We Love This

We Love This: Winter Bathing

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 photos

Changing robe by Dryrobe Dryrobe 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 outdoor swimmers. Much like a prehistoric fish climbing out of a pond, Dryrobe has even evolved into a fashion garment – displaying a similar progression from ironic to stylish as that of Crocs. But that doesn’t detract from Dryrobe’s impressive specs: a waterproof and windproof outer layer combines with a fast-drying, super-warm lining in a perfect all-weather poncho for surfing, swimming, triathlon, camping, outdoor 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

All-rounder bag by Halite 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. Meanwhile, 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 construction, 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 gear - and it looks badass to boot. Fenris Recon 90L Bag, €498 www.halite.no

Extra-large towel by NORDBAEK 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 towel-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

Lambswool beanie by Norse Projects 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 insulation 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

Neoprene swim gloves and socks by Zone3 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 indispensable 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 triathletes, 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

Natural woodland-inspired skincare for adults, mothers and babies

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 haircare, 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.

Blown by the wind 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, picking 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 connected to nature, so we also use ingredients 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 already 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.”

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Boundary-breaking fine dining on the iconic Nyhavn canal

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 Hellesøe

But LIVA offers more than spectatorship. Its graceful menu captures the essence 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 Nordics, like Swedish chanterelles, Gammalknas cheese, small green strawberries 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. Order 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. Meanwhile, 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 accommodate. 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 standout, with a stunning playoff between velvety texture, rich umami flavour and bright herbaceous notes. The connection between taste and emotion is a cornerstone 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 falling 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 Copenhagen 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 perspective on contemporary Nordic cuisine.

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Scandinavian Lifestyle

How to drink beer more sustainably

By Malin Norman

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 and 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

Creating a sustainable home

By Alejandra Cerda Ojensa

While decorating my kitchen recently, I started thinking about my interest in interior 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 linen 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 belongings – 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 sustainable 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.

Together in Lisbon: World Architecture Festival 2022

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

Victorian Pride Centre by BAU Brearley Architects+Urbanists and GAA Grant Amon Architects Melbourne, Australia. Photo: John Gollings

The theme for the 2022 edition of the festival is ‘Together’. For three days, as part of a live events programme, an international panel of speakers will explore and debate how architecture is responding to the renewal of collective life post-pandemic, 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 dynamic with a live event, and we wanted this year’s theme to reflect that idea of physical togetherness,” says programme director Paul Finch.

The theme has implications for the architecture 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 encompasses city making. Meanwhile, ‘Together’

EDGE Suedkreuz Berlin by TCHOBAN VOSS Architekten Berlin, Germany. Photo: Ilya Ivanov

180 Steeles by CORE Architects. Toronto, Canada. Photo: CORE Architects

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 editions in Amsterdam, Barcelona, Singapore 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 environmental 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.”

The sustainability agenda While there have always been concerns in the architectural community about economy of means – a general disposition to be frugal with materials and to consider energy costs – the past 15 years have seen sustainability become a central 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 indigenous communities and cultures. Architects 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 integrated into the better entries.”

WAF and WAFX The 420-strong WAF shortlist has been selected from hundreds of entries from over 50 countries, including Portugal, 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

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 Projects under the WAFX Awards, a programme celebrating 20 exemplary future projects which address major architectural issues facing society and the planet, ranging from tackling the climate 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 imaginative 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

The Handan Wastewater Cleansing Terraces by Turenscape. Handan City, China.

INSIDE Meanwhile, INSIDE – the sister festival to WAF – presents the finest international 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 fabulous to the austere and found much to admire. Trends in this year’s entries ranged from the small to the large scale and included the increasing deployment of wood in both structural and decorative ways; the use of spiral staircases to improve circulation; 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 contrast between stylish design and furniture and raw construction materials evident in walls and ceilings.”

Live-judged awards and a collegiate atmosphere At the heart of the festival is the world’s biggest live-judged architectural awards programme. Across WAF, WAFX and INSIDE, architects and designers compete 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 other 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. Finally, the four overall prizes and the special prizes, including a student award, are presented during the gala awards dinner.

WAF is the unrivalled, defining annual international 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 interactive,” says Finch. “It’s very rare for architects 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 remind 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.”

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Paragon by Fender Katsalidis Melbourne, Australia. Photo: Willem Dirk du Toit

SWEDISH ARCHITECTURE AND INTERIOR DESIGN Special Theme:

The travel industry needs design as a force for development

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 Widbom

Through visualisation, designers can make different complexities understandable. This is especially important in relation to the sustainability, which is often a complex challenge and requires a holistic perspective. And because holistic, complex issues often require complex 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 individual’s choice.

However, one challenge lies in the fact that society’s green-system transformation must happen in a short time – some ten years, if you listen to researchers and the most ambitious roadmaps for a fossil-free future. Yes, complex issues require complex answers, but if designers are given the chance to come on board

answers, design processes can make a big difference in delivering positive longterm results.

This also goes for how we choose to travel. The aviation industry must innovate new fuel solutions, and the consumer

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

Acoustic Pulp process.

The future is here: sustainable acoustics and innovative design

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 conditions. Top companies around the globe know they need to maintain supreme standards to keep their employees engaged 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 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 impact 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 fundamental part of their core business since day one. Proudly aiming for carbon-neutrality, they are fully transparent

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 Löfgren and Petrus Palmér. The company emerged when the design studio was on the hunt for an acoustic solution to

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 criteria: they must be traceable, recyclable, with low levels of volatile organic compounds (VOC). Their products are widely used by architects and interior designers around the world looking for a material with strong acoustic and structural properties, while also providing an impressive decorative design detail for ceilings, walls and within the room.

