen

Titus │ EKV

Cosmos X │ Ingrid & Olle Wingård

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1 Palissade Armchair Ronan & Erwan Bouroullec.

2 CPH Deux Table Ronan & Erwan Bouroullec.

3 Long John Pendant Niclas Hoflin.

4 Revolver Table Leon Ransmeier.

5 S18 Table Anya Sebton.

6 Deco Table Julia Prytz.

7 Noor Up Barstool Form Us With Love.

8 S70-3 Barstool Bรถrge Lindau / Bo Lindekrantz.

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A tribute to origins

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a tribute to origins Vipp is celebrating a milestone.

The classic pedal bin that has earned a place in the Museum of Modern Art in New York is turning 80. In order to mark the occasion, a special collection has been designed featuring strong links to Vipp’s Danish roots.

The Vipp pedal bin is one of the signature products from Danish design history. The origin of this minimalist waste bin presents a charming tale of Holger Nielsen, who in 1939 manufactured a steel pedal bin for his wife’s hairdressing salon.

In the eighty years since then Vipp’s product range has expanded and now includes everything from bathroom accessories to destination hotel rooms such as the Vipp Chimney House north of Copenhagen, all with the common denominators of steel production and functional design.

In order to celebrate this 80th anniversary, a limited edition Vipp 15 is being released. The anniversary edition “The Danish Bin” is French designer Vahram Muratyan’s interpretation of the Copenhagen cityscape. The vision was to capture the daily carousel of life in Copenhagen, which he perceives as much more colourful than his home city of Paris. Classic landmarks such as Tivoli, Nyhavn’s colourful façades and cyclists therefore adorn the exterior of The Danish Bin. Muratyan has become known for, among other things, his humorous illustrations featuring comparisons between Paris and New York. n

French artist Vahram Muratyan has depicted Copenhagens colourful silhouette, with Nyhamn and Tivoli included, in his tribute collection.

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our next edition will include highlights from the Stockholm Furniture Fair and explore Input Pop-Up. + new interesting cases and helpful product guides.

Next issue

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Input interior 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 interior 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 interior 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 interior.

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