After more than a decade since the initial idea for a James Turrell Skyspace at the Aros museum in Aarhus was hatched, Turrell’s one hundredth Skyspace, As Seen Below—The Dome, is now finally open.

It’s a massive feat of construction, carried out immaculately by Schmidt Hammer Lassen Architects, who also built the Aros museum. Forty metres across and sixteen metres high, The Dome is one of the largest of Turrell’s Skyspaces. Here, as in much of the artist works, the architecture is not simply a placeholder for his art, but an integral part of it.

'The architecture holds the sky close, so you recognize that the act of looking is the work itself. Here, light isn’t description, it’s the substance you stand within,' Turrell explains.

Visitors approach the dome through a one-hundred-metre-long corridor below the museum and emerge into the massive space, resembling something from a science-fiction film set, void of any decoration. There is simply the dome, a gently sloping floor made of concrete tiles with a central circular “eye” made of Norwegian granite directly below the six metre wide aperture in the centre of the dome, and a circular bench around the perimeter set at a slightly smaller diameter than the dome itself.

The interior of the dome itself is constructed of individual petal-shaped fibreglass panels that have been smoothed with putty by one dedicated construction worker called Heinrich. 'He basically did the whole dome himself, as he wasn’t comfortable letting any other people work on this,' says Jette Birkeskov, Partner-in-Charge and Project Director at Schmidt Hammer Lassen, who, together with Morten Schmidt, has played a central role in the collaboration throughout the project’s development.

The dome is finished in three coats of matt white paint and 1,100 LED light sources around the perimeter light up the walls, contrasting with the sky as seen through the aperture. The magic happens when Turrell changes a seemingly grey Danish sky into bright blue, green, pink or purple. Our eyes deceive us, and we adjust the colour of the sky to contrast with the colour of the walls. So what at one moment looks like a bright blue sky (due to a white/yellow contrasting light on the dome’s walls) slowly turns green, then grey and pink as Turrell adjust the colour temperature of the LED light within the dome.

Turrell’s Skyspace requires time to fully appreciate. It is the subtle changes in light, wind, a sudden glimpse of a bird flying above the aperture or someone dropping a phone on the dome floor reverberating throughout the dome, that create a unique experience in time and space. No two visitors will have the exact same experience, and no two visits will feel the same. This is the power of Turrell’s art and it will provide a huge draw for visitors to Aros for decades to come.

aros.dk

Walking through a serene, abstract forest – complete with smells, sounds and shapes of logs, stumps and trunks, arranged across the room in all directions – is an inviting proposition. Yet this installation, taking pride of place in a large, high-ceilinged ground-floor area in the Material Matters show at 3 Days of Design 2026 in Copenhagen this week, is much more than a calming, grounding experience. Titled 'Wood for the Trees', led by the American Hardwood Export Council (AHEC), designed by London studio Mitre & Mondays and made by specialist furniture maker Benchmark, the hardworking piece was conceived to celebrate timber as a design and building material; but also to express the richness and vulnerability of our forests as natural ecosystems.

Walk through AHEC's abstract forest

The project came to life after Mitre & Mondays met with AHEC at the latter's documentary film screening in London last year. Forested Future, directed by Petr Krejčí, explores tree ecosystems and forest environments – going beyond the wood as an end product and delving into its provenance and natural home. It also highlights how forests are living systems that can regenerate and support and give life to those around them, from fauna to human communities.

Suggesting they translate the film's vision into an immersive installation, Mitre & Mondays' three directors, Finn Thomson, Josef Shanley-Jackson and Freya Bolton, set off to create their new piece using American hardwoods. The result is now displayed at this year's 3 Days of Design in Copenhagen (10-12 June 2026).

The emerging London studio is fast making a name for itself for combining design and making through inspiring material explorations. The trio have a distinctly hands-on approach that allows them to deep dive into each material's properties, advantages and challenges, working with anything from timber to metal and stone.

'We've had this huge renaissance around food produce and understanding where our food comes from recently, for example,' Thompson says. 'As designers, we need to understand that [provenance of materials] as well, especially with really natural products, like timber. And we need to try and get closer to the natural forest to understand what we can use out of it instead of demanding what we want.'

Here, the Mitre & Mondays team blended wood structures with audio recordings of forest sounds and smells to recreate the experience of walking through nature. There are representations of 'fallen logs', which now serve as benches, 'stumps' that are seen here as stools, and 'live tree trunks' – columns of varying heights dotted across the room. The tree canopy becomes a series of delicate veneers hanging from the ceiling. Species are mixed, just as in the real forest scenario, and work together beautifully.

The team were mindful about how they use their raw material throughout, Thomson flags: 'We've kept the timber in plank form, so in future it can be used for other projects. All of this show could go back into a stack and become something else, which is really nice. We haven't affected it too much. The material retains its value.'

'Wood is nature's gift to the material world. We're surrounded by it,' says the European director for AHEC, David Venables. 'But we take the material for granted because we're in a world where there are so many materials. Nature's made it available to us; we need to respect it and value it. It is beautiful, varied and renewable.

'Wood is so unusual because you can use it in its raw form. The beautiful things we're sitting on, the objects that are part of this exhibition are all raw planks of wood. They've been cut with a fine knife, and they've been oiled with a natural oil. That is all.'

Part of the mission of AHEC and this abstract forest experience is to highlight the natural resource that forests can provide, one that we can cleverly use and must also protect. 'The power of the architect and designer to influence should never be underestimated. It starts and it ends with them,' Venables adds.

'Mitre & Mondays came back with this brilliant idea of creating an abstract forest. They were so inspired by the elements of the film, about the growth of the trees and the dynamism of nature, the selection, the planning and stewardship that foresters and communities and timber people put in place to look after their woods. This is the context that we're talking about.'

americanhardwood.org

mitreandmondays.co.uk

benchmarkfurniture.com

When the Cori Hornbæk Hotel opens its doors this summer, it will not only revive a Danish architecture classic, but also herald a new hospitality era for the north shores of Zealand island, one that taps into the area's early 20th-century incarnation as a seaside resort.

Step inside the Cori Hornbæk on the Danish Riviera

On a sandy beach, facing the blue waters of the Kattegat strait, the Cori's original building was designed by Ole Falkentorp in 1935, bridging early modernism with a Scandinavian functionalism in a streamlined style that makes its soft curves and white volumes gleam under the region's softly luminous skies. A much-loved badehotel (seaside hotel), it was famous in the region for its role in the nation's health and holiday habits, as well as for its prominent position in the resort town of Hornbæk, but fell into disrepair after the Second World War. Enter developer Copi, a group with a strong track record for revitalising historical buildings in its home city, Copenhagen, which acquired the building at an auction in 2022.

Copi founder Jesper Brunander says: ‘One of our greatest passions is the restoration and transformation of heritage properties. For us, Cori represents a rare and exciting opportunity to restore Ole Falkentorp's architecture to its original purpose and former glory. On a more personal level, we all have a special and personal connection to Hornbæk. We wish to see this building, which we have known our whole life, come back to life, open its doors to locals and new guests.' Copenhagen-based Jon Clausen, of NVMBR Architects, and Scandinavian studio AART were in charge of the building's refresh and architectural updates, while London practice Afroditi took on the creative lead and the task of transforming the space for the 21st century.

‘We looked at amazing archive imagery,' says Afroditi founder Afroditi Krassa. ‘The hotel was very glamorous when it first launched. It attracted an international, artistic crowd. We had a meal with the owner, and I remember distinctly he said, “I don't want baby blue stripes in this hotel”. It summarised everything that we were already thinking.' The design team's pairing of the Nordic region's legacy in warm minimalism with a more international, contemporary spirit has resulted in a space where both locals and tourists can feel at home, where design is ever-present but effortless.

The building, which cuts a distinct figure against the area's fairly low-rise context, was woven into its surroundings with the help of landscape architects Effekt. Meanwhile, inside, Gubi collaborated with Afroditi to work on the majority of the furniture and a bespoke line for the hotel, which offers 77 rooms and five townhouses. It also encompasses a bar, a restaurant headed up by chef Brian Mark Hansen (whose career includes 16 years at the Michelin-starred Søllerød Kro), and a spa, all accessible to guests and locals like. ‘We want the people of Hornbæk to come, for Cori to be part of their daily life,' notes Krassa.

This balance between Danish tradition, a sense of place and a touch of contemporary, gentle luxury defines Cori's identity. ‘The most important thing to me is that you should feel that you're in a resort environment that's very natural, earthy and luminous,' says Krassa. Tapping into Cori's original soul of escape and glamour, and weaving in 21st-century sensibilities with a quiet, welcoming warmth, this project revives a period landmark for the next 100 years.

corihotel.dk

afroditi.com

The deep-rooted connection between design cultures in Denmark and Japan is well documented. So much so that, in the last decade, it has given rise to the slightly wince-inducing catch-all term ‘Japandi’, a word invented to make a particular aesthetic of minimalism and honest materials more marketable. However, to reduce the connection between the two design cultures to moodboard-level aesthetics alone, Wallpaper’s Japan editor Jens H Jensen argues, is to miss the point entirely.

'When people think about Japanese design, they often only think about the simplicity of the design. I see it more as an honest and very pragmatic approach that resonates well with the Danish design tradition, where form always follows function,' he tells Wallpaper*. 'Japanese [and Danish] design isn’t simple to try to be minimalist. It’s simple because it’s often the most pragmatic way of making a certain product, resulting in honest, no-frills objects that require an extremely high level of craftsmanship to execute well.'

For Jensen, it is the close relationship between designers and manufacturers that distinguishes Japanese design objects from products that simply trade on a Japanese-inspired aesthetic.

'You might be able to get some nice photos for Instagram, but if you look at many of these Japanese-inspired products up close, the level of craftsmanship simply isn't there.'

‘Japanmade Vol.I’ at 3 Days of Design 2026

In ‘Japanmade Vol.1’, an exhibition being held next week (10-12 June) during 3 Days of Design 2026 in Copenhagen, Jensen – who has lived in Japan for more than 20 years – has teamed up with fellow Danes at OEO Studio – which has a project office in central Tokyo – to explore this connection. ‘My aim with “Japanmade” is to highlight contemporary design made by real craftspeople, objects that are built to last a lifetime. The quality of the materials and finishing touches is on a completely different level.’

Located in the same building as the city's harbourside exhibition space Pakhus 11, ‘Japanmade Vol.1’ occupies three connecting rooms accessed by a different entrance. Within these intimate spaces, visitors are presented with an edited selection of Japanese design as seen through Jensen's and OEO's Danish lens. The selection includes work from five brands working exclusively within Japan and across a broad range of materials – from washi (Japanese paper), solid brass, hinoki wood, soy wax and even plastic. Works are presented on staging made from cardboard pallets – a low-carbon solution that OEO and Jensen hope will make the experience feel more like visiting a gallery than a traditional interior design exhibition.

Thomas Lykke, who founded OEO Studio with Anne-Marie Buemann in 2003 and has maintained a presence in Japan for nearly 20 years, describes the exhibition as ‘a distilled and edited selection viewed through a holistic lens and approach’. While Japanese and Scandinavian design are often grouped together through shared qualities such as simplicity, craftsmanship and material honesty, he believes the relationship is more complex. ‘There are certainly links and shared values between Japanese and Scandinavian design,’ he says. ‘That said, the bond goes deeper than that.’

Jensen shares that view. ‘I think that Japanese design is highly respected and appreciated throughout much of the global design community for its simplicity and extraordinary attention to detail. However, there is a tendency to focus on very traditional crafts. I hope Japanmade can help to show the variety of materials and production methods.’

For example, Sekisaka, a 300-year-old Japanese manufacturer from the Kawada district of Sabae City, Fukui Prefecture, will present contemporary objects informed by traditional Urushi lacquerware, but realised in durable resin and ABS plastic that make them suitable for daily use in schools, hospitals and airlines.

MAS, a sub-brand of Karimoku Furniture, will showcase furniture rooted in Japanese woodworking expertise, including pieces made from hinoki – Japanese cypress – a durable, lightweight softwood more commonly associated with traditional architecture and construction than furniture making. Meanwhile, 300-year-old handmade paper workshop Naowashi by Gen Taniguchi, in Nao, Saga Prefecture, will show products made entirely from locally grown kajinoki paper mulberry rather than the more typical kozo variety. Kajinoki fibres are longer and intertwine more easily, producing paper that is both thin and strong.

Artisanal soybean candlemakers Sheep will display candles handmade at its workshop in Nagoya City, Aichi Prefecture, using high-quality soy wax, pure essential oils and cotton wicks, while New Light Pottery, a lighting studio based in Nara, the ancient former capital of Japan, will present lamps that celebrate the beauty of local materials such as Japanese washi paper, glass, ceramics, lacquer-finished brass and marble

'The strong bond, mutual respect and physical proximity between designer and manufacturer play a big role in the final product. This is something I believe is quite unique to Japan and is something to celebrate,' reflects Jensen. 'In Denmark, for instance, many of the famous furniture makers now produce outside of Denmark. I truly believe something essential gets lost when the distance between design and production increases.'

The exhibition's 'Vol.1' title suggests that ‘Japanmade’ may be the first in a series. 'Only the future can tell,' Lykke says. 'Having said that, we naturally hope “Japanmade” will evolve over time. We'll take it step by step and see where the journey leads.'

‘Japanmade Vol.1’ will open during 3 Days of Design from 10-12 June at Dampfærgevej 2, Nordhavn, Copenhagen

In the canon of design, one region stands apart – defined by a visual identity as distinctive as it is sought after: Scandinavia. Following the early 20th century, the Nordic countries became known for marrying modern industrial design with social-democratic ideals, producing objects that were simple, functional and affordable – and which continue to command an outsized place in the design conversation today.

Denmark remains a particular bastion of this tradition. The country industrialised later than many European counterparts, and traditional craftsmanship retained its influence even as modernism took hold, yielding a design sensibility that achieves something rare: minimalism with warmth. That influence has since permeated broader visual culture, felt in everything from Apple's product philosophy to the aesthetic of contemporary apartments, cafés and interiors worldwide.

The Danish design boom of the 1930s to 1960s gave rise to a remarkable generation of studios and manufacturers – many still deeply relevant today – responsible for some of the most classic objects of the last century. Ahead of 3 Days of Design 2026, running in Copenhagen from 10-12 June, we turn to the stalwarts of Danish design.

Carl Hansen & Søn 

Founded in 1908 in Odense, Denmark, Carl Hansen & Søn is perhaps best known for producing Hans Wegner's evergreen ‘Wishbone’ chair, which has remained in continuous production since 1950; other celebrated Wegner pieces include the ‘Shell’ chair and ‘CH25’ lounge chair. A champion of sustainably sourced wood and traditional craftsmanship, the brand's catalogue reads like a greatest hits of Danish modernism.

Fritz Hansen 

Established in Copenhagen in 1872, Fritz Hansen has achieved the feat of turning furniture into cultural artefacts – foremost among them, perhaps, are Arne Jacobsen's ‘Egg’ and ‘Series 7’ chairs. The brand collaborates with architects and designers to create icons found across the world – in airports, offices and living rooms – among the most recognisable objects of the 20th century. Piet Hein, Bruno Mathsson and Arne Jacobsen's ‘Superellipse’ table remains a masterclass in collaborative design, while Jaime Hayon's ‘Ro’ chair is a welcome addition to the roster.

Gubi

Gubi occupies a glamorous, slightly more maximalist corner of Danish design, making it a top choice for interiors that call for personality alongside elegance. Founded in 1967 by Gubi Olsen and Lisbeth Olsen, the Copenhagen-based brand helped revive the furniture of Mathieu Matégot, as well as produced the ‘Masculo’ chair by GamFratesi and the ‘Multi-Lite’ pendant by Louis Weisdorf. The catalogue has since grown to include the ‘Bestlite’ lighting collection by Robert Dudley Best and Matégot's ‘Tropique’ chair.