Natural material with a magical twist 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 anything can be designed to include different shapes, colours and features. The Acoustic Pulp is a unique, bio-based, organic material 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 product thanks to its remarkable qualities. It’s absorbent, fire-proof, moisture-regulating and resistant, energy efficient and even absorbs CO2. The material is a popular choice for many architects, as 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 recyclable. 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 understanding this by researching our own process and by being transparent about our results. 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 extracting its benefits in a responsible way is how we believe we can create a better society. The building industry has an enormous responsibility in our sustainable 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.”

Recycled PET.

www.baux.com Instagram: @bauxdesign Pinterest: @bauxdesign

LAB. Acoustic Pulp environment.

Photo: Felix Gerlach

Careful restoration and innovative architecture

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 Norman

Ranked 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 adaptation for the future. Arlanda VIP Services, the second project, encompasses the essence of Nordic luxury in an exclusive escape 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 history, returning the market hall to its former glory while creating a new way to experience the top-ranking culinary destination. The restoration involved some challenges: 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 building’s cultural value,” says Mark Humphreys, lead architect at Tengbom.

Tengbom discovered that the original symmetrical layout of the market stalls from 1888 actually facilitated a much better pedestrian flow through the building. And, after scraping off layers of paint, the interior’s original colour scheme was revealed 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 overlooking the market hall were incorporated, as well as elevators and additional toilets for improved accessibility. The result is a uniform 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, designed to feel like an extension of the sky.

Photo: Åke E:son Lindman

This is a meeting place, but also a shortcut 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 spectacular project designed by Tengbom. Completed in 2018, the VIP terminal at Arlanda airport in Stockholm makes travelling easy and enjoyable whilst providing relaxation and a down-to-earth Scandinavian experience for influential travellers such “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 Scandinavia 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.

Photo: Felix Gerlach

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 inspiration 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, creates a warm, welcoming ambience. One of the challenges was the need to restrict views into the building for security purposes. The solution was to let windows face upwards – providing lots of daylight whilst ensuring anonymity.

Photo: Felix Gerlach

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Photo: Åke E:son Lindman Photo: Åke E:son Lindman

Tresticklan national park at the edge of the forest of Dals-Ed, Dalsland. Photo: Joacim Winqvist/Picture Perfect Visuals

What does future architecture really look like?

With 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 Norman

Through 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 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

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

these existing buildings to new needs,” says Niclas Sundgren, CEO.

CO2-certified buildings for the future Regardless of the project, sustainability is at the top of the agenda for Liljewall. “With the UN’s global goals as a framework, we push for socially, economically and environmentally sustainable development,” Sundgren continues.

Proof of this is the Sköndalsvillan project in Tyresö municipality close to Stockholm, designed by Liljewall. It is Sweden’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 inviting, functional and economically sustainable. 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 footprint 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 architecture 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 biodiversity, this is Sweden’s first building with the highest possible environmental certification, LEED Platinum. Liljewall has helped SKF to transform their old warehouse in Gamlestaden into a modern and activity-based office environment, which inspires and facilitates collaboration whilst reducing the climate impact.

Sköndalsvillan in Tyresö municipality, close to Stockholm. Photo: Liljewall

Liljewall has recently appointed Hanna Morichetto as vice president. She has extensive experience in architecture and a PhD from Chalmers University of Technology in residential architecture and wellbeing. Here with Niclas Sundgren, CEO. Photo: Linn Bergbrant Co-existing on nature’s terms There are also smaller projects in the portfolio worth mentioning. Take the recently finished service and information 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 wandering 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 harmonise 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 protects 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 everyday life, we always embrace the assignment with passion and curiosity, striving for a flourishing, long-term future where architecture plays a great role.”

www.liljewall.se Instagram: @liljewall_arkitekter Facebook: liljewallarkitekter

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

The Swedish and French connection by Erik Giudice Architects

A 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 Architects

Erik 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 welfare 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 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

to be able to catalyse ideas and experiences 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 international company that would change perceptions of contemporary architecture. “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 facing today,” Giudice explains. “We need extremely high ambitions and commitment in our work and architecture.”

Platinan, in Göteborg, on the west coast of Sweden. It includes offices, a hotel, cultural activities and shops.

helps 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 attracts people from the outside.”

One of the temporary residences in the Olympic athletes’ village will later become an office space. “With smart planning, this is achievable with minimal rebuilding,” 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 cultural 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 remove and reuse in other projects. There is always a circular approach.”

Changing the game 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 certain 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 children, who now have a place where they can meet and experience culture in several different ways.”

Another key project in this aspect is the museum they designed, dedicated to nomad 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 suggesting 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 declutter – 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 materials 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 reorganising 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 success. This minimises not only transportation cost, but also carbon emissions. “Traditionally, buildings have been made with materials from the area – whatever was available,” explains Giudice, and concludes “that’s why there are wooden houses in some areas and stone buildings 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 www.erikgiudice.com Instagram: @ega_erikgiudice_architects LinkedIn: EGA - Erik Giudice Architects

Hébert cultural animation centre in Paris, France.

Freshly made skincare

Good skincare is Good skincare is freshly made

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.

3 reasons to choose 3 reasons to choose freshly made skincare

1. No preservatives or additives 1.No preservatives or additives 2.Support your microbiome 3.Work with your skin’s own system

Preservatives and other additives are ingredients you find in skincare for the sake of the product - not 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.

2. Support your microbiome

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.

3. Work with your skin’s own system

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

Skinome’s skincare Skinome’s skincare is produced in small is produced in small batches in Sweden batches in Sweden with a shorter shelfwith a shorter shelflife to avoid using life to avoid using preservatives and preservatives and unnecessary additives unnecessary additives

Dr. Johanna Gillbro Dr. Johanna Gillbro is a Swedish skin is a Swedish skin researcher and researcher and founder of Skinome founder of Skinome

Just like fresh food, Skinome’s products Just like fresh food, Skinome’s products should be stored in the fridge should be stored in the fridge 160 billion live bacteria 160 billion live bacteria in a small bottle for your 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.

The Swedish architects behind the homes of tomorrow

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 understanding of sustainability with an emphasis on beautiful and thoughtful design. 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 guiding points, all of them within sustainability, 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

“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.

Fluent in large-scale Across its two offices in Malmö and one in Gothenburg, Radar Architecture’s architects, who specialise in different areas, work alongside city planners, allowing

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.

building material because of its beautiful 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.

Pushing the envelope Radar Architecture always strives to develop 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 experiences 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 landscapes 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 Instagram: @radararkitektur Facebook: radararkitektur

Conscious luxury and net-zero emissions

Acting on current challenges in society such as climate change, Krook & Tjäder architects offers well-designed and sustainable architecture as part of the solution.

By Malin Norman | Photos: Felix Gerlach, Visualisation: Krook & Tjäder

Established in 1988 in Gothenburg, Krook & Tjäder is one of Scandinavia’s largest architectural firms with around 300 employees and offices in Sweden 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.”

Conscious luxury at top hotel in Denmark The exclusive Villa Copenhagen opened its doors in summer 2020, housed within 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 designed 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 Copenhagen 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-

Kvartetten. and Norway. The team has a substantial and varied portfolio, with annual projects in architecture, urban planning and landscape, as well as interior design and product design.

“We’re building for a better city, with interpersonal relationships and high ambitions, and the dedication and responsiveness of a small office,” says CEO Johan von Wachenfeldt. In addition 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-

egory Best Hotel and Tourism Resort. It also won the prestigious Projektprisen in Denmark in 2020.

“We are proud to be recognised internationally,” 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 sustainability, we and the operator have defined Villa Copenhagen as ‘conscious luxury’, as the most sustainable buildings are those that have already been built.”

Celebrated project with net-zero climate impact 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 Wachenfeldt. “Of course, we design new environments 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 example of the sustainability focus. The building has been pre-certified with SGBC’s self-developed NollCO2 certification. This means, among other things, that the property will achieve a net-zero climate 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 exterior 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 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 manager. 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 personal relationships and high architectural ambitions with a great understanding of the customer’s business,” concludes von Wachenfeldt. “That personal relationship 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.”

Habitat 7.

Habitat 7.

www.krooktjader.se Instagram: @krooktjader Facebook: krooktjader LinkedIn: arkitekterna-krook-&-tj-der-ab

Timeless treasures for soul and space

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 unexpectedly and organically.

Before things took off, founders Lukas Dahlén and Leila Abd Alwaheb had other commitments. Alwaheb was working as a teacher and Dahlén, who was already moving around in the land of furniture 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 demand 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 business 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 conversation 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’.

Beauty and function 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 consumer 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 express them,” says Dahlén. “At Ringvide, we are driven by the will to present furniture and interiors with true value, not just the beautiful and practical, but objects with soul.”

A sensory experience 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.

Awareness is key 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.

www.ringvide.com Instagram: @ringvide_official

Create a new story for your hallway.

Step into a world of timeless design

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 create timeless pieces that will retain purpose 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 create a hat rack from melted-down scrap aluminium from World War II.

The company grew as its name became synonymous with iconic design pieces. 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. “Extracting 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

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 remained in Anderstorp since the beginning and, by maintaining a production that is as local as possible, the company stays true to its Småland roots and keeps its design legacy intact.

The art of welcoming From the beginning, hallway furniture has been Essem’s forte and focus. That

Celebrated and award-winning – the Mama Hook.

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 simplicity and functionality. These focal points haven’t gone unnoticed abroad; Essem’s Scandinavian design is exported widely to Europe, the USA and beyond.

Lasting design Sustainability is a given and has been since the founding days. Essem’s first hat rack Nostalgi is still produced with recycled aluminium, and all raw materials are sourced as locally as possible. Its production facilities use 100 per cent green energy and the company produces a sustainability 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.

Pieces with personality You’ve probably seen them. The Essem collection is a veritable showcase of classics that have played an integral part in innumerable 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 retro 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

Sustainable material.

Hall interior. Hall interior.

Fyrhusen. Malmudden.

Innovative architecture for secure and social communities

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 & Almqvist

The 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, economic 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.

Britt Almqvist, CEO. 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

SELECTED ACHIEVEMENTS 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

FRONTS FOR IKEA CABINETS FOR PICKY PEOPLE

Rethinking the airport as a destination

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 Concept

Green 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 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

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.”

spaces that meet the needs of all passengers,” 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 people 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 density, and the number of seats on the same footprint increased by 44 per cent. Design was also important and passenger satisfaction in the waiting area increased from 52 to 81 per cent. “Edinburgh Airport 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 Iceland 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 Berhin. “We designed seating with contours inspired by waves to represent Iceland’s coast, hilly landscapes and lagoons. Not only did the seating areas bring impressions from nature indoors, but they also made spending time in the terminal a memorable part of the trip.”

Hobart Airport in Tasmania, New Zealand has also transformed its departures lounge into an inviting area where travellers 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, passenger 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 materials that can be easily touched up or reused. The placemaking solution can also make waiting areas smarter by integrating 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 accessible,” concludes Kame. “It’s part of a safe and seamless journey.”

www.greenfc.com Instagram: @greenfurnitureconcept Facebook: greenfurnitureconcept Contact: adele.kamel@greenfc.com

Keflavik International Airport. 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.

Designing for growth

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: Rumrum

Celebrating Rumrum’s 25th anniversary this year, co-founders Magnus Andersson and Nicklas Jansson describe the experience so far as a challenging learning curve – in the best way possible.

The duo started their journey together back in the late ‘90s, selling premium-brand furniture in Malmö, Sweden. However, as the years went on, they noticed a demand for conceptual interiors and began focusing on delivering bespoke interior packages for restaurants, shops and later offices. This organic shift included the creation and incorporation of their own furniture within the offering itself.