&Tradition 

Founded in Copenhagen in 2010, &Tradition stewards classics by the likes of Verner Panton, Viggo Boesen and Flemming Lassen while simultaneously championing emerging talent, harbouring a curatorial approach that respects heritage without being beholden to it. Panton’s ‘Flowerpot’ lamp is possibly among the most recognisable pieces in the collection, accompanied by classics like Arne Jacobsen’s ‘Bellevue’ lamp, Boesen’s ‘Little Petra’ chair and Anderssen & Voll’s ‘Inland’ sofa.

Louis Poulsen 

When it comes to Danish lighting, one name stands above the rest. Louis Poulsen has been shaping the meaning of light since 1874, but it was the brand's partnership with architect Poul Henningsen that sent it stratospheric – the resulting ‘PH’ series, engineered to minimise glare, remains one of the most sophisticated lighting systems ever devised. Verner Panton's ‘Panthella’ lamp and Arne Jacobsen's ‘AJ’ floor lamp round out an extraordinary archive. Based in Copenhagen, the brand continues to work with leading designers to produce luminaires that treat light as an architectural material.

Fredericia

Founded in 1911 in the Danish town of the same name, Fredericia is a furniture house with a roster that’s grounded, tactile and human – favouring longevity over trend-chasing. It includes Børge Mogensen's ‘Spanish’ chair, a rugged piece that has lost none of its authority since 1958, as well as key pieces from Hans Wegner and Nanna Ditzel. More recently, Space Copenhagen's ‘Palette’ and ‘Spine’ collections have added a compelling contemporary layer.

House of Finn Juhl 

The designer Finn Juhl arguably introduced Danish modernism to America, and this Copenhagen house exists to honour and preserve his body of work. Every piece – from the ‘Pelican’ chair to the ‘Chieftain’ – is produced with total adherence to Juhl's original vision, using the materials and techniques he specified. These are poetic objects, each as much sculpture as furniture, with upholstery floating free of the frame, as was Juhl's style.

Georg Jensen 

Since silversmith Georg Jensen opened his Copenhagen workshop in 1904, the brand has been synonymous with jewellery and homeware inspired by natural forms, which feel alive rather than geometric. The ‘Blossom’ pitcher, ‘Acorn’ cutlery, ‘Bernadotte’ serving collection and Henning Koppel pitcher are among its most beloved works, each underpinned by handcraft and material excellence.

When Børsen, Copenhagen's historical former stock exchange, caught fire in 2024, locals looked in despair as one of the city's oldest and most revered structures – dating from the 17th century – went up in flames, including its instantly recognisable dragon-shaped spire. Two years on, and Dansk Erhverv, the Danish Chamber of Commerce, is now offering a rare view into the construction site, where teams are hard at work repairing the much-loved city monument. A new visitor centre has just opened at the Børsen site, designed by local architecture studio JAC.

Explore the Børsen visitor centre in Copenhagen

The centre takes the form of a space made of 15 industrial containers, linked up together. The resulting interior contains an exhibition, telling the story of the Børsen, the works and findings, as well as the different crafts and skills involved in its restoration – while hinting at the project's future. The project engages with specialists on all the materials in the scheme's original palette, from brick and sandstone to copper and timber.

Indeed, 'Materiality plays a central role in the exhibition,' the architects explain. 'Steel cut from the stacked containers remains exposed and forms displays for architectural models and drawings. Bespoke furniture incorporates fragments recovered from the fire, alongside timber seating elements that reference the warm interiors of the building.

'Visitors encounter the building’s material history directly. Around 40 per cent of the original bricks from Børsen have been cleaned and prepared for reuse, while large quantities of iron fittings and architectural fragments are being carefully documented and restored for reintegration into the building. Many of the sandstone sculptures from the façade also survived the fire and will return to their original positions as part of the reconstruction.'

Importantly, large openings in the containers' sides reveal broad views of the building site surrounding the visitor centre. This way, guests can experience and directly compare old and new, conceptual and the real, day-to-day goings-on at a busy construction site.

Specialising in architecture, scenography and art, JAC studios was the perfect design partner to orchestrate this coexistence. The practice's past works include the Wadden Sea Centre exhibition in Denmark and the Royal Armory Museum at the Stockholm Royal Castle in Sweden.

jacstudios.dk

Copenhagen is indisputably a global design hub, so it should come as no surprise that aesthete travellers head to the Danish capital to feed their senses. Days (and weeks) can be spent swooning through design stores and art galleries, running your hands over tactile textiles, and filling your belly at some of the best bakeries in the world. Whether you’re taking on the city by bicycle or seeking out smørrebrød (or both!), there’s something for everyone and anyone who likes to eat well, shop sustainably, and draw a new source of sartorial inspiration.

With the city’s design DNA and reverence for beauty, it’s no surprise that Copenhagen lays claim to some of the architecturally most interesting and thoughtfully restored hotels in the world. To make the most of your time in the creative capital, make sure to rest your head in one of these considered and artful properties. That way, even your sweet dreams will be design-minded.

Where to stay in Copenhagen

Hotel d’Angleterre

First established in 1755, the 250-year-old Hotel d’Angleterre underwent an extensive refurbishment by C.F. Møller Architects in 2013 to restore the famed property to its former glory. Lovingly called ‘The White Lady on Kongens Nytorv,’ this truly opulent hotel is located in the city square in central Copenhagen and is home to the Michelin-starred restaurant Marchal, as well as a champagne bar, patisserie, and spa. With 55 out of the 92 rooms being suites and each room complete with a delightful mix of age-old antiques, ornate chandeliers, elaborate cornicings, and bathed in sumptuous velvets and brocades all in muted tones, there’s no way to stay here without feeling like royalty.

Hotel d’Angleterre is located at Kongens Nytorv 34, 1050

Hotel Bella Grande

From the hospitality team behind Coco Hotel came the 109-room, Venetian-inspired Hotel Bella Grande that opened in January 2025 – a true standout among the many more muted Scandinavian design hotels. Designed in a collaboration between Cofoco and Danish interior design studio Tonen, the inspiration for the property was an Italian Palazzo. The atrium and restaurant are bathed in pops of pink and rich reds and are an indulgent maximalist space, while the guest rooms are more pared back in palette and calming. ‘We started with a historic building and created a new and classic hotel with a touch of 1980s references thrown into the design,’ says Christian Lytje, founder of Cofoco. ‘Guests have an “Ahhh” moment when they step into the hotel’s soaring atrium, which is a lively and colourful place.’

Hotel Bella Grande is located at Vester Voldgade 23, 1552

Coco Hotel

According to owner Christian Lytje, Coco Hotel was created with the belief that great hospitality can be beautiful, affordable and sustainable ‘It’s like a small Parisian-style hotel with a Copenhagen sense of space and time – modern and classic, vintage and new,’ says Lytje, who opened the hotel in 2020. Located in the buzzy Vesterbro neighbourhood, the 88-room hotel’s lobby and cafe have been embraced by locals as a go-to hangout for both the day and night. The rooms are bright and contemporary with pops of colour, be it an emerald wall or patterned throw blanket, and the luckiest guests will have a room overlooking the luscious, leafy courtyard at the hotel’s heart.

Coco Hotel is located at Vesterbrogade 41, 1620

Hotel Hans

The first commercial hospitality interior project by Norrøn Architects, Hotel Hans may be one of the city’s most recent openings, but it is undoubtedly among its most design-led. Housed in a red-brick building from 1900 by architect Emil Blichfeldt, the hotel marries the aesthetic of two contrasting neighbourhoods: Nørrebro’s creativity and Frederiksberg’s serenity. An Alpi Verdi green terrazzo grid visually unifies the interior and exterior spaces, while floor-to-ceiling openings maximise daylight and views. Throughout, the hotel features bespoke furniture by Norrøn, alongside pieces from Fredericia Furniture, Carl Hansen & Søn and Møbel. A monumental courtyard sculpture anchors the outdoor space, courtesy of design duo Pettersen & Hein. Across the 91 rooms and suites, dark green ceilings, sage-toned walls and bespoke lacquered side tables, desks and cabinets reinterpret 19th-century craft traditions. The atmosphere extends into the warm tones of the Mediterranean-inspired in-house restaurant Bolo.

Hotel Hans is located at Åboulevard 29, 1960

Kanalhuset

Kanalhuset, the 260-year-old, canalside hotel in Christianshavn – owned by the founders of Flying Tiger – has had many past lives. First as an orphanage for young boys and then as the Royal Naval Hospice, all adding to the storied patina of the property’s current use as a colourful, community-driven apartment hotel. The building (which dates to 1754) was given a new lease of life by design studio EEN and opened in 2021 as a layered and cheerful space in keeping with classic Danish design from the 1930s-60s. Each room is unique – the result of EEN’s careful sourcing and scouring of flea markets – and adds to the property’s un-hotel-like feel, made even more homely by the lack of a reception desk and daily communal dinners welcome to locals and hotel guests alike.

Kanalhuset is located at Overgaden Oven Vandet 62A, 1415

Nimb Hotel

The 38-room Nimb Hotel stands in Tivoli Gardens, one of the world’s oldest amusement parks, built in 1843, and the sprawling 1,300 sq m roof terrace, complete with plunge pool, offers arguably the best views of the park possible (and ride passes for all hotel guests!). The original Moorish-inspired building by architect Knud Arne-Petersen harks back to 1909 and has undergone several notable renovations, one in 2007 by Italian architect Matteo Thun to restore the facade and another in 2017 by Pei Cobb Freed & Partners to add 21 new rooms. ‘Our ambition with Nimb was to design a hotel that defies time – a space so profoundly original and quality-driven it simply refuses to fade,’ says Nimb’s interior curator, René Jasper, of the interiors that combine antiques from Denmark, England, and Belgium with art from around the world. Make sure to leave time in your itinerary to spend a few hours in Nimb’s impressive spa, which is complete with a Moroccan hammam and steam area.

Nimb Hotel is located at Bernstorffsgade 5, 1577

Nobis Hotel

Located in the heart of the city centre, the 75-room Nobis Hotel is a stone’s throw from Tivoli Gardens, Copenhagen Central Station, and the Ny Carlsberg Glyptotek art museum. ‘When I first saw the 1903 property, I was struck by an immediate sense of awe,’ says Nobis owner, Alessandro Catenacci, of the former Royal Danish Conservatory of Music – originally designed by Martin Bloch – that contains marble staircases, lofty ceilings, intricate stucco work and graceful balustrades. All such details were preserved in the building’s thoughtful renovation by famed Swedish architect Gert Wingårdh in 2017. The project blended Danish classicism with Swedish sensibility to create the ultimate luxury city hotel with all of the latest amenities, including a fitness centre and spa with sauna and cold plunge.

Nobis Hotel is located at Niels Brocks Gade 1, 1574

Hotel Sanders

The 54-room Hotel Sanders is tucked away on an unassuming side street right off Kongens Nytorv, which makes walking into the hotel’s charming lobby all the more surprising. ‘Entering Sanders is like stepping into a theatre,’ says renowned ballet dancer-turned-hotelier, Alexander Kølpin, who opened the hotel in 2017. ‘Guests will always remain centre stage, but the carefully curated interiors will be the elegant and exquisite backdrop for their experience.’ Designed by British design firm Lind + Almond, the interiors weave the best of Dutch mid-century with British colonialism, infused with a touch of Paris. The result is a layered and characterful space best enjoyed in the glow of candlelight at the cocktail bar or perched in front of the lobby’s numerous fireplaces. Hotel Sanders is unpretentious, intimate, and a favourite among Copenhagen’s most style-minded visitors.

Hotel Sanders is located at Tordenskjoldsgade 15, 1055

Hotel SP34

In the heart of Copenhagen’s bohemian Latin Quarter, Hotel SP34 is a bijou bolthole balancing mid-century and contemporary Nordic design. Home to 118 rooms and suites, guests can choose from intimate single bedrooms to penthouse suites with private balconies or a rooftop terrace. Formerly known as Hotel Fox, Brøchner Hotels (the group behind city hotspots Hotel Danmark and Hotel Astoria) tapped Danish architect and designer Morten Hedegaard to dress the sumptuously snug interiors with local furnishings and finishes, including moulded wood and caramel leather headboards, bespoke ceiling lights by Rubn, and an adaptation of the Hans Wegner Rope Chair design. The hotel’s buzzy restaurants include Vækst, which focuses on Nordic flavours, the American diner Cocks and Cows, and Din Nye Ven, an authentic neighbourhood coffee house.

Hotel SP34 is located at Sankt Peders Stræde 34, 1453

Villa Copenhagen

The former Post Office building was thoughtfully brought back to life by Goddard Littlefair and Universal Design Studio in 2019 to create a space that was contemporary, uncluttered and calming. This property, which became the 390-room Villa Copenhagen, was originally built in 1912 in the Neo-Baroque style, which provides an interesting counterpoint to the pared-back contemporary Danish interiors meant to make guests feel like they’re at home. Guest rooms blend brushed chrome finishes with oak parquet floors, with special touches like customised Louis Poulsen desk lamps and Finn Juhl armchairs. For the colour palette, Universal Design Studio looked to the paintings by Wilhelm Hammershøi to infuse the space with ‘sludgy grey-green, dark brick-red, and ochre.’

Villa Copenhagen is located at Tietgensgade 35, 39, 1704

The Iconic Nordic House is a triumphant survey of some of the most spectacular houses built in the last century, taking the reader on a journey from Carl and Karin Larsson’s eccentrically colourful and warm Arts and Crafts domesticity through to the gravity-defying landscape artefacts that define the Scandinavian house in the modern era.

Explore ‘The Iconic Nordic House’

Written by indefatigable chronicler of contemporary architecture and Wallpaper* contributor Dominic Bradbury, with all-new photography by his regular collaborator Richard Powers, The Iconic Nordic House features 40 defining projects from Sweden, Denmark, Norway and Finland, as well as homes located on Iceland and the Faroe Islands.

Nordic design never really lost its inspirational power, and the assembled structures show why. From Carlsson and Josef Frank, through Gunnar Asplund, Eliel Saarinen, Arne Jacobsen, Alvar Aalto, Jørn Utzon, Sverre Fehn, Finn Juhl and more, the book includes some of the best-known examples of residential design by these influential 20th-century architects. Bradbury traces the origins of these key projects and interviews many of the contemporary architects.

Landscape plays just as much a creative role as the architects, with projects alternatively hunkering down and being absorbed by their surroundings or standing tall and contrasting with the wilderness. Both approaches can be found in the book, from Matti Suuronen’s pop icon, the Futuro House, to Studio Granda’s Hof House in Iceland, a low-lying assemblage of green roofs, weathered oak and dark volcanic stone.

It would take a heart of stone not to identify a single personal domestic dream space within these pages, testament to both the photographic craftsmanship of powers and the enduring quality of these forty examples of unique, idiosyncratic design.

'The Iconic Nordic House: Modern Masterworks since 1900,' Dominic Bradbury, with photographs by Richard Powers, £50/$65, ThamesandHudsonUSA.com

Dorte Mandrup’s Wadden Sea World Heritage Centre, the Danish architect’s second work within the Unesco-protected region, connects landscape, science and emotion in a spiral of movement on the Netherlands’ northern shores. It’s located in Lauwersoog, a little-known coastal community, just north of Groningen, with a palpable sense of rhythm. Between the brackish calm of the man-made Lauwersmeer lake and the tidal expanse of the Wadden Sea, the Dutch harbour village sits where land, water and sky blur into one another.

The recently completed project consists of a sculptural timber spiral rising from the water surface. Both a building and a landscape, it is a place of movement, observation and return, and forms part of a family of structures, including the Wadden Sea Centre in Ribe, Denmark (completed in 2017), and the soon-to-be-finished Wadden Sea World Heritage Visitor Centre in Wilhelmshaven, Germany. Together, they form a trilogy exploring humankind’s fragile relationship with this immense intertidal world – the largest of its kind on the planet, stretching across the coasts of Denmark, Germany and the Netherlands.

Explore Dorte Mandrup's second Wadden Sea centre

‘It’s fascinating,’ says Mandrup. ‘The Wadden Sea is one continuous system, yet it changes as you move from Denmark to Germany and the Netherlands. The landscape looks the same from above, but what lies beneath it – culturally, historically, emotionally – is always different.’ If the origami-like Ribe centre folds the flat Danish landscape upward, Lauwersoog brings the idea of a spiral or a twist, inspired by the rhythm of the tides and the turning of the harbour.