“In those early days, we took part in a competition which ended quite well. That 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 minimise 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.

Flexible workspaces In recent years, the Rumrum team has focused their efforts on office design, in response to a growing demand strengthened by the post-pandemic return to offices.

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.

The Rumrum difference To say that customers get the full package is no exaggeration. A Rumrum part-

Indeed, office design today has acquired a whole new meaning and needs to incorporate a lot of things beside simple workstations. On top of this, offices need to cater for a more flexible way of working, 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.

Capturing an identity 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 questions 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 complex 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 creativity. “The way we see it, we are essentially selling a feeling which is experienced with all the senses,” says Andersson. In addition, the interior concept not only takes into consideration the feelings of the employees, but also the external perception of the space – such as on social media.

A bright future The need for great office solutions will continue to grow as employees demand more from their employers, while employers themselves wish to inspire the best from their workers.

Some would call that a win-win, particularly if you are the founders of a very successful 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

The Swedish pavilion at Expo 2020 Dubai. Photo: Johannes Edberg

Change is on the horizon

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 Bressler

Reflex 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. 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 holistic approach “We need buildings where you can approach the city from different levels. We can’t keep building sky-rises without 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-

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 embraces the glass-clad building is a celebration 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.

A place for movement Kineum provides a space that promotes dynamic progress, interesting encounters 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 enjoying the majestic view and atmosphere. The boutique rooms provide an equally breathtaking view over the city, for a perfect city getaway.

The attractive offices provide a close connection 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 beautiful everyday for office workers, which has become increasingly important after the pandemic,” says Testa.

The building has already caught local attention and, as per Gothenburg tradition, a witty nickname is on the horizon. “We’ve already heard a number of options, ‘Kexchoklad’ being one of my favourites. We see it as a welcoming sign that we are becoming a part of the foundational structure of the city, while also increasing its wow-factor. That’s when we know we have succeeded,” Testa concludes.

Marco Folke Testa. Photo: André Eriksson

Expo 2020 Dubai. Photo: Rory Gardiner

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

Odeon Cinema Oslo, mirror Borderline.

Curves, cyclops and one more minute for the planet

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 Design

Svedholm Design, established in 1993 by furniture designer Jan Svedholm, designs 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 Uppsala-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 and clever solutions, for instance Downtown 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 sustainability, we hope this product will encourage 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 powder-coated wire. As with many of Svedholm Design’s products, the Borderline collection is approved by Byggvarubedömningen, a non-profit organisation owned by large constructors and prop-

solutions are developed in collaboration with architects and custom-made to fit each specific brief. Being a small company, 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

erty owners in Sweden, and assessed in SundaHus Material Data.

Haymarket by Scandic, another hotel in Stockholm, has incorporated Svedholm 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 headquarters in Berlin, Germany.

Sustainable and re-usable materials Some designs are for products not usually perceived as stylish; such as dispensers for paper towels in public restrooms. However, Svedholm Design’s bathroom series Slits is a great example of how innovative design can bring elegance 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 opportunity: 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 materials. “Our production is local, which means short lead times and transport to minimise the carbon footprint,” says Jan. “It’s an important part of our business model.”

Mirror Orbit. PIHR’s Stockholm’s office, shelf system Unit, design by Malin Berglund and Anna Sjöberg.

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 Sony Music Entertainment headquarters Berlin, bathroom series Slits. Photo: Stefan Lucks

N house. L house.

Quality, passion and atmosphere –the key to iconic architecture

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 environments. Regardless of the nature of the project, private or commercial, we are dedicated to creating spaces that clients 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 there is nothing as important for achieving a good end result as an inspired, motivated and joyful team.”

A global practice 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.

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, www.studioram.se Instagram: @studioram Facebook: Studio RAM

Ariel Ramirez.

DANISH ARCHITECTURE AND INTERIOR DESIGN Special Theme:

Our Architecture: Iconic Danish design for all

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 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 masterpieces, designed by architects like Bjarke Ingels, Henning Larsen and Lundgaard & Tranberg.

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

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: DAC

Saving energy? It’s a gas!

In 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

As Denmark’s first construction company to completely commit to low-energy housing, Klimahuse (literally ‘Environment 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 expertise in energy efficient construction, the team behind Klimahuse has managed to develop a house that doesn’t rely on fossil fuels, has the lowest carbon footprint possible and is 100 per cent self-sufficient regarding electricity and heating – an asset that has suddenly become much more important in the last few years.

“The market has changed, but we haven’t,” says Claus Keld Hansen, chairman of the board of Klimahuse. “Our goal is still to construct low-energy houses. But now it has become historically 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.” Reaching the goal of self-sufficiency A house built by Klimahuse has always featured solar panels but due to the current 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 electricity 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-sufficient 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 Denmark is A2020. As a client you can choose between a sloping roof or a flat roof.

Designed for the individual 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 ordinary houses,” Hansen says. “We take pride in constructing houses in this simple 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, Klimahuse 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 clients. The house should meet the client’s needs not just now, but in ten or twenty 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 developments in construction and environmental technology is key. The company sets high environmental standards and strives to achieve them through tried and tested solutions and high-quality materials. Buying a house from Klimahuse is an investment, 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

An education in raw design identity from a small Danish studio

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.

By Lena Hunter

“I worked for ten years in an international 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 studio, Sebastian began designing private residences as a side project. In 2015, his vision was rewarded when he received two architecture prizes for the G18 summerhouse 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.”

Experts from concept to completion 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.

The Nordic Approach 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

The team.

Ambient Headquarters.

around natural and raw materials and their treatment, that ensures their quality and longevity,” says Sebastian. Indeed, like Japanese and Swiss architecture, Scandinavia’s is world renowned, with an aesthetic identity defined by beautiful proportions and attention to detail. “Timeless architecture is about understanding the materials and the place, and giving form according to those relationships,” says Sebastian. “A Nordic approach is holistic: to understand, practice and refine.”

ARDESS’ sustainability credo is equally innovative: “It’s integrated into every project via passive solutions,” explains Sebastian. “Instead of finding a sunscreen in an eco-friendly material, for example, we design geometry that eliminates the need for one.” ARDESS employs 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 manufacturing sites for design fairs – so he is used to creating architectural universes,” says Sebastian. “It became a really exciting collaboration.”

The site, beside highway E45 near Aarhus, accommodates an office, a timber and metal workshop, and storage facilities. “Some fairly rough functions, but each is valued equally,” says Sebastian. “So, it was about understanding their philosophy and methods and communicating that architecturally.”

The design is intelligent and economical: at the heart of the build is a courtyard with connecting paths between the three facilities – a practical and symbolic shared centre. Seen from above, the space is integrated 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 filler, Japanese-style, treating them as artworks rather than faults,” says Sebastian.

A raw design identity “On the opening day of the Ambiente project, someone who had seen our V3 villa – without knowing who had designed 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.

Company House.

V3 Villa.

V3 Villa. tween the two projects. “I always say that we’re not married to certain materials. I want each place to define what we design. So, that was proof to us that we had cultivated a raw design identity 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 collaboration. 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 contexts,” he says.

www.ardess.dk Instagram: @ardess_ LinkedIn: ardess-architecture-design

V3 Villa.

Humanist architecture: Design for those who need it most

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 projects 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 founder 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 inaugural Healthcare Award in 2016 and the MIPIM Award – considered to be the Oscar of architecture awards. Nor with its demensX Karlsson Architects’ latest project demensX 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 residents, well dressed, who had had breakfast, and then they just sat there – completely 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.

high-security mental hospital in Trondheim, Norway, for which it received the European Healthcare Design Award in June 2022.

Both have become touchstones for healthcare architecture, but the real accolades 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.”

“When you have dementia, every moment should be precious”

Humanist methodology The founding notion of demensX is that the environment around people with dementia must be simple to understand and use – but at the same time more experiential and stimulating. “We conducted 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 emotional and cognitive experiences that would improve quality of life,” says Karlsson. “When you have dementia, there’s no before and after, no plan, no memory 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 personal 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 facilitates joint activities like workshops, greenhouses and animal husbandry. It also offers the potential to host visitors – relatives, children or volunteers. The buildings’ interior and exterior are designed to incorporate light, weather, plants and wildlife in bright and stimulating spaces, with open sightlines. “It’s incredible how someone’s behaviour and disposition can change when their environment is inspiring,” says Karlsson.

Global applications In Denmark, dementia politics is shifting towards a more socially integrated model. The next ten years will see the development of numerous new institutions, for which demensX is a benchmark. Beyond Scandinavia, the demand for Karlsson Architects’ knowledge and method is equally high; Karlsson has presented the studio’s work at Yale University, 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, Denmark, where a large-scale development called The Generations Quarter will combine 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.”

www.karlssonark.com Instagram: @karlssonark Facebook: karlssonarkitekter

Photo: Helene Høyer Mikkelse

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.

Calm, characterful and healthy architecture

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 Troldtekt

At 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. Today, production takes place using highly advanced, energy-efficient technology, and Troldtekt is one of the leading solutions for ensuring a healthy indoor climate in northern European buildings.

The contemporary architectural trend for spacious interiors and hard materials has spurred the need for aesthetic acoustic solutions and paved the way for Troldtekt’s growth. However, the need while curtains and rugs rarely find their way into interiors. This cocktail presents considerable acoustic challenges, because 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.”

for a green transformation of the construction industry has also contributed to Troldtekt’s popularity.

“Stone, glass, plaster, concrete and steel are popular materials in construction,

Ørsted Gymnasium. Photo: Helene Høyer Mikkelse

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.

Thanks to the open structure of Troldtekt 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 typically absorb 80-90 per cent. Superior acoustics can play a vital role for learning in schools, for productivity in offices –and for people’s general well-being in all types of buildings.

Green strategy and great design freedom 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.

www.troldtekt.com

Honoured for green transformation 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. Photo: Helene Høyer Mikkelse

Timber construction. Photo: iStock

Get behind the scenes with a professional architecture study trip

ArkiTours consulting offers tailor-made study trips for architecture and construction professionals, to ongoing and completed urban development projects in some of Europe’s most forward-thinking cities. On the tours, groups of 12 to 150 professionals are guided in the latest trends and building materials, and access behind-the-scenes knowledge and new industry contacts, to help them learn and find inspiration for their future business development.

By Lena Hunter

In 2007, ArkiTours Consulting began organising trips to Peter Zumthor’s acclaimed 1996 mountainside thermal bathhouse, The Theme Vals, in Basel, Switzerland. “Danish architecture studios wanted to visit the big names. We organised trips to Marseille to see Le Corbusier, then we started visiting Amsterdam and Rotterdam – renowned architecture cities,” explains the founder Dorte Augustenborg. Today, ArkiTours has expanded, organising reconnaissance missions for architecture firms and engineers to destinations all over Europe. –and get guided tours conducted by local architecture studios. You might hear presentations from timber producers at their manufacturing plants or meet a Dutch design firm that works exclusively with local rainfall diversion projects.”

A trained architect herself, Augustenborg is a specialist in advising clients on the latest international architecture and urban development projects. At her side is business partner and art historian Pia Thomsen, an expert on trends in climate-neutral construction, who ensures that the green agenda is woven into every tour.

The pair offer their combined knowledge and enthusiasm from the very first meeting and throughout the detailed planning phase – taking care of the itinerary, flights and even restaurants during the trip. “We really listen to the needs of our clients. What are they interested in and

“It’s a type of further education, out in the field,” explains Augustenborg. “You’ll go behind-the-scenes – inside the buildings, be it power plants or private homes

Konditaget Lüders, Copenhagen. Photo: Mellanie Gandø

what will be at the forefront of their work in the next ten years?” says Thomsen.