Unlike more conventional museums, it functions as both an exhibition and a field station. This is a place of cohabitation, where scientists, conservationists, volunteers and visitors share space and knowledge. Behind the walls, researchers can observe the Wadden Sea’s microscopic life; in adjacent tanks, rescued seals undergo treatment before returning to the water. The idea is to encourage empathy not through spectacle, but through proximity.

‘The architecture creates a physical and curatorial journey,’ says Mandrup. ‘Visitors move past laboratories and recovery areas, seeing the seals as they progress from treatment to being released back into the wild.’ The permeability between frontstage and backstage is intentional. ‘You can witness research and care as it happens,’ says the architect. ‘It makes the experience of the Wadden Sea more tangible. It’s about understanding that we are part of the same system.’

A sloping path leads visitors from the harbour to an open reception hall and the exhibition, laboratories and rehabilitation areas beyond. The journey culminates on a rooftop terrace with a 360-degree panorama where land, water and sky converge. Mandrup notes that the project, originally conceived as a raised structure on stilts, gradually settled onto the ground through years of local negotiations. Yet the idea of movement – of ‘rising and turning with the water’ – remained a constant. ‘It’s about movement on a physical and psychological level,’ she says. ‘A building that lets you understand the landscape by moving through it.’

Much of Mandrup’s recent work takes place in what she calls ‘the edges’; places where nature and culture overlap, where human intervention meets raw geography. From The Whale in Andenes, Norway, to the Ilulissat Icefjord Centre in Greenland, her architecture is a dialogue between shelter and exposure, intimacy and vastness. ‘The periphery is never static,’ she says. ‘There’s a constant negotiation between what is cultivated and what is wild. Architecture can’t control it – it can only make us aware of it.’

In Lauwersoog, that awareness is amplified by context. The centre sits at a literal and symbolic threshold: between the productive harbour with its fishing vessels, and the protected sea, home to organisms, animals and migratory birds that travel thousands of kilometres each year. From the roof terrace, one can trace the horizon through farmland and wetlands to the open sea – a continuous gradient of human and more-than-human worlds.

If the building’s movement evokes the tide, its material palette speaks of endurance. Timber, glass and steel are layered with restraint; the composition quiet, almost austere. ‘When a building works, its story is usually quite easy to grasp,’ Mandrup says. ‘That clarity allows complexity to unfold naturally. You sense both the human and the more-than-human. The building becomes a bridge – not an object in the landscape, but a way of seeing it.’

Inside, the atmosphere shifts from the grounded tones of the harbour to the light-infused upper spaces. As in all Mandrup’s projects, craftsmanship is inseparable from context: the detailing of joints, the rhythm of boards, the precise calibration of light. A façade of reclaimed and weatherproof basralocus wood, salvaged from a former military harbour in Kiel, bears the patina of salt, wind and time. More than 200 mooring posts were cleaned, cut and mounted to provide both solar shading and filtered glimpses of life inside. ‘The materials have lived a life before this one,’ says Mandrup. ‘They carry the story of the harbour and its culture. When you touch the façade, it’s like touching something that has travelled through decades of human use and exposure.’

As one reaches the end of the spiral, the view opens wide, with the Lauwersmeer behind and the Wadden Sea ahead. Standing there, one senses the building not as an object in the landscape, but as a lens through which to see it. ‘Architecture can’t create meaning from nothing,’ Mandrup reflects. ‘But it can point to the meeting of forces – where the human, the historical and the natural overlap.’

dortemandrup.dk

ontdekwec.nl

Creating a cluster of compact quasi- anthropomorphized devices seems to be a surefire way of attracting attention. Teenage Engineering’s Wallpaper* award-winning Choir is a case in point, as was the Little Signals concept project by Map Project Office and Google, and the robotic companion component in Layer’s Concept T suite for Deutsche Telekom.

Now Danish studio Swift Creatives is on the case, only this time there’s even more of an android element. Conjured up by the studio’s Innovation Lab, this trio of wooden bots – Beamer, Hover and Bot – combine richly crafted and turned Danish wood with subtle notification-activated motions.

These motions are intended to tug at our emotions, not alarm us with lights or vibration, with what the studio calls ‘Kinetic Tech’. Each of the three smart objects has its own motion, with tilting, twisting and nodding ‘heads’ that serve as a visual (and gentle audio) cue that something has happened – be it a message notification, a delivery or whatever you desire.

The three are compact (153mm for Beamer, 164 mm for Bot, and 170mm for Hover), designed to slot into shelves of ornaments or among desktop devices. With their soaped and smoked oak finish, Swift Creatives describe the bots as a blend of ‘Danish design tradition with embedded sensors and software’.

‘In Denmark, we’ve always had a strong tradition of craft and natural materials, thanks to the work of designers like Kay Bojesen,’ says lead designer Lars Lynggard, ‘These wooden bots extend that heritage into the connected age, making technology that children, parents, and even grandparents can welcome into their space.’

Swift Creatives incubated the project in the firm’s Innovation Lab, what it describes as an ‘internal playground for future thinking’. Every aspect of the designs, from initial concept designs to prototypes and the final beautifully crafted oak objects was done in house.

‘The Innovation Lab is all about staying curious, experimenting, and making ideas tangible,’ says Carsten Eriksen, the studio’s CEO Founder, ‘Beamer, Hover, and Bot are perfect examples of how a small concept can evolve into something that blends design, craft, and technology – and can also be warm, visible, and joyful at the same time.’

The Wooden Bots are concepts only. SwiftCreatives.com, @SwiftCreatives_story

Rains Amsterdam, the new flagship store of the Danish lifestyle brand, has just thrown open its doors in the Dutch city's trendy Canal district. The new space, created with Swedish multidisciplinary architecture studio Stamuli, is not only the company's biggest foray into the city and its first flagship, but also the debut of a new global concept for Rains – an interior that reimagines its retail expression and brings together the urban outerwear and accessories business's minimalist and utilitarian approach with a sense of contemporary playfulness.

Rains Amsterdam opens, with a joyful and unexpected interior

Just as with the company's main home, the Rains headquarters in Aarhus, Denmark, the retail concept is elegant, yet dynamic and full of potential. The space, which spans 123 sq m and two levels, including a generous, double-height shopfront main floor, was conceived as a place of experiences – taking the brand's architectural commercial expression to the next level.

In 'very simplistic terms, it is bigger and better', says Daniel Brix Hesselager, founder and CEO of Rains, who worked with Stamuli on stores in the past, but aligned with the practice this time to carve an entirely new take on space.

Emanuele Stamuli, CEO of Stamuli, explains that the new interior is composed of concrete, steel, glass, and textiles – all materials that are, in a sense, commonplace, as well as durable, clear and functional. They reflect the Rains products' ethos and the wider Scandinavian attitude carried within the brand. At the same time, through a fresh play between colour and pattern, the interior here becomes joyful and unexpected.

The Rains Amsterdam flagship is composed of continuous grids, bespoke furniture and an organic, yet industrial surface palette. Technology, such as LED installations on the ceiling depicting the feeling of an ever-changing sky, adds further dynamism to the whole, which is otherwise defined by a raw, almost brutalist feel, pleasantly disrupted by bold shapes and pops of colour.

'What really attracted us to Stamuli was that they have a more organic and more playful approach to retail design than we have had before,' says Brix Hesselager. 'We are rooted very much in strict, minimalistic Scandinavian aesthetics, which can, for some, appear “cold”.’ In this context, refreshing the Rains retail experience was much about balancing things – adding vibrancy to the space, without losing the brand's spirit.

At the same time, it is important to remember that these are 'boutiques', not just 'stores', stresses Stamuli. To achieve the distinction, the studio crafted three parts to the store to reflect the customer's retail journey. First comes the presentation of the collection (which is 'more about identity than lots of product', Stamuli explains). Then comes a deep dive into the collection, through browsing and engaging with it. Finally, the conclusion of the 'shopping ceremony' is the most intimate of all – trying the garments on. This procession helped create distinct areas in the interior.

'We wanted to create a natural flow and an environment that feels almost like an ancestral cave,' Stamuli adds. 'Something cocooning. We wanted straight lines and clean surfaces, but also more of a rough, organic environment, something that brings softness. This is the role of the furnishings and the circular openings. And then some visual elements, like the ceiling-mounted LED screens, can change the overall feel. It is important to us that we can renew and that the customer gets a new experience every time they enter.'

Rains Amsterdam will soon be followed by brand boutiques in Stockholm and Hamburg.

rains.com

In Copenhagen’s Refshaleøen neighbourhood, a simple 72 sq m greenhouse – previously the threshold guests crossed before entering Noma (René Redzepi’s three-Michelin-starred culinary sanctum) – has been transformed by OEO Studio into Noma Projects Flavor Shop.

The project presented a very contemporary challenge: how to translate flavour itself, and the laboratory mentality of one of the world’s most experimental kitchens, into physical form?

OEO Studio designs Noma Projects Flavor Shop

‘René was very specific about what he didn’t want,’ explains OEO Studio co-founder Thomas Lykke. ‘He didn’t want a traditional shop or café. He wanted something that captures the laboratory atmosphere, as well as the playfulness, the quirkiness, the nerdiness, and especially the energy of experimentation.’

The result is a study in contrasts, both material and conceptual. Where Noma the restaurant orchestrates a carefully timed sequential experience, the shop is more informal and invites browsing through the full pantry of Noma Projects and Noma Kaffe, to enjoy in the shop or to take home. In keeping with a particularly Danish sensibility that prizes substance over spectacle and practicality over decoration, there’s nothing performative here: OEO Studio has created a space that is simultaneously raw and refined, allowing the materials to speak without shouting.

Paradise granite from Bornholm anchors the material palette in three separate treatments: jet-burned, honed, and chiselled. ‘It’s the same stone, just treated differently,’ Lykke says. ‘You almost feel they are different stones. It’s a bit like how Noma treats raw ingredients to create flavour: depending on what you do with it, it has a distinct expression.’

The parallel between culinary and material transformation runs throughout: burnt bricks provide warmth, Douglas fir treated with linseed oil adds a subtle blue, and hairline stainless steel and brushed aluminium introduce a cooler, more technical and industrial touch.

Most striking, however, is the contradiction between high-tech circularity and traditional craft. Bespoke glass jars by Danish workshop Holmegaard Værk, designed with a laboratory finish but a hand-crafted feel, sit beneath Terra pendant lamps made from Matek, a sustainable material made of coffee shell and wood waste mixed with recycled e-waste.

‘We both have an obsession about the crafted feel in combination with technology,’ says Lykke, ‘and the contrast makes it interesting.’

The centrepiece is an extra-long display table, like a responsive scientific specimen presentation, softened thanks to OEO’s juxtaposition of warm, tactile materials against the cooler, more technical ones. A sculptural pendant with what Lykke describes as an atomic plant aesthetic adds an unexpectedly high-tech accent, its light creating an otherworldly glow.

However, the design’s most memorable aspect may be its newfound openness. The greenhouse reveals the garden, lake, and glimpses of Noma itself, marking a shift in how the restaurant engages with the city beyond its dining room. ‘It’s open to everybody. You can stroll by, go in, touch, go into the garden, have a coffee,’ Lykke says.

This accessibility represents a new chapter for Noma, one that reflects its continual evolution and inventive new coffee programme, which features six baristas and their own in-house roasting operation, as well as a fascinating selection of items from the Noma Projects pantry.

‘They’re taking coffee to the same level as their food,’ says Lykke.

Noma Projects Flavor Shop is open Tuesday-Sunday, 9 am to 6 pm, and until 7 pm on Fridays. It is located at Refshalevej 96, 1432 Indre By, Denmark.

Danish modernism, including the wealth of Danish modernist houses, represents a rich vein of the movement's 20th-century legacy. The country's architects and furniture designers, especially in the 1950s and 1960s, reached an extraordinary level of refinement in their work, combining centuries-long traditions, quality craftsmanship and a holistic vision that brought together functionality, materiality, open spaces and social purpose. Projects by architects such as Jørn Utzon, Arne Jacobsen, Jørgen Bo, Vilhelm Wohlert and Erik Christian Sørensen infused the minimalism of the International Style with the region's sensitive use of natural materials and a connection to the Danish landscape to spectacular effect.

Danish modernist houses: a brief history

The development of modernism in Denmark, and indeed wider Scandinavia, followed the movement's spread across France, Germany, the Netherlands and Czechoslovakia. The strong presence of Nordic classicism in the region in the first decades of the 20th century, and its use of brick, gradually shifted to more modern styles, as highlighted, for instance, in the work of Peder Vilhelm Jensen Klint (his Grundtvig's Church in Bispebjerg, completed in 1940, is an example). Modern expressions continued to evolve in the works of architects such as Kay Fisker, Wilhelm Lauritzen, Arne Jacobsen, Frits Schlegel and Mogens Lassen – and houses were a key component of this change.

During the 1930s, Danish functionalism was fully developed into the specific regional form often referred to as 'Funkis'. At that time, Jacobsen, Schlegel and Lassen started experimenting with replacing brick masonry with the white volumes of Le Corbusier's 'machines for living'. When the growing popularity of the country's vernacular-influenced structures marked a return to designing with bricks, wood and glass in abstracted horizontal forms in the postwar era, homes also evolved into what soon became the typical expression of the golden age of Danish 20th-century architecture. The genre, combining modernist architecture principles with warmth, tactility and a communion with nature, remains popular to this day. One of the movement's last living representatives, architect and designer Knud Holscher, passed away in June 2025.

Three Danish modernist houses to explore

Our contributor, architecture historian Adam Štěch, recently travelled to Copenhagen to document the late Knud Holscher’s groundbreaking house. The trio of homes below (one of which is Holcher's) pays homage to 20th-century Danish modernism and its contribution to residential architecture. The examples here showcase different approaches and the breadth found in the work of Danish modernist architects and their house designs.

Oscar Alfred Borum House (1930/31)

Frits Schlegel was one of the first architects in Denmark to use poured-in-situ concrete to build houses, as well as public buildings. Born in Frederiksberg, Copenhagen, in 1896, Schlegel was an instrumental figure in early 20th-century Danish architecture's transition from traditional to modern forms. Between 1916 and 1923, he studied at the Royal Danish Academy of Fine Arts and later worked for Danish modernist pioneers Edward Thomsen and Gudmund Nyeland Brandt.

While he worked with brick for an early project, the house for a judge and professor of Law at the University of Copenhagen, Schlegel moved to concrete later on. He set up his own studio in 1934 and mastered his concrete skills in the iconic Mariebjerg Chapel in 1936; the Girafe House in Copenhagen Zoo in 1939; and a private house at Bernstorffsvej 17 in Hellerup, north of Copenhagen.

Between 1930 and 1931, Schlegel designed the Oscar Alfred Borum House as a low cubic two-storey home, highlighting its horizontal form with roof overhangs and adjacent volumes. Schlegel’s design was influenced by the Dutch architecture of the time, most notably by Willem Marinus Dudok, and the organic approach of American Frank Lloyd Wright. Stepping through the main entrance, the interior is still kept in its authentic, pristine condition. Large windows bring enough light into the hallway, which features the original geometric handrails and stairs.

Schlegel designed most of the furniture and other interior elements from scratch. Gold-coloured tiles cover a free-standing fireplace in the middle of the living room, and three steps lead to the dining room, which is dominated by a wooden table featuring marquetry that represents an abstract map of the nearby streets, including a portrait of the house itself. Originally, the walls were covered with floral wallpaper. In 1934, Shlegel returned to his work and changed an open veranda into an enclosed winter garden.

Iver and Kirstine Jespersen House (1938)

Just like Frits Schlegel, architect Mogens Lassen – and his brother Fleming – was among the pioneers of Danish modernism. Lassen was born in 1901 into the artistic family of painters. He also studied at the Royal Danish Academy of Arts before working in various architecture studios, including the one run by functionalist Tyge Hvass. An important milestone in his career was his stay in Paris between 1927 and 1928, where he worked for the Danish construction company Christiani & Nielsen.