A bespoke itinerary 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 private or public housing – all our clients are interested in how you can build sustainably, with minimal CO2 emissions,” says Thomsen. ArkiTours’ approach is comprehensive and integrative, ranging from energy efficiency and green materials to public transport and community management. “There are many parameters in sustainability,” says Thomsen. “The DGNB system is an assessment of the sustainability of a building. It’s based on a holistic understanding of construction in which environment, economy and social conditions are given equal weight. We offer a study tour specifically about DGNB-certified projects in the Copenhagen 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.”

Experts on construction trends 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 simply 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.

Housing collective, Tinggården, Herfølge. Photo: August Fischer Werkraum Warteck, Basel, Switzerland. Photo: Ricardo Gomez Angel

www.arkitours.com Instagram: @arkitours Facebook: arkitours

Dorte Augustenborg and Pia Thomsen at Søfartsmuseet in Helsingør, designed by BIG Architects. Photo: Hans Høite Augustenborg

NORWEGIAN ARCHITECTURE AND INTERIOR DESIGNSpecial Theme:

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.

Magu Design: The future of workplace interior architecture

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: Magu

The 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, creativity 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 approach. This method emphasises human needs and the human experience by creating a sense of connection and belonging 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.

Unexpected but precise 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 multidisciplinary 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.

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 January 2023, is a great example of such a co-creation.”

Mari Espedal of Magu Connect adds that Magu designs concepts and work environments via a sustainable and holistic

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.

“It’s unexpected, but the solutions are always precisely chosen for the best effect,” Knudsvik says. “All of our designs are grounded in thorough research that considers everything from the psychological to strategic aspects that will lead to successful long-term effects.”

The unexpected is an important ingredient 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 communication, 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 environment we create. We work with our clients to help them understand and adjust to how their new spaces can encourage 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.

Award-winning interior architecture 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 technology into many workspaces. Espedal explains that the future of workplace collaboration 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 employees back together.

One of Magu’s clients, Aker BP, is on a mission to digitise core end-to-end processes. In challenging traditional workspaces, it has co-created an Onshore Collaboration Centre (OCC) along with Magu, in order to strengthen cross-sector collaborations and create cost and delivery-efficient processes.

“Combining outstanding technology and untraditional collaboration areas with relaxed 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 human, and human to environment. As a reward for forward thinking, the OCC design won bronze in the prestigious international design competition WIN Awards for the world’s most innovative office design for areas under 10,000 square metres.

www.magudesign.no Instagram: @magu_design

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!

Hjertnes Kulturhus’s new extension. Photo: Tove Lauluten

The architects working towards a climate neutral future

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 projects,” says von Mach. “Sustainable architecture can mean a lot of things. It can be in a social way, in a socioeconomic way, or it may lie in the location and function of the building you are working 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 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 healthcare 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.

Environmental certifications Common Ground works on new builds, but also the retrofitting of existing and listed buildings. Across all builds, it maintains very high standards, implementing measures to reduce greenhouse gas emissions, acquire environmental certifications or make use of ecological timber, low-carbon concrete and recycled steel.

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.

Rødtvedt kindergarten with its ample outdoors space. Photo: Tove Lauluten

For building and construction projects in Norway, there are several types of environmental certifications one can get. The most commonly used is Building Research Establishment Environmental Assessment Method (BREEAM). At Common Ground there are environmental experts who are BREEAM certified. Norway has its own BREEAM certification system and it requires a lot of work across all disciplines to make sure those standards are met.

Old meets new 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 energy from renewable sources than it requires from external sources. The mix of old and new is seamless, and in 2019 it was nominated for Oslo City’s architecture award.

A flexible concert hall A recently completed project is a blackbox theatre in the coastal town of Sandefjord. It is an extension to the existing Hjertnes Kulturhus, a concert hall, cinema, town hall and library. During the process, it was crucial to treat the listed buildings with respect. They therefore emphasised the existing building’s characteristics with a new building of high architectural 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 socially, to use the buildings that are already there.” With this project they had the extra challenge of the building being located in a conservation area for Sandefjord Hjertenespromenade and Sandefjord Park, which are both national cultural heritage sites.

Care facilitates 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 garden 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.

Great on paper Some projects do not become reality, but are still worth mentioning. In 2017, Common Ground was invited to an international design competition for the extension of Oslo Central Station. This was a challenging project with listed buildings, strict security requirements and a train station in use during the proposed construction 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 notable 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 zero-emission society through architecture and landscape. They dream of a world where short-term profit is not at the expense of sustainability, and where the buildings we use the most, are the best.

Fjordporten, Common Grounds proposal for the new Oslo central station. Photo: Common Ground

www.commonground.no

Rødtvedt kindergarten’s interior allows for different types of play. Photo: Tove Lauluten Skoklefall’s exterior fits nicely into the surrounding environment. Photo: Tove Lauluten

Architecture in the North

The architects at VÅG bring the world to Lofoten and Lofoten to the world – with sustainable, locally-anchored projects that go beyond traditional architecture.

By Eva-Kristin U. Pedersen

Of all of Norway’s enchanting coastline, the Lofoten islands have a special reputation. Known as some of the most beautiful islands in the world, Lofoten attracts tourists from all continents. It is as if all of the country’s natural beauty is concentrated in these wonderous islands, where the deep blue sea and steep, majestic mountains produce a unique combination of scale and beauty. studio VÅG Lofoten AS together with his partner, Tora Arctander. Originally from Germany, Schwarz has worked on projects all over Europe, including on the Champs Elysées in Paris, but now finds himself on a remote island tucked between 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 Lofoten, found opportunities for architects that gave reason to remain.