During his stay, he came across the work of Le Corbusier and Pierre Jeanneret, which had a huge influence on his later work. As a result, Lassen designed several private houses during the 1930s using concrete and Le Corbusier’s construction principles, including pilotis, roof terraces, strip windows, and open-plan living spaces. Influenced by the rise of more organic approaches in architecture at the end of the 1930s, Lassen designed Iper Iversen House, one of the most imaginative and playful Danish modernist structures.

Built for publisher Iver Jespersen and his wife, psychologist Kirstine, the house completes a row of modernist dwellings on Sølystvej Street. For the Iver and Kirstine Jespersen House, Lassen divided the structure into volumes of different shapes and connected them, following the curve of the gently sloping site. Each of the three main volumes has a different roof, from flat to pitched and vaulted, and covers different zones and functions of the house.

The main living area sits beneath the sloping roof and opens up as a double-height, flowing space. In reality, the living and dining rooms are divided spatially by a simple, streamlined suspended staircase, reminiscent of a ship ladder. Organic features are also seen throughout, such as in a beautifully curved brick fireplace. In 1947, Jespersens commissioned designer Finn Juhl to create a series of furniture pieces for the house, including a free-form coffee table and a curved built-in sofa. The house, which is a protected historical monument, is now for sale.

Knud Holscher House (early 1970s)

At the end of June 2025, Denmark bid farewell to one of its last great modernists: architect and industrial designer Knud Holscher, who passed away peacefully in the house he designed for himself in the early 1970s. Born in 1930, Holscher trained under some of the most influential figures of Danish modernism, including Erik Christian Sørensen and Arne Jacobsen. In 1960, he joined Jacobsen’s office and, two years later, moved to England to oversee the construction of St. Catherine’s College. Upon returning to Copenhagen, he became a partner at the renowned architecture firm Krohn & Hartvig Rasmussen (KHRAS).

During this period, he designed his own home in Holte, north of Copenhagen – a project that would become both personal retreat and design manifesto. The house is a study in refined simplicity. Two long brick walls embrace an open, double-height living space, creating both shelter and direction. At one end, a full-height glass façade opens the room to the pond and garden, dissolving the boundary between house and landscape. A glass façade opening guides the gaze toward a tranquil pond and garden.

In the home, Holscher’s dual passions for architecture and industrial design merge seamlessly. Exposed brick walls contrast with crisp white tile surfaces, while metal stairs and handrails create a sense of lightness. The stainless-steel kitchen counters and sleek aluminium cabinetry add a cool, crisp quality to the interiors, reflecting Holscher’s dedication to functional elegance.

In 1995, at the age of 65, Holscher founded his own industrial design studio, further cementing his legacy as one of Denmark’s most prolific designers. He also taught at the Royal Danish Academy of Fine Arts, where he became a professor of design in 1994, consistently championing a holistic ethos of 'good design' – whether for a building or a teacup. Today, his house stands as a testament to his well-rounded approach to design, a minimalist celebration of everyday life, and a reminder of the enduring strength of his vision.

Copenhagen Architecture Biennial 2025 – the global event's inaugural edition – launches this September (running until 18 October) under the theme 'Slow Down'. Organised by CAFx (Copenhagen Architecture Forum) with support from a host of bodies, including LINA European Architecture Platform and the Obel Award among others, and led by Josephine Michau, curator of the Danish Pavilion at the Venice Architecture Biennale 2023, the survey of work on show offers a spectrum of spatial responses to the ‘Great Acceleration’ – a period in history characterised by unprecedented growth and energy consumption. The projects displayed look at opportunities for deceleration and de-growth within the construction industry as a response to ecological collapse.

Copenhagen Architecture Biennial 2025 says: 'Slow Down'

A central group show underpins this thesis, exploring options and design solutions. It is located in the Halmtorvet 27 cultural hub, and from there, visitors are invited to explore the city through a series of additional installations, projects and activations around the main theme.

At one end of the scale, a 28 sq m pavilion – aptly titled Slow Pavilion – by emerging architects Slaatto Morsbøl at Søren Kierkegaard Plads reuses a palette of discarded materials – brick, timber and thatch – in a way that repackages them in a fresh way.

Sourced from various demolition sites in Greater Copenhagen, a simple timber frame structure is infilled with bricks to form both walls and floors. The perforated brick, a common and ubiquitous sight in the city, is cut in half. This not only doubles the quantity of material available but also reveals a textured interior which the architects deploy in various inventive ways. The flooring shows the brick mortared in a traditional way to create the effect of a tiled floor. The walls show the brick in use as infill in its natural state. There is an educational capacity to the pavilion in communicating the different expressions of a material.

The theme of slowness is embedded in both the pavilion’s construction and the intent for users to engage with it. Bricks were cut in half by hand, the thatching reed was sorted by length and sewn onto fabric strips, which were then fastened to the roof modules. The act of cutting to expose what is hidden extends to the reclaimed ventilation pipes, which are cut in half to form a scalloped roof profile.

All of this constitutes an interrogation of standard construction processes predicated on speed. The suspension of reed from the ceiling, contrary to its natural locus in the ground, and the unorthodox presentation of brick, engage the visitors in a sensory experience, challenging conventional industry aesthetics.

‘By highlighting the imperfections and inconsistencies of used materials, we aim to show that these qualities can be a strength, not a shortcoming. There is richness and character in what has already had a life, and we believe that can shape a more thoughtful, resource-aware architecture,’ explain Slaatto Morsbøl’s founders, Thelma Slaatto and Cecilie Morsbøl.

At the other end of the scale is Thoravej 29, a former 1967 factory building repurposed to house a mix of galleries, cafés and workspaces. Here, the concept of reuse is pushed with the added ambition that any excavation or demolition waste is to be reincorporated into the outcome as much as possible. The brief, which called for a vertical connection between existing floors, necessitated that cut-outs be fitted into the design. So, rather than discard the cut-out elements, the team retained and positioned them at angles to form supports for new staircases, embracing an architecture of subtraction.

There is a new energy created in this vocabulary where familiar building elements – walls, doors, floors – are adapted to perform new roles that are unfamiliar. The new stairs, clearly recognisable as the former ribbed slab, engage visitors to look again and refamiliarize themselves with a space they had grown accustomed to. Elsewhere, old façades are reinstated as pavement, and doors become furniture, continuing this material transformation of states.

‘Each layer of the structure, even those traditionally deemed insignificant, is regarded as an asset, culminating in 95 per cent of the existing material to be retained and repurposed within the building itself,' explains Søren Pihlmann, founder at Pihlmann architects, the practice behind the project.

What these projects – and more across town – offer is a compendium of approaches. From the incremental work of small-scale practitioners to large-scale commercial projects, the perception of limitation traditionally associated with reuse of existing materials, resources and structure is recast as a generative tool, unlocking the parameters of spatial possibility towards new architectural expressions.

Daylight, natural materials and greenery are key to mental health and patient recovery, which is why they are found in abundance at the new Centre for Health in Copenhagen. The building was designed by Dorte Mandrup, the Danish architect heading her eponymous studio, which is renowned for its human-centred approach.

Step inside a pioneering health centre in Copenhagen

The Copenhagen-based practice's award-winning projects, ranging from a tiny Read Nest Cabin in a private garden to Denmark's Wadden Sea visitor centre, a contemporary take on the humble thatched barn perfectly adapted to Jutland’s vast landscapes, are now joined by this cathedral-like building featuring an impressive central nave with 15m-high timber arches.

Commissioned by the City of Copenhagen to meet the growing demand for the rehabilitation and treatment of people suffering from lifestyle-related diseases, including type-2-diabetes and heart diseases, the centre is located at the entrance of De Gamles By, ‘the City of the Elderly’, a retirement complex in the capital’s Nørrebro district.

Originally built in 1892 as a hospital and care home, the village-like area has long been synonymous with care, health and wellbeing, its red-brick buildings now also housing a variety of community services. Although it draws inspiration from the district’s gable motifs and saddle roofs, the new health centre is resolutely contemporary, its softly curved metal and glass form opening towards a garden.

The entrance atrium, with its series of 15m-high glulam arches, is known as the Heart Room, connecting to the building’s ‘circulatory system’ and linking together the different spaces, including classrooms, areas for physical training, consultation rooms, open meeting spaces, and a kitchen for healthy cooking workshops.

A large wooden staircase with integrated seating forms a meeting place in the central atrium where people can gather and interact with each other, enabling spontaneous, impromptu activities and social encounters.

‘An important consideration has been to ensure room for interaction and community as having this sense of belonging and togetherness is a crucial part of making treatment more accessible, engaging and supportive, and thus encourage long-term changes,’ says studio founder Dorte Mandrup.

Despite their generous size, the light-filled interior spaces are cosy and calming, thanks to the use of exposed wooden cladding on the walls and ceilings. As well as being aesthetically pleasing, the wooden surfaces also help enhance indoor air quality and reduce stress.

‘With Centre for Health, we wanted to create a space that not only contributes to improving the quality of life for the people receiving treatment but actively nudges and empowers them towards a healthier lifestyle.’

dortemandrup.dk

A new tiny church in Denmark is intended to reimagine contemporary sacred space. The small, 12-sided wooden building was designed by Danish architect Julius Nielsen, who was selected from over 100 entries in a 2023 design competition, initiated by Hans Egedes Parish and the Church Foundation. The project, completed in collaboration with timber flooring manufacturer Dinesen, has just opened its doors. The modest 75 sq m Tiny Church Tolvkanten can be found in Copenhagen’s North Harbour district.

Inside Tiny Church Tolvkanten

The religious building's interior is honest and raw. It has been entirely crafted from wood and steps away from the stone and iconography found in many of Denmark's traditional churches. Its timber construction and scale also mean it has been hailed as Denmark’s second most sustainable building (the project's Life Cycle Assessment has found it produces a mere 2.8 kg CO₂e/m²/year meaning it has a very low carbon footprint).

The floors, altar and font are made from Douglas fir, while offcuts have been repurposed for skirtings and door reveals. The floorplan is arranged in a web-like pattern, which is framed by a central skylight, making for a warm, yet spacious environment.

Nielsen’s goal was to deliver a new approach to the traditional church concept. The idea was to expand on what a church is perceived to be, making it more than a place of worship, but also an area for concerts, yoga and community dinners, for example. In addition, the building's modular design allows it to be dismantled and relocated.

‘Tiny Church Tolvkanten blends modest scale with meticulous attention to detail,’ says Nielsen. ‘Unlike traditional churches that use symbols and sacred images, this sanctuary looks inward. Its sacred essence is instead derived from the architecture, carefully chosen materials, and the gentle filtering of daylight. The high-quality Douglas fir floor, with its thoughtfully positioned boards and rich textures, creates a warm and resonant atmosphere, imbuing the space with depth.’

dinesen.com
juliusnielsenoffice.com

Few designers have shaped both the skyline and the domestic landscape as profoundly as Arne Jacobsen (1902–71). The Danish architect and designer is remembered not only for modernist landmarks such as Copenhagen’s SAS Royal Hotel but also for furniture, lighting and objects that have become part of everyday life, from chairs to cutlery. More than half a century after their debut, Jacobsen’s designs continue to define the language of modern living – quietly radical in their time, yet still relevant today.

His design philosophy, centred on the concept of total design – a harmonious integration of architecture, furniture and interior elements, was guided by functionalism and simplicity, ensuring that it was accessible and enduring. He believed that form follows function, and that good design is essential to a good quality of life, emphasising proportion and the seamless combination of materials to create unified, human-centred environments. Now, as Prestel launches a new monograph exploring his work, we reflect on Jacobsen’s career and the events that shaped it.

Between architecture and design: who was Arne Jacobsen?

Jacobsen's early life and education

Born in 1902 into a middle-class Jewish family in Copenhagen, Jacobsen originally dreamed of becoming a painter. His father, a wholesaler, persuaded him to pursue the more stable path of architecture. After a stint as an apprentice stone mason, he enrolled at the Royal Danish Academy of Fine Arts in 1924, where he produced his first pieces of furniture. His professors included Kaare Klint, regarded as the father of Danish modernism, and Kay Fisker, one of Denmark’s leading functionalist architects, who instilled in Jacobsen a disciplined approach to proportion and material.

In 1925, aged just 23, Jacobsen worked with Fisker on the Danish pavilion for the Paris World Fair, where he won a silver medal for a wickerwork design known as the Paris Chair – an early example of his natural flair for sculptural form.

Family and travels

Two years later, Jacobsen married Marie Jelstrup Holm, with whom he had two sons, Johan and Niels. He established his own studio in 1929 and began to explore the idea of total design. Travels with Marie across Europe proved to be a rich source of inspiration: everywhere they went, Jacobsen painted watercolours and took experimental photographs, capturing the nature and architecture around them. These studies would continue to inform his practice throughout his career.

Civic commissions and ‘total design’

In the early 1940s, Jacobsen completed two significant public buildings: Aarhus City Hall, designed with Erik Møller, and Søllerød Town Hall, in collaboration with Flemming Lassen. In both, the architects took responsibility for the interiors as well as the architecture – designing everything from furniture and lighting to bathroom fittings, door handles and signage. This holistic approach cemented Jacobsen’s reputation as a designer of complete environments.

It was during the Søllerød commission that Jacobsen met his second wife, Jonna Møller, a textile printer who produced fabrics for the project. They married in 1943 and developed a creative partnership, with Jonna helping to translate Jacobsen’s botanical studies and watercolours into textile patterns.

Jacobsen the botanist

That same year, as a Dane of Jewish descent, Jacobsen was forced to flee Nazi-occupied Denmark. He and Jonna lived in exile in Sweden until 1945, where their creative collaboration deepened. Jacobsen continued to paint botanical studies, many of which Jonna adapted into textiles that were put into production by Swedish department store Nordiska Kompaniet.

After returning to Denmark in 1945, the couple eventually settled at Strandvejen 413 in Klampenborg (1951), a home and studio Jacobsen designed for the family, complete with a botanical garden containing more than 300 plant species. His lifelong passion for botany inspired him to create buildings where architecture and nature are symbiotic, such as the Munkegaard School (1957), where every classroom opens onto its own garden, and St Catherine’s College in Oxford (1964), where he personally selected many of the trees and plantings to complement the modernist buildings.

Arne Jacobsen's legacy

Jacobsen’s influence extends far beyond his lifetime. His architecture and furniture continue to be reissued, studied and celebrated as milestones of modern design. The Arne Jacobsen Foundation preserves his archive and supports research into his work, ensuring his philosophy of total design remains visible to new generations. More than half a century on, Jacobsen’s creations still shape the way we live – proving that clarity, simplicity and a respect for human experience never lose their relevance.

SAS Royal Hotel

Jacobsen’s international breakthrough came with the SAS Royal Hotel in Copenhagen (1958–60), the world’s first design hotel. Commissioned by Scandinavian Airlines to symbolise postwar modernity and international travel, it was conceived as a 'gesamtkunstwerk' – a ‘total work of art’. Jacobsen designed not only the building but also the interiors, furniture and fittings – from the famous Egg and Swan chairs to cutlery, door handles and even ashtrays. While much of his interior scheme was later removed, Room 606 remains intact as a rare glimpse into his holistic vision, embodying his belief in complete, cohesive environments.

Other works by Arne Jacobsen

Beyond the SAS Royal, Jacobsen left his mark on education, housing and civic buildings. Early residential projects such as the Bauhaus-inspired Bellavista housing complex north of Copenhagen (1934) showcased his embrace of clean lines, light and sea views, bringing functionalism into everyday life. The Søholm housing development (1951–55) in Copenhagen’s Klampenborg suburb further demonstrated his skill at designing humane, light-filled homes. At Rødovre Town Hall (1952–56), one of his first major public commissions, he refined his modernist vocabulary into a civic context, with a focus on details that bear the hallmarks of industrial manufacturing.