In recent years, the allure of Lofoten has made it a prime spot for tourism as well as for a whole range of creative professionals, digital nomads and others looking for a cut of the Lofoten boom.

A Norwegian Klondike “There’s a bit of a Klondike atmosphere here right now,” explains Markus Schwarz. Schwarz runs architectural

Cabin at Sund. Photo: Stephen Citrone

More than buildings “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 conditions 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 necessarily mean reproducing maritime patterns and motifs, but goes far beyond that, and should be based on an understanding of local construction techniques and aesthetics. Yet, while respecting the existing, there is still room for new expressions and contemporary architecture. In many cases, reproduction can even be more harmful 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

Destination Gjermesøya. Photo: VÅG

Cabin By The Sea. Photo: VÅG

Destination Gjermesøya. Photo: Kaiserbold

many clients’ perspectives on sustainable building. For many of our clients this has become an increasingly important sales argument,” Schwarz says.

Inspiration goes both ways While VÅG is based in Lofoten, their architects do not limit their work to the islands, but take on projects all over Norway. Wherever they work, both Schwarz and Arctander underline that natural beauty is a source of inspiration in a creative 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 inspiration from the external world, Schwarz and Arctander travel regularly and maintain 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 future of what remains a small and fragile 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 centuries, were a very small Norwegian fishing 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 local context. That is the essence of what the architects at VÅG do. www.vaag.net Instagram: @vaag_lofoten Facebook: vaaglofoten Vimeo: user133617126 Pinterest: VAAG_LOFOTEN

Hattvika Lodge. Photo: Stephen Citrone

Moloveien. Photo: VÅG

A Swedish Classic

www.svenskhusman.se

Juxtaposing old and new through attentive decoration

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 century 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 careful consideration,” says interior architect Kari Cecilie Andersen. eas of the building bit by bit, whilst bringing the library back to life and enhancing its former glory. That included establishing 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 interiors, lighting and reception desk have all been specially designed by us. Existing benches and stools got new leather seats, and we have consistently incorporated 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

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,” explains Andersen.

A modern meeting place 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 architects focused on revitalising the public ar-

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 disturbing sounds.

“In the cafe and lounge areas, it was important for us to ensure comfort and a warm ambience, with armchairs, soft fabrics and floor lamps for a cosy setting,” says Kristiansen. Throughout the library, Andersen and Kristiansen have emphasised 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 natural, long-lasting materials that can be recycled, repaired and reused. Chairs and other furniture have been upholstered in leather and solid wool fabric. “We use tailored solutions to ensure distinctiveness and identity, as well as longevity,” says Kristiansen.

Inspired by antiquity 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 conducted in collaboration with Entra, who had the role of head builder and oversaw the practicalities on behalf of the National Library. Entra is one of Norway’s leading real-estate companies in developing and managing energy-efficient buildings. Entra describes Kristiansen and Andersens’ interior work as creative.

Whilst maintaining the authentic atmosphere and interiors was a priority, blurring the lines between history and contemporary was important for Andersen and Kristiansen. “Arguably one of the biggest tasks was designing and incorporating a new hub for the National Library’s map centre. The maps are extremely 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 designed a lightproof, box-shaped aluminium 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 planning, 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 Interiørarkitekter and Katrine K AS.

www.aintark.no www.katrinek.no Instagram: @oslointeriorarkitekter @katrinek_interiorark

Vabø is currently working on a complete renovation of a Jugend-style property from 1912. Photo: Per Bendiksen

Heritage-informed architecture

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 Vabø

Vabø 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 commercial projects and competitions, always keeping in mind the architectural heritage of her projects.

“I want to contribute to an architecture that respects its surroundings and its historical context. Giving projects a reason 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 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 insightful architecture and a new outlook.

Vabø is a firm believer that good, considerate architecture can generate change, improve quality of life and ultimately improve the world. She says: “a lot of the answers for future development should lie in what has been.”

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 challenges we are facing? Ideally a building, be it old or new, should remain standing for 100 or more years.”

The value of history and culture in architecture Based in Stavanger, Vabø is passionate about the city’s history. Here, timber has always been an important building material. Throughout the last six years of practicing Studio Vabø, she has ‘collected’ projects from every decade, from the

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 building industry as in England’s.

“All architecture schools teach the history 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. Stemming from ancient Greece and Rome, classicism produced a built aesthetic focusing on proportion, structural clarity and form,” she explains.

Creating character and atmosphere 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 because the regulations allowed for building 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 permission first, the municipality said no to the developer’s initial box design and forced them to redesign. As a new architect, that was a pretty big win for me – to be able to contribute to creating a neighbourhood 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, ensuring 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 letting 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 solutions 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.”

For a recent project, Vabø was inspired by a neighbouring barn to create a building at one with its surroundings.

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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 Ellingsen

Ark-Tellus: Making contemporary design personal and sustainable

Based 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 architects Eivind Hanch-Hansen and Sverre Aaker Sondresen. Since its establishment, Ark-Tellus’ team has grown from the duo to a small architectural family. Including Vera, the lump of joy of an office dog, there are now six employees.

Personalised designs and sustainability With the exception of a few larger housing projects, Ark-Tellus mostly works with smaller home or cabin designs for private, individual clients. As a result of this, they value and prioritise personalisation 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 possible affects the surrounding nature, while also contributing to a modern architectural language for our time,” Sondresen says. “In many ways, we try to make our designs coexist with the landscape, creating 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 conservation of surrounding nature is a part of Ark-Tellus’ mission to be more sus-

Ekelunden bedroom. Photo: Espen Grønli

tainable in their work. “There are many aspects to consider for an architectural firm when trying to promote sustainability. Every little detail matters, from natural 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 understanding 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,” Sondresen 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 producing something modern and new for the family, we decided on a contrasting extension 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.

Ekelunden, exterior. Photo: Espen Grønli

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A quiet place in the archipelago 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.

Ospedalsholmen interior. Photo: Margaret de Lange

Beautiful houses in exotic places, between mountains and fjords

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 Arkitekter

Norway is a sprawling country of mountains, 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, Italy. This means there are plenty of beautiful plots of land to build a home on, but also vast distances between bigger cities and small towns and villages. But Bygextensive 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

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 construction goods chain Byggfag. Their head office is in Ålesund, but their dealers cover large parts of Norway. They have

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 dealers, 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.

From a house to a dream home Location, form, function and quality of life are the cornerstones of how the architects 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 exposed 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 surroundings affect our mood, so a house must take care of both physical and emotional needs. You invest in more than just a house, you invest in a high quality of life.

Building the dream 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 estimating the price. We also check the regulations 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 construction. “We are humbled and proud to help create the most important space for people – a home,” Torvik concludes.

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FINNISH AND INTERNATIONAL ARCHITECTURE AND INTERIOR DESIGNMini Theme:

Anttinen Oiva Architects, Wood City, Helsinki 2021.

Architecture in tune with nature

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.

By Kristo Vesikansa, editor-in-chief of Finnish Architectural Review, in collaboration with the Finnish Association of Architects (SAFA) | Photos: Tuomas Uusheimo

This tradition offers Finnish architects good conditions for pursuing carbon-neutral construction, although its potential has not yet been fully exploited. high-rise residential and office complexes in the centre of Helsinki.

Many architects today think that, instead of complex technical systems, the path to sustainable architecture can be found in traditional building techniques. For example, K2S architects have designed a new church in Ylivieska with solid masonry walls, timber roof trusses and natural ventilation. The steep-roof exterior references medieval parish churches, while

In any case, timber construction has increased its popularity, and the Wood City, designed by Anttinen Oiva Architects, shows that it can even be used to build

natural light fills the interior in a way similar to that in modernist sacral buildings.

The pursuit of sustainability has made conserving, reusing and transforming existing buildings an increasingly important part of architects’ work. This is indicated by the fact that the Architecture 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 copper-plated extension.

K2S Architects, Ylivieska Church 2021.

JKMM Architects, Kirkkonummi Library 2020.

Åkerudden misty day.

Project Å, a single-family home in Raseborg. Visualisation by Aisto

Two Sisters project.

Where simplicity meets sustainability

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.

By Ndéla Faye

For studio founder Mathias Nyström, less is more: “I tend to favour simple wooden structures over ones with many components. 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 fulfill 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 of Antiquities. The construction will be a big challenge, due to the cultural and historical 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 surroundings. This is something I live by and apply to all my projects,” he concludes.

cornerstones of the project were authenticity 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 located outdoors,” Nyström explains.

Soon, the architecture firm will be working on a project in Ekenäs old town, which is protected by the Finnish National Board www.mnyark.fi Instagram: @mny_architects Facebook: MNY Architects

Sauna, hand-hewn log, located in Ekenäs archipelago. Visualisation by Aisto

Pavilion and surrounds. Photo: Pyry Kantonen

Designing meaningful and memorable places

Verstas 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 Faye

Verstas Architects is an award-winning architectural practice, founded by Väinö Nikkilä, Jussi Palva, Riina Palva and Ilkka Salminen in 2004. In the early days, Verstas Architects spent their time partaking 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 garage band,” Jussi Palva laughs.

Since then, Verstas Architects has grown into a team of 50 specialists, comprising architects, urban designers, inteas an impressive portfolio. “Our staff are able to work at various scales from master planning down to intricate details. The name Verstas (meaning workshop) describes our methodology, which entails close-knit collaboration between clients and our team to ensure a tailored final design,” 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 pavilion’s aim was to give visitors a taster of the Helsinki Biennale, located on Vallisaari island. Our goal was to attract as much attention as possible to the busiest part of the city, both physically and visually,” says Ilkka Salminen.

As a contrast to the angular government buildings in the city centre, the Helsinki Biennial Pavilion’s circular shape and

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 sustainable 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

smooth surfaces are a nod to Vallisaari’s ponds and pothole formations, while the island’s cliffs were used as an inspiration 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 assembled in-situ from prefabricated modules,” he adds.

Creating peaceful places For Verstas Architects, creating places – as opposed to just spaces – that are comfortable and peaceful is important. “This applies to both indoor and outdoor spaces. In the age of digitisation, daily screenuse and the subsequent visual chaos, it feels important to counter-balance that with an environment that invites harmony 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 located on the iconic Otaniemi campus site in Espoo. The campus was originally designed by architect Alvar Aalto and is internationally renowned for its 20th-century 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 university premises, a metro station and commercial spaces. “The project has been a success, and the campus site has transformed into a social space and a public transport hub. These culturally significant environments inspire us to respect the current surroundings while strategically enhancing the existing context,” Jussi Palva continues.

Thriving on challenge Verstas Architecture is motivated by challenges, and the team gets a thrill from working on demanding projects – and then seeing them come together through skilful design. Currently, one of their biggest logistical challenges is the extension of the Lapland Central Hospital, slated for completion in 2023. The hospital extension includes a new building as well as an internal street, which connects the various parts of the hospital campus.

True to their style, the project design draws inspiration from nature: the hospital’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 people’s everyday lives, and we want to make those moments meaningful and memorable too,” she concludes.

Aalto University. Photo: Andreas Meichsner

Saunalahti School. Photo: Andreas Meichsner www.verstasarkkitehdit.fi Instagram: @verstasarchitects Facebook: Verstas Architects

Pavilion from the inside. Photo: Pyry Kantonen

Barcelona, Superilla.

Barcelona, Superilla Poblenou. Barcelona, Superilla.

Getting to know a city through architecture

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. 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.

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 www.architectours.com