At Munkegaard School in Copenhagen (1957), he balanced architecture with landscape, weaving courtyards and gardens into the learning environment. At St Catherine’s College, Oxford (1964), his first major project abroad, he created a modernist campus where buildings, furniture, textiles and planting formed a seamless whole. Finally, the National Bank of Denmark in Copenhagen (1961–71) revealed the same rigour on a monumental civic scale, with refined proportions and meticulous detailing. His approach consistently blurred the line between architecture, interiors and nature.

7 Arne Jacobsen designs to know (and own)

Further reading

The majestic National Gallery of Denmark's main building in Copenhagen dates back to the late 1800s and forms an essential part of the Danish capital's must-see visitor circuit. Its architectural pedigree includes a famous creator, Vilhelm Dahlerup (he designed it with technical assistance from Georg EW Møller), who is behind much of Copenhagen’s best-known architecture, such as Carlsberg’s famous Elephant Gate, the Glyptoteket and the Hotel d’Angleterre. Dahlerup's travels around Europe served as inspiration for many of his grand designs, and helped shape the city through the 19th century.

SMK, as the National Gallery is known by locals, was inspired by the Italian Renaissance, which was one of Dahlerup’s fascinations. It is also unique in that its architect insisted on using 'real' materials, such as marble, limestone and brick, as opposed to faux/concrete look-alikes used in many of his other works. As a result, the building is a feast for the senses, and that’s even before you start looking at the artworks within.

Explore the National Gallery of Denmark's newest venue

The choice of materials also plays a significant role in defining the architecture of the new branch of SMK, opening on 29 August 2025 in the tiny hamlet of Doverodde near the Thy Natural Park in the northern part of Jutland.

'Rather than build “out of nothing”, we built with what was already there – stone, timber, silence, wind,' explains Reiulf Ramstad, whose eponymous firm won the commission to design the new SMK Thy back in 2021, after SMK had secured a large donation from the AP Møller and Chastine McKinney Møller Foundation to realise a longtime dream of opening a branch outside of Copenhagen.

The site was already dotted with an eclectic mix of buildings. A beautiful old farmhouse from 1852, a huge three-storey brick warehouse from two years later, a 42m-tall grain silo from 1962, and a couple of more structures in different stages of dilapidation.

The farmhouse has been respectfully renovated and contains the museum café, administration and two apartments for use by artists and researchers. The silo, repainted and given a new grand Corten steel entrance, serves both as a viewing platform to enjoy the stunning surrounding nature and an exhibition space, containing three small display rooms.

The main exhibition space was originally planned to be built inside the old warehouse, but after a thorough investigation of the building, it was decided that the structural and architectural integrity wasn’t up to the high standards needed for a museum to show some of the most important works of 700 years of European art history. The warehouse was carefully torn down, but the bricks were saved, cleaned and reused for the exterior of the new building that took its place – using the exact same footprint and elevation as its predecessor.

'When we were invited to shape the new branch of the National Gallery, I immediately sensed that this project was not about imposing something onto a place. It was about responding to what was already there. About crafting a space where art and landscape, culture and community, could not only coexist but enhance one another,' says Ramstad about the decision to disturb the original architecture on the site as little as possible.

The architects also proposed expanding the scope of the renovation to include facilities that would accommodate outdoor experiences, such as a kayak hotel, fire pit shelters and even a dry dock with an adjacent workshop for a Viking Ship Guild already operating on the premises. These buildings are part of The Nature Village – a local initiative to bring nature and outdoor activities to the area – and close to the art exhibited at SMK Thy.

'Our visitors are invited to be present in the artwork, the architecture, and nature. We want to encourage visitors to spend time and be attentive. More broadly, I want to ensure that nature comes to play a significant role in our work in the future,' says Astrid La Cour, director of SMK.

The unpretentious and honest wood architecture of these structures frames the 19th-century farmhouse and the newly rebuilt warehouse in what really feels like a village atmosphere. Materials and elements, such as the massive trusses that carry the roof or the off-cut Dinesen Oak shingles used as cladding of the dry dock, are left exposed so visitors can marvel at the quality of the craftsmanship. Even the humble fire pit buildings have been clad in raw-edge oak planks in a testament to the project's 'quality', Ramsted says.

'I really believe that the more we talk about sustainability, the less sustainable it is. We should rather be talking about quality,' he explains. It is an approach clearly evident here in the reuse and selection of materials; in the careful placement of the new additional buildings; and, of course, in the idea of bringing some of Denmark’s most precious art to what might be perceived as the middle of nowhere.

Yet there is a thoughtful and poetic, full-circle moment in the National Gallery's move. Much of the Art in SMK’s vast 200,000-plus piece collection is precisely paintings of beautiful nature, such as the surrounding Thy National Park. Now some of that art will be going back to its origin.

'As a national cultural institution, we aim to be relevant outside the capital – not by becoming local, but by being present and engaged with local life,' explains La Cour. Just like the silo, dominantly visible on the horizon from far away, SMK Thy might just become a new cultural beacon for doing exactly this.

Youthful, smart, self-aware and a witty, snappy communicator, Bjarke Ingels is the embodiment of the second generation of global starchitects. If the first generation was dominated by figures perceived as occasionally difficult, occasionally obscure and enigmatic, from Rem Koolhaas and Jacques Herzog to Zaha Hadid and Frank Gehry, Ingels is something very different. Like his work, he is brash but accessible, shot through with humour, and he exudes a certain lightness of touch. Unlike all of those previously named starchitects, though, Ingels is yet to produce a masterpiece. Instead, he and his office, BIG, deposit striking, competent and arguably gimmicky buildings across the world.

Who is Bjarke Ingels?

Ingels was born in Copenhagen in 1974, and his initial trajectory was towards becoming a comic artist. He had the idea that studying architecture might improve his drawing skills, but the profession led him astray. After qualifying, he worked for three years at OMA in Rotterdam and there ingested the ideas of bigness, of extrapolating a diagram into architecture and his particular graphic presentation style, which included both comic books, sketches, animations, charts, pictograms and more conventional drawings alongside his own, always compelling, often very entertaining presentations.

Bjarke Ingels and 'hedonistic sustainability'

His key idea is a smart one, ‘Hedonistic Sustainability’. Rather than hectoring about environmental issues and sustainable architecture, Ingels suggests architects should try to find playful ways of subverting infrastructure to produce a side-effect of mass leisure. The most famous example is the Amager Bakke waste-to-heat plant where BIG stuck a ski slope on the power station and, for a small extra expenditure, transformed a piece of utilitarian infrastructure into an attention-seeking public amenity. It was a huge hit.

An earlier incarnation was the Superkilen Park, effectively a pedestrianised street turned into an expressive, humorous and slightly surreal linear park in the socially and mixed neighbourhood of Norrebro, where BIG’s former office was. This early work, big, brash, alemén with gags and bold supergraphics, shows how radical Ingels’ rejection of Danish modernist good taste was, genuinely shaking up the small nation’s often-minimalist, impeccably tasteful traditions of design.

Bjarke Ingels: Maker of icons

Ingels’ knack for creating instant icons also appealed to developers, both in Copenhagen and beyond. First came the VM Houses in Ørestad with their spiky balconies and crisp modernist detailing, then the Mountain Dwellings (a tapering stack of apartments with a huge picture of Mount Everest inscribed on both sides of the corner, a sly gag on Denmark’s topography – designed with JDS). Ingels himself lived in both blocks for a time.

Then he managed to translate this tricksy one-liner language with the astonishing commission for the tetrahedral ‘courtscraper’ Via 57 West, the triangular form of which completely disrupts the skyline by the piers on Manhattan’s west side; eye-catching but inelegant. Better is the DryLine, a little downtown, another shot of hedonistic sustainability in which BIG designed flood defences (provoked by the damage caused by Hurricane Sandy) which extend the Lower East Side shoreline and have the added benefit of creating a new waterfront park.

The practice can also do intimate. Just look at their delicate timber restaurant complex for NOMA in Copenhagen (the venue scooped Best New Restaurant at the Wallpaper* Design Awards 2019), and their new architecture office in Sundmollen is a very fine building. Sited on the end of a jetty in the still-industrial and very much working part of Copenhagen’s harbour is a show of what the practice can do.

But the main model remains relentless bigness. The twisting towers of One High Line in New York, and the torquing blocks of Grove at Grand Bay in Miami, the huge tents covering Google’s Mountain View HQ and the terrible concrete groundscraper of the same company’s King’s Cross building (with Thomas Heatherwick), the blockbusters just keep coming. In a building like his LEGO Museum, though (which looks exactly as you might imagine), the humour and invention still also shine through.

Ingels can still be a welcome break from the profession’s self-consciously serious archetype, the collarless shirt, jacket and eccentric specs. Funny, knowing, (also knowingly naive) and super-smart without intellectual pretensions (a trait which appeals to Anglo-Saxons), he is a unique and energetic character. His self-illustrated graphic book, wonderfully titled ‘Yes is More’, is a deceptively sharp distillation of his approach.

‘Architecture’, he writes, ‘seems entrenched between two equally infertile fronts: Either naively utopian or petrifyingly pragmatic. Rather than choosing one over the other, BIG operates in the fertile overlap between the opposites. A pragmatic utopian architecture that takes on the creation of socially, economically and environmentally perfect places as a practical objective.’ Nice work if you can manage it.

Bjarke Ingels 10 key buildings

Mountain Dwellings

Where: Copenhagen, Denmark
When: 2008

Designed by BIG and JDS, Mountain Dwellings is sprawled across a Copenhagen suburb. The complex features a tapering stack of apartments. A huge picture of Mount Everest is inscribed on both sides of the corner, its creators' sly gag on Denmark’s topograph.

Danish Maritime Museum

Where: Elsinore, Denmark
When: 2013

Almost ten years in the making, the new Danish Maritime Museum in Elsinore opened in 2013. Or rather – glimpsed the light of day – considering the fact that the 6 000 sq m museum is completely submerged underground. The opening marks a new start for an old museum, which, since 1915, has been housed in Kronborg Castle, the stronghold in which William Shakespeare's Hamlet is set. When the castle was named a UNESCO World Heritage Site in 2000, the Danish Maritime Museum was forced to leave the premises and find another location for its operations.

Serpentine Pavilion 2016

Where: London, UK
When: 2016

Bjarke Ingels' BIG takes the credit for the main structure in Serpentine Pavilion's 2016 iteration, while four more 25 sq m summer houses were designed around it by Kunlé Adeyemi, Barkow Leibinger, Yona Friedman and Asif Khan. Ingels has an innate understanding of architecture's dramatic potential, and the way in which subtle, repetitive modulations can create a sense of scale and awe. The 2016 pavilion is simplicity itself, built from extruded square tubes of glass fibre, supplied by Fiberline Composites, reinforced and bolted together using hundreds of T-shaped aluminium brackets.

The Grove at Grand Bay

Where: Miami, USA
When: 2016

Bjarke Ingels' twisting towers, Grove at Grand Bay had been steadily rising through Miami's Coconut Grove skyline since 2012. In tandem with luxury developer Terra, Bjarke Ingels Group (BIG) sought to create a progressive monument without detracting from the area's colourful history. Coconut Grove is 'a sanctuary for artists, writers, and unconventional thinkers,' explains David Martin, president of Terra. 'It has a long history of challenging the status quo.'

Lego House

Where: Billund, Denmark
When: 2017

A play on the classic LEGO brick, but brought to architectural scale, Lego House sits at the heart of the Billund headquarters of the beloved toy manufacturer in the Danish countryside. Colourful and geometric, the centre houses exhibitions and activities around the popular toy brick.

Amager Resource Center (a.k.a. Copenhill)

Where: Copenhagen, Denmark
When: 2017

As rubbish burners go, the Amager Resource Center (AKA Copenhill) is not a run-of-the-mill square-blocked eyesore. The long-anticipated project, which has just opened its roof, deploys Bjarke Ingels Group’s ‘hedonistic sustainability’ with an artificial ski slope, recreational hiking area and climbing wall on top of the waste-to-energy plant. ‘It’s a very good idea and a crazy idea to build a ski slope on a furnace,’ says the plant’s CEO Jacob Hartvig Simonsen. ‘We have provided a safe facility for them to play on.’

Noma

Where: Copenhagen
When: 2018

BIG and Studio David Thulstrup’s reinvention of this renowned Copenhagen classic triumphed as Best New Restaurant 2019, as voted by our acclaimed Wallpaper* Design Awards jury. Hailed as one of the most influential restaurants of the century, Noma moved into its purpose-built home in March 2018, an eleven-piece ‘village’ designed by Bjarke Ingels Group around a Second World War-era arsenal overlooking the hippie enclave of Christiania.

The Plus for Vestre

Where: Norwegian countryside
When: 2022

Titled The Plus, the building, Vestre's headquarters and factory, is conceived as a village in a forest, guided by principles such as sustainable architecture and high-efficiency production. The Vestre community operates within, creating its product using carbon-neutral fabrication methods. Meanwhile, the project doubles as a public 300-acre park for hiking and camping.

Hôtel des Horlogers for Audemars Piguet

Where: Le Brassus, Switzerland
When: 2022

Also behind the Audemars Piguet Museum in Le Brassus, Bjarke Ingels Group (BIG) doubles down on its bold intervention into Switzerland’s Vallée de Joux with a neighbouring property, the Hôtel des Horlogers. Once again realised by Swiss practice CCHE, the new, Audemars Piguet-owned building conforms to the disruptive nature of the museum that sits beside it. However, unlike the exhibition space, which vividly charts the area’s horological history with the strategic use of a spiral structure inspired by a watch’s hairspring, the hotel takes advantage of the topography to present itself as a series of zigzagging ridges declining gently towards the valley floor, internally reflected in an equally dramatic passageway that runs the length of the building connecting its five floors.

The Twist

Where: Kistefos, Norway
When: 2022

Contemporary architecture in the shape of the Bjarke Ingels Group's The Twist, has joined the exhibits at Norway's Kistefos Sculpture Park – or is this new gallery space maybe art too? From a distance, the streamlined twisting shape feels solid and powerful, yet lightly touching the ground, almost like a large format art installation. This was entirely deliberate, explains BIG partner David Zahle. ‘One of our main concerns was minimising the expression of engineering to keep the shape pure, just like art'.

big.dk

Half the experience of viewing art lies in the surroundings – and few are more impressive or evocative than a 17th-century Danish palace.

Welcome to Valdemars Slot, newly reopened after its transformation into a public art destination. Situated on the island of Tåsinge, this historic home will now host a programme of exhibitions and events each year, from May to September.

Valdemars Slot is the only privately owned Danish royal palace. Its owner, Louise Iuel-Brockdorff Albinus, represents the 11th generation of her family to steward it. By turning the palace into an art venue, she honours its legacy of patronage, presenting both historical and contemporary works: 18th-century portraits by Swedish painter Carl Gustaf Pilo and Danish master Jens Juel, originally created for the palace, are juxtaposed with newly commissioned pieces by international contemporary artists including Czech-German painter Jiří Georg Dokoupil, Norweigian artist Hanne Lippard, Chinese artist, Rong Bao and Danish artist Pernille With Madsen.

The dialogue between past and present is palpable. In the Baroque interiors, gilded Rococo portraits share space with sculptural, postmodern works. In one room, Dokoupil’s ‘soap bubble’ paintings, created by blowing pigmented soap bubbles onto canvas, and glass sculptures, which playfully reinterpret Marcel Duchamp’s concept of the ‘readymade’, are displayed alongside Pilo’s royal portraits. The soft curves and colours of the ‘bubbles’ harmonise unexpectedly with Pilo’s elegant brushwork, creating a moment that feels both surprising and satisfying.

Elsewhere, Madsen – who recently fulfilled public commissions at Copenhagen Metro and Aarhus University – reimagines Valdemars Slot’s Riding Hall as an archaeological site. A huge sculptural foot emerges as if being excavated, playing with scale and temporality. The artist also explores the miniature with clawed forms evocative of primordial creatures or homunculi, which are displayed in a vitrine reminiscent of a Renaissance cabinet of curiosities.

In the palace grounds, meanwhile, Lippard transforms the barn into a sound installation, playing a spoken-word piece beginning with the line: ‘A ruin is reconstructed through speech’.

Originally built by King Christian IV in 1639-44, Valdemars Slot is enjoying a remarkable second life. Like many European palaces, it once served as a museum, but this new incarnation offers something completely different. It is an art space where the old and new not only coexist, but converse.

valdemarsslot.dk

Kaari Upson emerged as one of the most unsettling and formally ambitious artists of her generation, crafting a practice that tunnelled into the core of American pathology with relentless psychological acuity. Her visceral, often epic explorations carved a singular path through the psychic underworld of American culture, staging installations that probed the unstable boundaries of identity, memory, and desire. Trained at CalArts, she was part of a generation shaped by the school’s legacy of conceptual rigour and performative experimentation – yet her work remained wholly her own, marked by feverish intimacy and hallucinatory logic.

Upson’s oeuvre is deeply tied to Los Angeles: its excess, detritus, dream logic, and devastating fires. ‘Dollhouse – A Retrospective’, currently on view at the Louisiana Museum of Modern Art in Denmark, is the first comprehensive survey since Upson’s untimely death in 2021, of cancer, at age 51. The exhibition, which is set to travel to Kunsthalle Mannheim in Germany and MASI Lugano in Switzerland, traces the evolution of a practice that blurred the lines between fiction, autobiography, and cultural critique. From the psychologically charged multi-part saga Larry Project to her uncanny dollhouse installations – blown-up versions of a dollhouse her mother built for the artist’s daughter – the retrospective encapsulates Upson's ability to blur the boundaries between reality and fiction, constructing uncanny stage sets for the rituals of trauma and repetition. Set against the museum's serene coastal backdrop and elegant architecture, the show stands as a poignant tribute to an artist whose oeuvre is as disquieting as it is seductive.

Several galleries in the show are dedicated to The Larry Project (2005–2014), Upson’s decade-long descent, in different media, into the persona of a man whose personal archive – discovered in an abandoned house in the San Fernando Valley – became the foundation for an expansive, fictionalised mythology. Upson obsessively reworked this material, constructing a surrogate figure that became a proxy for cultural fantasies of masculinity, wealth, and decay.

Her recreations of domestic spaces – including a full-scale replica of Larry’s house in thick, buttery latex in the installation Recollection Hysteria (2012) – positions the project as a dark mirror to LA’s libidinal architecture. The piece The Grotto (2008), for example, is a fibreglass replica of the Playboy Mansion’s infamous cave-like swimming pool, reimagined as a claustrophobic site of psychic excavation. Inside, Upson projected videos of herself inhabiting grotesque female archetypes – donning silicone prosthetics of exaggerated breasts and genitalia – while engaging in phone-sex roleplay and improvised monologues.

‘Her work is outrageously painterly,’ curator Anders Kold tells Wallpaper*, drawing attention to the way Upson mixed pigments into latex and used airbrushing and paint on the soft, pliable surfaces of sculptures resembling deflated furniture. This painterly quality is exemplified in Mother’s Legs (2018–19), a haunting installation of elongated urethane forms suspended like dismembered limbs. Cast from termite-riddled wood from a tree that once stood outside Upson’s childhood home, each form is fused with knee casts –some from Upson herself, others from her mother – creating hybrids of human and arboreal anatomy. Their missing feet and unnatural proportions evoke dislocation and loss, while the palette of fleshy pinks and sickly tones transforms the forest-like arrangement into a dreamlike procession of maternal surrogates, both tender and uncanny.

Upson’s work frequently draws on her mother’s complex personal history – born in the former GDR, she left East Germany and lived in the West before meeting Upson’s father, whom she followed to the United States, seeking the American Dream. This narrative of migration, reinvention, and utter adaptation – not to say self-negation – underpins Upson’s recurring use of her mother’s image and body, exploring themes of femininity and inherited trauma. Upson’s father, on the other hand, is only referenced directly in a single work: Untitled (2020-21) shows a footless, handless figure in blue jeans and a checkered cowboy shirt lying face down, with five ketchup-red bottles wedged into its back, like knives.

Untitled (Foot Face), Upson’s final and unfinished series, comprises 140 ink drawings made as a daily visual diary. Each work repeats the pairing of Upson’s face and her late mother’s foot – symbols of self and origin. Created during a period marked by her mother’s death from cancer and the recurrence of the artist's own illness, the series traces a gradual dissolution. As the drawings progress, the foot vanishes, leaving behind disembodied eyes adrift in dense crosshatching. Shown here for the first time, the series is a lush meditation on grief, and the quiet erosion of identity at life’s end, eerily continuing the posthumous reckoning with a body of work that continues to speak, even in silence.

‘Dollhouse’ is at Louisiana Museum of Modern Art until 26 October, louisiana.dk/en

‘Sensory design is, in many ways, a super-language – one we all intuitively speak. From the moment we’re born, touch is our first sense, forming the foundation of how we connect to the world around us and feel love,’ says Danish designer Lise Vester.

This design code is rooted in her work, and is showcased in the ‘Dream View Bench’ for Muuto, crafted from stainless steel moulded into wave-like curves and previewed during 3 Days of Design (18-20 June 2025).

‘Dream View Bench’ previewed at 3 Days of Design

‘When we design with the senses in mind, we create spaces and objects that allow people not just to function – but to feel, reflect, and thrive,' says the designer. ‘Sensory design enables us to craft atmospheres that are calming, stimulating, or restorative. It’s through our senses that we explore, discover, and make sense of the world –and of ourselves.’ Made in Denmark, the bench boasts smooth curves that follow the body’s form, and allow the user to gaze up towards the sky.

‘My intention was to create a playful, sensory, ergonomic experience – an open invitation to pause and drift into a daydream,’ Vester tells Wallpaper*. ‘The [form] invites the body to lean back and gaze upward, letting the sky become a blank canvas for thought and wonder.’

Designed for outdoor use, the bench needed to withstand the elements. Stainless steel was used for its durability and also for its visual and tactile qualities. ‘The brushed surface softens the material’s otherwise industrial character, making it inviting to the touch,’ says Vester. ‘Its reflective quality allows the bench to mirror its surroundings – especially the sky – bringing the heavens, quite literally, down to Earth.’

The ‘Dream View Bench’ was partly inspired by the designer's personal experience. After losing family members in hospitals, she witnessed firsthand how clinical environments can feel cold and alienating. However, ‘when my aunt spent her final days at a hospice in 2011, the experience was profoundly different’, she explains. ‘The space was warm, welcoming, and comforting – offering dignity and calm in the midst of grief. That moment shaped the way I approach design.

‘Later, I returned to that hospice as a student, for one of my first design projects. I interviewed nurses, the palliative care team, and families to understand what made that environment so healing. My dream is that the empathy and beauty found in palliative care settings can be woven into homes, workplaces, cities – into the everyday fabric of life – so that design quietly, but powerfully, supports us wherever we are.’

The ‘Dream View Bench’ by Lise Vester will be pre-launched at the Muuto space in Copenhagen during 3 Days of Design 2025 and will officially launch on 1 September 2025

Last year, the city of Copenhagen trialled CopenPay, an initiative that allows tourists to ‘earn’ rewards like free ice cream and discounted museum entry by engaging in sustainable behaviours. The scheme will run again this year, for a longer period, and will involve more activities than before.

Visitors to Copenhagen between 17 June and 17 August 2025 have the opportunity to access benefits from 90 attractions participating in CopenPay, including the National Museum, Kronborg Castle and the National Gallery of Denmark, in exchange for things like using electric cars, bikes and public transport, choosing plant-based food, and booking a longer stay (four or more nights).

After the trial period, Rikke Holm Petersen, director of marketing at tourism board Wonderful Copenhagen, which is behind the initiative, hopes that CopenPay will eventually run year-round.

The scheme builds upon 2024’s pilot, which involved 24 attractions. Visitors arriving on foot to a morning swim session received a free coffee; a boat ride was complimentary for those that collected litter from the canals; and tourists who volunteered at an urban farm were offered lunch. Feedback from those who participated was positive (with some expressing reluctance to do things like litter picking if they were only in Copenhagen for a short time), and the city saw a 29 per cent increase in bike rentals during the trial.

CopenPay is a new way to address concerns around mass tourism and its environmental impact, which have increasingly been making headlines. Rather than implementing punitive disincentives like fees – as Venice, Barcelona and Majorca have done – Copenhagen, which received over 12 million international overnight stays in 2023, aims to make tourism a positive force for change. The Danish capital is attempting a ‘carrot’ rather than ‘stick’ approach.

It’s an exciting idea but, while the industry has commended the innovation of the scheme, it has also pointed out that the impact is unlikely to scratch the surface of things like air travel and cruise ships. Nonetheless, CopenPay, which intends to share its findings with other countries, could mark the beginnings of a ‘regenerative travel’ revolution.

It’s rare to get a 360-degree view of a global fashion brand’s operations. Product and process can often be surprisingly separate, with garments dreamt up and designed by an in-house creative team, styled and photographed at a separate studio, before being boxed, stored and shipped from an anonymous logistics facility. Things are different, however, at the all-encompassing new HQ for Rains, the Scandinavian label favoured by the stylish (and practical) for its weatherproof outerwear and accessories.

Step inside the brutalist Rains HQ

The glass-fronted building spans 11,000 sq m and sits on a hillside just outside Aarhus, Denmark’s second largest city. This is the first place Rains can truly call home; since its launch in 2012, the brand has moved offices six times. Its most recent workspace occupied an old industrial building, but even after making a number of aesthetic changes, things didn’t feel quite right. Daniel Brix Hesselager, who co-founded Rains with Philip Lotko, resolved that the next HQ should be built bespoke, so in 2019, he enlisted the help of local architecture studio Sleth, collaborating on the design of the building for the next five years.

‘It was about slowly moving into each other’s heads to find a pathway together,’ says Sleth co-founder Søren Leth. ‘We were particularly fascinated by the separation between the administrative employees and the busy life of the warehouse. So the first thing we did was talk about integration.’

The warehouse, which holds a majority of the brand’s European stock, now acts as a backdrop to the entire HQ. ‘This is not just an office building,’ says Brix Hesselager. ‘I think it’s so important to be close to the product. A significant part of operating a business is logistics, but that’s often outsourced in creatively driven companies like ours.’

Placed behind double-height glass walls, the mammoth space features towering steel shelves oriented lengthwise to protect sightlines through to the administrative departments. The same thinking has been applied to the structural columns, which have been positioned to fall parallel to those throughout the rest of the office. ‘We’ve placed a few columns where a logistic designer probably wouldn’t have, but we wanted a certain rhythm in the building,’ adds Leth.

Beyond the warehouse is a showroom that displays the brand’s current and forthcoming clothing collections. There’s also an airy dining space where staff gather around communal tables to eat lunch (prepared fresh daily by Rains’ chefs). A central staircase, crafted from pale Scandinavian pine, offers a connection to the upper reaches of the building. On the second floor is the brand’s photography studio for shooting e-commerce imagery, and an indoor terrace with a bar area. Meeting rooms can be found on the third floor, each overlooking the hubbub of activity in the warehouse.

Apart from the ground floor – which accommodates a gym – formal workstations have been created on every level, finished in a soothingly neutral shade of grey. Breakout areas are kitted out with sculptural sofas and grey rugs designed to resemble the streaks of weather patterns on a map, while other statement furnishings and objects, specially curated by Brix Hesselager, include craggy ceramic chairs, and spindly, alien-like chandeliers made by Danish glassblower Alexander Kirkeby.

Sleth’s scheme for the Rains HQ not only connects different strata of the company to each other but also to the outdoors – a natural move given that the studio has previously worked on a number of landscape projects. Rainwater is being collected on the building’s roof and redirected off-site to nurture the surrounding fields. A gridded metal framework has also been erected just in front of the eastern façade to form a series of external corridors where staff can step out for fresh air and take in the surrounding vistas. The western façade features a similarly gridded structure, this time planted with ivy that in a few years will have grown to form a lush green wall.

There is still more artwork set to arrive, and staffing has not yet reached its 250 capacity. ‘I don’t think the building is done,’ says Leth. ‘As Rains grows, moves in and fills up the space, it will take on a new feeling.’ That’s the beauty of creating a workspace that prioritises integration and transparency – it allows you to look forward.

rains.com

sleth.dk

A version of this article appears in the April 2025 issue of Wallpaper* , available in print on newsstands from 6 March 2025, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Montana Furniture has long championed flexibility with its modular systems, but its latest collaboration, with Danish design duo Kimpop – aka TV personalities Sofie Linde and Joakim Ingversen – pushes personalisation into bolder, more expressive territory. A new limited-edition series reimagines six of Montana’s classic furniture pieces with joyful, colour-clashing abandon.

Kimpop, known for its fearless use of colour and playful interior aesthetics, selected six Montana designs – including a dresser, a nightstand, and a bookcase – as blank canvases to showcase their vision. Each piece is transformed into a bold statement through a curated palette that balances instinct with intention.

'We selected some of Montana Furniture’s classic and versatile designs as a foundation for our creative exploration. Our goal was to infuse them with fresh energy through bold colour choices, while ensuring their functionality and aesthetic appeal remain intact,' say Linde and Ingversen.

Central to the collection is Pomelo, a soft pastel green that serves as the defining ‘red thread’ throughout. From there, Kimpop curated a palette designed to be both playful and cohesive, ensuring each piece stands out individually while the designs work harmoniously as a set.

The six designs are: ‘Kimpop Dash’, a wall-mounted shelf with a drawer; ‘Kimpop Dream’, a nightstand or side table on legs; ‘Kimpop Shelfie’, a mirror with a wide shelf-like frame; ‘Kimpop Show’, a wall-mounted bookcase; ‘Kimpop Box’, a storage box on castors; and ‘Kimpop Carry’, a dresser on legs.

For Montana Furniture, the collaboration is a chance to engage a new generation of design enthusiasts who aren’t afraid to embrace colour (and follows a similarly vibrant vinyl storage series, available in multiple hues). CEO Joakim Lassen explains: 'At Montana Furniture, we are always looking for ways to engage with our community of interior enthusiasts and colour lovers. Sofie and Joakim’s fearless approach to interior design – where they blend colours intuitively and curate eclectic combinations from different decades – is truly inspiring. Their playful, boundary-pushing aesthetic aligns perfectly with Montana Furniture’s ethos, making this collaboration a natural and exciting fit.'

While the collection might push the boundaries of what Montana’s audience has come to expect, Lassen welcomes the change. 'I expect that people will either love it or find it outside their comfort zone, and that’s completely fine,' he says. 'Our aim is to inspire and challenge conventional notions of how colour can be used in the home. We want to encourage people to embrace bold choices and show how colour can transform a space and a lifestyle.'

montanafurniture.com

The global practice of thermal bathing has been around for millennia. But this ancient activity is experiencing a contemporary boom, as we shun screen time in pursuit of meaningful connection.

As Wallpaper’s wellness report outlined in February 2025, the rise of traditional saunas, onsens, hammams and banyas receiving a contemporary twist are a few examples of this phenomenon, beloved for their communal atmosphere. (In the UK in particular, wellness practitioners such as Katie Bracher even offer ‘sauna master’ training courses, billing her techniques as ‘ancient technologies for modern times’).

The Wallpaper* wellness report: thermal bathing is rising

Outside of the UK, old-school establishments are also updating their offering when it comes to bathing. Even in Scandinavia, where people never stopped enjoying sauna and cold dips, run-down venues are being brought back to life. This spring, the Swedish town of Lanskrona opens a renovated pier and modern bath house inspired by the ‘cold baths’ – or ‘kallbads’ – of the 1800s. ‘These bathhouses played a historical role as a social gathering point’, says Ulf Svensson from Magasin A architects who is creating the new space. With picture windows and saunas leading into the sea, it’s not only a place to swim, but one in which to relax with fellow bathers.

Denmark’s legendary Kurhotel Skodsborg has provided preventative health therapies since 1898 and features a Henning Larsen-designed spa with more than 16 different options for thermal bathing. In 2025, the hotel hosted its first Nordisk Retreat with British breath work coach Richie Norton. Here, activities included sauna and steam rituals, sea dipping, breath work, forest walks and more. ‘Lots of spas might feel dated, and bringing in new practices around hot and cold contrast therapy shines a light on other possibilities,’ says Norton. ‘The more we learn about the health benefits of hot and cold exposure, the more spas are going to change.’

Countries blessed with thermal mineral springs and sea baths are brimming with history, culture and authenticity – all qualities that the modern wellness aficionado seeks. Australia’s Great Victoria Bathing Trail, for example, is developing a series of 30 new bathing spots along a 900km route, including the Phillip Island hot springs. In Iceland, Árböðin – a new spa complex designed by T.ark architect Halldór Eiríksson – will open on the banks of the Hvitá River in Laugarás in the summer, with hot and cold pools on multiple levels. (Guests will even have to pass through a waterfall to move between them).

‘In North America, the bathing movement is on the cusp of a huge wave,’ says Robert Hammond, US president of Therme, a water wellness group offering huge bathing complexes echoing the Roman baths of old, such as AIRE Ancient Baths in London. ‘It’s being driven by renewed interest in and deep desire for real life connections with other people and with nature, and the speed at which it’s moving is palpable,’ he continues. Following this trajectory, in the coming months, hotel group Fairmont is set to unveil a new thermal spa called Basin Glacial Waters at Chateau Lake Louise in Canada. Built by architect Matteo Thun and integrated into the natural landscape, this will be the group’s debut ‘wellness-first’ location and has taken two decades to complete.

The UNESCO-listed spa town of Vichy in France is currently undergoing a six-year, multimillion-dollar modernisation, too, where water from Vichy’s natural springs will provide drinks, baths, showers, mud poultices, thermal ovens and swimming pools. French pharmacy stalwart Vichy is also renowned for its skincare products harnessing the healing and soothing power of this water. (Avène is another, drawing its water from the Sainte-Odile Spring in France’s south for face mists and more).

Hungarian skincare brand Omorovicza, which was founded by Margaret and Stephen de Heinrich de Omorovicza in 2006, includes a patented healing concentrate in all of their products. Stephen de Heinrich’s family built Budapest’s Rác Thermal Bath during the 1800s, on the site of a hot medieval spring. With new Omorovicza Institutes continuing to crop up, the brand also partners with hotels, including a new venture at spas in the Four Seasons.

So, what next? According to the Global Wellness Institute, thermal and mineral springs – renowned for their healing properties – have now rocketed to more than 31,000 across 130 countries. And the organisation estimates that this is only set to increase by 14.3 per cent a year through to 2027.

This will include Hyatt’s new hot spring brand Atona, which arrives next year in Japan, bringing 30-50 room ryokans (traditional inns with bathing facilities built on hot springs that date back to the 8th century) to three locations in the country. Also in the pipeline is Therme’s $200 million watery oasis in Incheon City, South Korea, which aims to increase global awareness of Korean health and wellness practices, following the K-beauty’s worldwide take off.

Perched dramatically on a Mallorcan clifftop overlooking the Mediterranean, Can Lis is the Balearic home of late Danish architect Jørn Utzon, built in 1972 following his very public resignation from the Sydney Opera House project. For architecture enthusiasts, the home holds a near-mythical status – partly because of its breathtaking design that merges Scandinavian sensibilities with the Mallorcan vernacular, but also because it remains largely inaccessible. With the property owned and managed by the Utzon Foundation, visitor numbers are carefully controlled, lending it a ‘forbidden fruit’ quality: deeply admired, widely studied, but rarely experienced firsthand.

Last year, following an invitation from the foundation, Phillipp Materna, head of design at Ferm Living, was given the rare opportunity to experience the house’s architecture, materials, and shifting light – one that proved to be revelatory. 'Discovering Can Lis was kind of an “Aha” moment because it's this amazing jewel that we couldn't help but get lost in – both the story of it and the actual architectonic building itself,’ he tells Wallpaper* ahead of the brand’s latest launch – a collection inspired by the house’s magical atmosphere.

'Can Lis itself is a testament to a certain international fusion of Scandinavian and Mallorcan culture. Utzon basically sourced everything from the island – the stones, the wood, the tiles, the faucets. There’s a certain level of raw, matter-of-fact humbleness. It’s almost as if you were to take a Scandinavian mindset and apply it to a Mallorcan palette.'

It was this blend of mindset and materials that Materna sought to capture in the collection. ‘We wanted to reference that palette, incorporating materials like Douglas fir, oak, glass, and different types of stone to create that connection between the two ideas,’ he says.

Made up of 39 pieces, the Can Lis collection is designed to evoke island life – pieces to encourage gathering, eating, and enjoying the outdoors. An FSCTM-certified Douglas fir dining chair nods to Can Lis’ millwork; a mobile is based on the moon motif that appears throughout the house; cast glass vases resemble the brickwork; and a functional ceramic dinnerware set was inspired by the house’s Catalan chimneys, characteristic of those seen in traditional Mallorcan villages.

Materna joined Ferm Living in December 2023, stepping into a newly formed position, when founder and creative director, Trine Andersen, retired from her role. Prior to this, he spent eight years working in London with Michael Anastassiades, where he played a key role in developing the studio’s refined and sculptural approach to lighting and furniture.

Reflecting on his role as Head of Design and what he brings to the Danish brand, he says: ‘My hope is that it’s something that feels transitional, not abrupt. As a designer, you're able to take bits and pieces of the brand that you want to elaborate upon while also adding new things. So it’s a combination – it’s not erratic. It’s an evolution, one that over time will be noticeable but also feel familiar.'

Sustainability has been a growing focus for the brand, not only in terms of material choices but in the broader philosophy that informs its designs. ‘Internally, as a brand, we have a sustainability manager who drives our responsibility strategy, including efforts to lower our CO2 footprint, onboarding our suppliers in this work, and ensuring that our product standards align with our sustainability goals. But beyond that, there’s this idea that the simpler, more analogue, even brutal a product is, the more likely it is to last. There’s a raw simplicity that has an inherent value – something that, frankly, can’t go out of style.'

fermliving.com

The incomparable Danish designer Nanna Ditzel (1923-2005) once said, 'My time is too valuable for housekeeping'. A sentiment that in the mid-20th century reflected more than a personal preference, it was a challenge to the conventional roles expected of women at the time.

Ditzel’s refusal to be constrained by societal expectations was evident in her work and success as a furniture designer – a world that was (and still is) dominated by men – where she broke free from traditional design boundaries. A pioneer of 20th-century design, she focused on freedom of movement and inclusivity, prioritising the human body in her furniture and spaces. So ahead of her time was she, in fact, that in 2019, Danish brand Mater reissued a set of garden furniture she had designed alongside her husband Jørgen Ditzel. Originally launched in 1955, the table-and-chair collection was reimagined by Mater in ocean-waste plastic, the company scooping a Wallpaper* Design Award in the process.

This is why we are delighted to see a new exhibition dedicated to Ditzel's work now open at the Danish Architecture Center (DAC), running until 11 May 2025. ‘Nanna Ditzel: Breaking Free’ celebrates the Danish design pioneer’s visionary contributions and invites visitors to experience how her work reshaped the way we use and interact with spaces. The exhibition, located in the museum's Staircase Gallery space, is an immersive journey through Ditzel’s life and legacy, offering a rare opportunity to engage physically with her modular and flexible designs.

From her iconic ‘Hanging Egg' chair to the multifunctional 'Trisse' chair, the exhibition showcases a variety of Ditzel’s works that challenged traditional notions of furniture. Ditzel’s designs were not static objects but ‘living’ elements that allowed for flexibility, movement, and creativity. One of the highlights is her 'Villette' furniture landscape, created at her London studio Interspace, which merges furniture, surfaces, and colour to form a holistic experience. Also featured is the 'Fairy Tale Room', originally developed for the children's library in Lyngby, which reflects Ditzel's commitment to nurturing imagination and creativity in children through design.

The exhibition highlights Ditzel's ongoing relevance in contemporary design conversations, particularly in addressing today’s challenges around sustainability, flexibility, and inclusivity. ‘At DAC, we consider Ditzel's work as an important reminder of how design can shape our everyday lives,' notes senior curator Pernille Stockmarr. ‘Today, as we face the challenges brought on by climate change, urbanisation and the need for more sustainable solutions, it has become increasingly important to rethink the future of spaces and cities. Ditzel's flexible and innovative solutions can still inspire today’s architects and designers to think with flexibility, adaptability and long-term solutions as key elements.'

‘Nanna Ditzel: Breaking Free’ is on show until 11 May 2025 at the Danish Architecture Center (DAC), dac.dk

Danish jewellery brand Elhanati has nailed the distinctive brand of Scandi cool which champions casual elegance. Textured surfaces, asymmetry and irregularly placed stones are all favourite design choices for founder Orit Elhanati, whose jewellery handcrafted in Denmark merges this minimalism with the richness of her Middle Eastern heritage.

It is a distinctive aesthetic brought to life in a new collaboration (following past jewellery collaborations with Khaite, and with Conie Vallese) between Elhanati and diamond provenance programme Botswanamark, with three new pieces featuring the latter's natural, traceable diamonds. Here, Orit Elhanati tells us why she was drawn to these diamonds and fills us in on the mystical inspiration, translating the story of a mother octopus and her two daughters living in an underwater world into thickly drawn gold.

Diamonds and textured gold: Orit Elhanati on a natural partnership

Wallpaper* Why did you want to partner with Botswanamark on this collection?

Orit Elhanati: Working on this project with Nicholas Moltke and Botswanamark took me to another place and dimension. Knowing the soul and ethos that fuels the Botswanamark mission adds a new element to my work, making me love natural diamonds more than ever. This collaboration has made me realise that nothing is produced in a vacuum: we leave footprints on our planet in everything we do, so how can we make sure we are as considered as possible in everything we produce? Botswanamark is ultimately all about finding the balance in preserving the planet and local culture, while still loving natural diamonds, which greatly resonates with me. The collaboration is a testament to my brand’s journey towards ensuring full transparency in the supply chain.

W: Tell us about the octopus inspiration, what it means to you, and how you interpreted it?

OE: I aimed to create something from the mysterious world of the sea – something with a vintage feel that looked ancient, inspired by the millions of years it takes for natural diamonds to form. The ‘Octopus Diamond Temple’ collection delves into the mysterious underworld and interprets the enigmatic creatures. Diamonds are their curse, yet they guard them with their lives in a realm unknown to mankind. In a sculptural dance, the octopuses safeguard the gemstones.

W: What are the main challenges you encountered when creating this collection, and what are you most proud of?

OE: This is a fusion of my signature collections, like the ‘Roxy’ and ‘Paloma’, the true Elhanati DNA. I took them apart and put them back together, creating a new sentiment and feel. This collection has taken me from the desert to the ocean. It is a challenging and delicate dance between tradition and modernity, which, to me, is where I hope to create art in a wearable form! What I am most proud of is the playful approach to finding a poetic sentiment, and creating something new within my creative practice.

elhanati.com

A trip to Dinesen Country Home is enough to convince you of the Danish timber company's expertise and love for wood. Dinesen's refined timber plank flooring is renowned for lining some of the world's design-led, house-envy-inducing homes across the world and the particular residence in Jels flaunts the business's goods and skills in supporting wood architecture through its serene, thoughtful interiors clad in the beloved natural material.

Now, the property, originally the private home of the Dinesen family, has just received an elegant makeover by Copenhagen-based architecture and design studio Mentze Ottenstein; heralding a new chapter in the historic home's history.

Explore the new chapter of the Dinesen Country Home

Located by the Dinesen manufacturing facilities in Jels, Denmark, the country home served as a retreat for the Dinesen family, since it was first acquired in 2006. The recent renovation sensitively refreshes the period property while transforming it into a showcase of the timber company as well as a guest house and event space for its visitors and business.

The house, a traditional southern Jutland longhouse with a thatched roof, maintains its outer historic appearance, lovingly restored and painted in the typology's signature white tones. Set in the country's leafy outdoors, it offers a haven of tranquillity - while acting as a brand showcase for its owner.

Stepping inside is when the design's timber craft clearly shines through - mixing contemporary forms with age-old traditional techniques honed over centuries. Neutral tones, light colours and natural wood surfaces prevail, making for a calming, cocooning atmosphere.

The property spans two levels, including an expansive ground floor of living areas (kitchen, dining and seating areas), which look out to the green Danish countryside. Upstairs are the bedrooms and bathrooms, all wrapped in warm timber and handcrafted elements (occasionally painted an eye-catching shade of green as a nod to its countryside location).

Designers Mathias Mentze and Alexander Ottenstein say on the transformation: 'We've maintained a consistent colour for door frames and ceiling beams while introducing a gradient from room to room, starting with brighter colours and ending in what used to be a family living room, which is now decorated as a cosy dark-walled library.'

They add: 'A space is like a portrait of the person or the people who inhabit it. We have attempted to draw a portrait of where Dinesen is today through choices and approaches that allow for change so that it is not a static project but open to being filled with new stories. We hope to come back and see that the library has been filled with books, that cabinets are full of textiles and that furniture pieces from and by friends and partners of Dinesen are included and speak to each other in a unified experience.'

Hans Peter Dinesen, brand director and fifth generation Dinesen family member says: 'We hope that the house will, to an even greater extent, form the setting for countless visits and events over the next several years. The house represents, in the same way as the family's history, a love and care for traditions and wood. Since 1885, generations of families have lived here, all supported by the surrounding lands and agriculture.'

'Like any home, the Dinesen Country Home is an ongoing story, a sum of fragments and lives lived as objects have been added and taken away again and replaced by unique items accumulating over time. We aim to both embrace our historical roots and explore new dimensions of the company's identity.'

Dinesen Country Home is open to the company's friends and guests, with some availability for public booking for stays and events on select dates in the future

dinesen.com

Biosis first started working in Greenland upon its foundation in 2018. The Danish architecture studio, founded by Morten Vedelsbøl and Mikkel Thams Olsen, has since designed several projects in the northern territory – from office to residential and public schemes. The architects find themselves continuously challenged by the region's harsh climate, which inspires them to innovate and push the boundaries of architecture within its specific environment. Their approach, they explain, is heavily infused with sustainable architecture principles and the practice's in-depth understanding of the Greenlandic community's specific needs and desires. Leaning on cultural affinity and a site-specific angle is what makes this architecture practice a specialist in building in the Arctic context.

Greenland through the eyes of architecture studio Biosis

W*: What makes Greenland special for you?

Biosis: Greenland is a country of breathtaking, untamed beauty, but it is also a challenging environment where survival depends on resilience and ingenuity. This duality is what makes Greenland so special to us. Here, architecture isn’t just about creating buildings; it’s about crafting lifelines – structures that protect and support the people who call one of the world’s harshest climates homes. The interplay between Greenland’s dramatic environment and the needs of its communities makes designing here both a privilege and a profound responsibility.

What draws us most to Greenland is the opportunity to create architecture that not only endures in these conditions but also respects and enhances the cultural and natural fabric of the place. Our climate-driven, minimal-impact philosophy focuses on resilient design that works with the natural landscape, avoiding unnecessary disruption or blasting of rock, ensuring harmony with the environment.

We feel a deep connection to Greenland through our projects. Sharing the same realm fosters a unique cultural affinity and mutual understanding. For us, working in Greenland is about more than designing buildings - it’s about contributing to its sustainable growth while honouring its extraordinary heritage and the resilience of its people.

W*: How long have you been working in the territory?

B: We have been working in Greenland since establishing BIOSIS in 2018. From the very beginning, our studio has been guided by the principles of climate-driven architecture, where the natural forces and prevailing conditions of a place play a central role in shaping our designs. Greenland’s Arctic climate has always been a key focus for us, and it continues to inspire and challenge our approach.

Over the years, our understanding of building in Arctic conditions has deepened significantly. This knowledge has not only informed our work in Greenland but has also allowed us to expand into exciting projects in Canada, including Newfoundland and Labrador and Nunavut. While our scope has grown, Greenland remains at the heart of our practice. We are committed to creating thoughtful, resilient architecture that supports the Greenlandic people and their environment, and we view our ongoing work there as both a privilege and a responsibility.

W*: What defines architecture in Greenland? What are its challenges and opportunities?

B: Since we began working in Greenland in 2018, we’ve observed that much of the Arctic, including Greenland, has been shaped by imported architectural solutions - designs that are neither engineered for the region’s extreme climates nor tailored to the specific needs of its people. These standardized models, often developed for temperate zones, have been applied with little consideration for the unique environmental and cultural conditions of the North and with little care to the indigenous land and the primeval landscapes. The same goes for some of the places we work in Canada. Unfortunately, this has resulted in buildings that not only fail to perform adequately but, in some cases, pose significant challenges, including health risks.

For us, these challenges represent opportunities. Our design philosophy is rooted in adapting to the defining parameters of the Greenlandic environment: powerful winds, heavy snow loads, complex water management, and steep terrain. We craft architecture that is deeply responsive to each site, ensuring functionality, resilience, and harmony with the landscape.

Our approach also informs our work in Arctic and North Atlantic Canada, where we apply the insights and solutions developed in Greenland to meet similar challenges. By learning from and building on these experiences, we aim to contribute to architecture that is both climate-appropriate and respectful of the communities it serves.

W*: What is the most recent project you completed there?

B: Our most recent project in Greenland is the residential complex Nuukullak, situated on a steep hillside in Nuuk, the capital. The design was shaped by the challenging terrain and an in-depth analysis of local wind patterns and daylight hours. This approach allowed us to map the microclimate and craft a building that harmonises with its natural surroundings.

The resulting horseshoe-shaped structure adapts to the terrain, blending seamlessly into the landscape while creating sheltered spaces for residents. To preserve the natural environment, we prioritised minimal impact by avoiding heavy excavation, which is both costly and destructive to the terrain and biotopes.

Each unit includes a southeast-facing balcony, optimised to capture sunlight from different orientations while shielding residents from the prevailing cold northern winds. At the heart of the complex is an inner courtyard, designed as a versatile, year-round playscape and social gathering area, protected from harsh elements. Nuukullak reflects our core philosophy: creating architecture that balances environmental and social needs while respecting and enhancing the unique character of its landscape.

W*: What innovation have you been applying in your projects there? What can make a difference?

B: We believe that creating architecture on Greenlandic terms requires a specialised approach - one that thoughtfully integrates all relevant factors to produce innovative, highly responsive environments. To this end, we developed our design methodology, Climate-Driven Design. This approach emphasises that architecture must respond not only to the immediate environmental conditions of a site but also to its broader climatic and cultural context. It incorporates a comprehensive range of global, local, and social parameters to create structures that are resilient, adaptable, and culturally appropriate.

Our process begins with meticulous data collection, analysing factors such as temperature fluctuations, wind patterns, snow accumulation, permafrost, limited daylight, and precipitation. This ensures that each project is uniquely tailored to its specific site conditions, giving the design a distinct "DNA" that reflects its natural and social environment. We aim to minimise impact on the landscape by allowing the local climate to co-design our buildings, preserving the terrain and working in harmony with Greenland's fragile ecosystems.

In these remote locations, logistics can present significant challenges, making careful planning essential. Where feasible, we prioritise the use of local materials and manpower, reducing transportation needs and supporting the local economy. This approach not only addresses the logistical hurdles of building in Greenland but also fosters a sense of ownership and connection within the community.

In these extreme Arctic conditions, we focus on materials and techniques that are not only durable and energy-efficient but also align with the community’s way of life. By embedding these principles into the very foundation of our designs, we aspire to create architecture that is not just functional but also comfortable, sustainable, and deeply connected to its environment. Our ultimate goal is to craft buildings that enhance both the quality of life for Greenlandic communities and the resilience of the built environment in one of the world’s most challenging climates.

W*: What excites you about the future there?

B: The opening of the new international airport in Nuuk in November 2024, along with upcoming airports in Ilulissat and Qaqortoq, marks a transformative moment for Greenland. These new transport hubs will significantly enhance connectivity and create opportunities for development that can benefit Greenlandic communities. Architecturally, this opens the door to projects that thoughtfully balance development with Greenland’s cultural and environmental priorities.

The expanding tourism sector also presents exciting opportunities, but it also comes with challenges. Increased tourism must be approached sustainably to ensure it supports the Greenlandic people, their unique natural environment, and Greenland's long-term interests.

We are particularly excited about projects that seamlessly harmonize with Greenland’s extraordinary landscapes. One example is our current development of 150 residences on the outskirts of Nuuk. Designed to adapt flexibly to the steep, rocky terrain, this project minimizes disruption to the natural environment, allowing the landscape to remain virtually untouched. The concept integrates the architecture with the formations of the rocky landscape, creating a balance between built structures and the surrounding environment that has never been seen in Greenland.

Through projects like this, we aim to contribute to a future in Greenland where architectural innovation meets community needs while preserving the Arctic’s unique and fragile beauty. This is an opportunity to set a new standard for sustainable design in a region undergoing significant transformation.

biosis.dk

Jens Sverdrup is chairman of Zenvo Automotive, having joined the Danish company in 2021 after garnering experience amongst the upper echelons of the supercar and hypercar world, including stints at Koenigsegg, Rimac and Czinger. Zenvo itself was founded back in 2007 by Jesper Jensen and Troels Vollertsen, launching its first car in 2009, the ST1, powered by a 5.8-litre V8.

Since 2009, the original ST1 has evolved, becoming the TS1, then TS1 GT, before ultimately ending in the TSR-GT, which produces a remarkable 1,360 bhp from the original V8. Production numbers have always been very limited, split between road and track-only cars, occupying a rarefied niche within a niche to cater for collectors who care more about driving and engineering and less about the badge on the bonnet.

Sverdrup hopes to change all that. In August 2023 the company kickstarted a new era with the launch of the all-new Aurora Agil and Tur models. We spoke to Sverdrup about his ambitions for the new models and where the company sees itself heading.

Wallpaper*: How would describe the new models?

Jens Sverdrup: I’ve come into the picture to help set up the Aurora programme and beyond. We’re doing what we call Zenvo 2.0.

W*: What challenges have you faced?

JS: I’ve known the guys here for a long time – it’s a small industry. They wanted to become the next breakthrough brand in the hypercar world, so they needed a new team. They approached me and it was like dangling a candy in front of a kid.

I also really hit it off with Christian Brandt, our head of design, who is perfect for a small boutique brand where you have to wear many hats. Christian suggested we make something around a monocoque structure and they presented me with some early renders – as a car fanatic, it was hard to resist.

W*: What was the next step?

JS: We’re in Denmark – a world-leader in design, be it architecture or furniture. There’s a very specific design language here, a sort of organic minimalism, not something that’s hard and angular like the Bauhaus. So the first step was to add more ‘Danishness’ to the design, then work on the aero. Christian played with the negative spaces, inspired by cars like the BAC Mono or Aston Martin Valkyrie.

There was all this beautiful engineering, but if you put a monolithic body on it, it hides it away. We wanted to send all the air through the car rather than over it. So it’s fully open on the sides, more like an F1 car.

W*: What else inspired the design?

JS: I’m a big, big fan of motorcycles – you can look at one and you can figure out how it works. So we took a similar approach – let’s only add bodywork where it needs to be. The black surfaces on the cars are the uncovered monocoque chassis. We have our engineering on display, like a Patek Philippe watch – a mechanical fascination.

W*: Is this what defines Zenvo?

JS: It’s what a hypercar means to me – everything is bespoke, from the bolts down to the fluid containers. You can see the engine, the gearbox… every part is beautifully crafted and like a work of art.

W*: So why go with a V12 engine and not an electric drivetrain?

JS: It’s the ego part. In every company I’ve been involved with, customers wanted a V12. If they said they prefer V8s, they’re lying. We canvassed around 100 customers, dealers and even journalists to find out what they preferred. Almost everyone said V12.

W*: Who have you sourced your engine from?

JS: With the Aurora Agil and Tur we have very tight packaging for the engine and gearbox. It would normally cost around £60-100m to develop a V12 from scratch, so we’re working with [UK-based] MAHLE Powertrain to co-develop a modular engine, something that can be supplied to other manufacturers in order to off-load the initial expense.

W*: Do you see a future for a V12 engine?

JS: For us, the Aurora is a brand breakthrough product. A new V12 is now or never, but my gut feeling is right, and we’re drowning in enquiries from other manufacturers. Nobody buys a hypercar for efficiency – they buy it for emotional reasons. Frankly, electric hypercars might be extremely fast but they leave me cold emotionally.

The Aurora is back to basics – it should be fun at low speed or top speed. Let’s not just chase crazy performance numbers. The V12 is paired with electric motors, which also serves as the starter motor and the reverse gear. The gearbox has been co-developed with Ricardo.

W*: How would define a modern hypercar?

JS: It’s like an old-fashioned graphic equaliser – every slider is turned up to the maximum. But we’ve never had numbers in mind. We’re trying to build a car that’s not hugely uncomfortable – nobody cares about being 1/10th of a second faster around the Nürburgring anymore. The cars are geared for the best possible driving experience – a sensory experience [that delivers] smiles per mile.

W*: What’s the difference between the Agil and Tur models?

JS: We have two models because one can’t do it all. The Tur is four-wheel-drive, with additional electric motors on the front axle. The longer gearing is aimed at a more GT-like experience. A huge benefit of the hybrid system is being quiet at 5am – you’re not getting a lot of friends if you start a V12 at that time. You can also take it through congestion zones.

The Agil is track-focused, with more aero and a lighter, different specification. It’s rear-wheel drive and is still road legal. We’ll build 50 examples of each, with production slated to start in Q3 2026. This summer, we’ll have the VP1 prototype up and running.

W*: How have you approached the interior design?

JS: We have a very rich heritage of design. Christian wanted to make something timeless – it’ll probably be around 150 years from now. [Inside], I wanted the feeling that you’re part of the machine, like a cog, but also like you’re the missing part of a sculpture. I have a dislike of screens and technology. The reason you’re driving a hypercar is to escape the world, like riding a motorbike or a horse. Screens are cheap, they cost nothing, but we wanted a very user-friendly experience with a button for everything, not menus.

I also wanted to have analogue instruments, inspired by watches of course. The car is really high-tech, but technology is best when it doesn’t interfere and just supports you. The instrument cluster can flip around and hide the CarPlay and menus. You have all the things you need without being bombarded with data. You just don’t need all these gadgets in a Sunday morning hypercar.

W*: How do you think the Zenvo brand will evolve?

JS: The media has a hard time pinning us down. The customer knows exactly what they want. I was originally tempted not to publish any performance numbers, as we know the car will perform against the very best. But that’s not the reason the car exists – it’s a side effect of doing everything the best way possible.

Our customers are part of our journey, helping us build the brand. It’s been fascinating to see it come alive. I’m allergic to the word ‘luxury’. This isn’t about luxury, it’s about experience, and I think our customers feel the same way – we’re in the extreme sports industry, along with high-end skis, bicycles or running shoes.

We’re doing it because we love going fast and creating an expression of technology. Our customers can get luxury any day of the week. They want to feel something. This is a really, really extreme project for true enthusiasts who care, like me, about quality and artistry.

Zenvo Aurora Agil and Aurora Tur, from around €2.6m, ZenvoAutomotive.com, @ZenvoAutomotive

All photographs by GF Williams

Flora Danica is a new Danish perfume house rooted in the natural world and the Nordic philosophy of hygge. Crafted in Denmark and produced in France, the brand has taken the expertise of three of Europe’s premier noses – Olivier Cresp, Nathalie Lorson and Ilias Ermenidis – to produce a thoughtful debut collection of four scents celebrating a oneness between humanity and nature.

‘In Denmark, we enjoy our nature in its raw and untamed form,’ Michael Shin, Flora Danica’s brand director tells Wallpaper*. ‘The brand’s vision of nature is less romantic, more graphic.’

Flora Danica is a new Danish perfume house rooted in the philosophy of hygge

This outlook is perhaps best exemplified by the scent ‘1761’. Like eating a pastry on a wild walk in a moody, mulchy forest, top notes of citrus and cardamom give way to something much deeper, darker and woodier.

‘Flower Muse’ blends jasmine tea, white poppy, sweet pea and iris, whereas ‘Amber Echo’ brings together ginger, carrot seeds, angelica and frankincense. Finally, ‘Soul Garden’ is an enveloping mix of verbena, honey elderflower and vetiver counterbalanced with an amber gourmand accent.

The house takes its name from an important relic from Denmark’s history, the Flora Danica. This atlas of botany, written between 1761 to 1883, catalogues the diverse flora of the Danish kingdom across 54 illustrated volumes. Certainly, this marriage of history and contemporary Nordic values is a beguiling starting point from which to build a fragrance house.

‘Danish design is about the combination of elevated aesthetics, minimalism and functionality,’ says Shin. ‘We have tried to incorporate this vision, whilst also creating a contemporary identity to a piece of Danish national heritage. It’s about a juxtaposition of modernity with a certain depth and confidence, without being “over the top” or dusty.’

As essential to the Nordic way of life then as it is now, a closeness to nature is at the very heart of the brand, extending from production to branding and beyond. Combining elegant pistachio green as its signature colour with bold sans serif typography – and using organic materials such as paper and wood in its packaging – the house has the characteristics of the inviting yet elevated pragmatism that makes the Scandinavian style so beloved.

‘The choice of four fragrances, just like the four seasons, was conscious,’ Shin notes. ‘We would like to build the brand gradually and had we launched with more creations from the start, it would have meant producing more and using more resources, which we did not want to do.’ Flora Danica perfumes have a high percentage [up to 92%] of ingredients sourced from natural origins. The bottles are refillable and use FSC-sourced paper as a secondary packaging material. ‘We, as Danes, try to make responsible choices when we consume,’ Shin notes.

The process of launching the brand was a journey of discovery, not least for perfumers Crisp, Lorson and Ermenidis, who each brought a unique set of expertise to the brand whilst also taking the opportunity to learn more about Danish cultural identity. But also for Shin, with the Flora Danica encyclopaedia a constant touchpoint throughout. ‘We learnt that the story of Flora Danica is one of generosity, endurance, artistry and courage,’ he says.

‘When King Frederik V commissioned it, he did so to educate his people. It was financed by his personal, not public, budget,’ Shin continues. ‘At the time, the kingdom was much bigger, so researchers had to travel far, often facing dangers, to discover new species. When you look at its illustrations, they depict the flora in its entirety from root to top, not just showing the beautiful parts. To have them printed in colour, not only in black and white, was a remarkable feat of artistry at the time.’

For a tiny country with a population of not quite six million, it’s safe to say that Denmark’s impact on global culture is almost disproportionately immense: we want to dress like the Danes, eat like the Danes and live like the Danes. Copenhagen now rivals Paris or London regarding the city’s aesthetic influence, and also perhaps for its thoughtful way of living; a way of living that Flora Danica has now bottled in its fragrances.

floradanica.com

Wellness in architecture is a hotly debated topic. From biophilic design to inclusive architecture and the role of technology in our homes, it encompasses different elements that translate into varied aspects and practices, promoting well-being in the 21st century. Studying light and ventilation, and their effect on interior comfort is a key piece in that puzzle.

In this landscape, Living Places Copenhagen, a research project out of a dedicated, purpose-built mini neighbourhood in the Danish capital, is an experiment that attempts to address the subject by measuring design's impact on our daily comfort in an attempt to define what makes the perfect, contemporary living environment.

Living Places Copenhagen: who, what, why and how

In 2023, Danish window specialists Velux decided to put its money where its mouth is, kick-starting Living Places Copenhagen - a research project and live test site intent on proving exactly how design can help us live better: alone, together, and within the natural and urban context. Taking over a generous, long and narrow plot in Copenhagen's Jernbanebyen neighbourhood, the company worked with property consultancy Artelia and EFFEKT Architects to create a family of structures - two model homes and four semi-open pavilions (the latter acting as storage and auxiliary spaces, and exhibition areas, supporting the project's function).

Each of the two homes is slightly different. Both made in wood architecture, they were designed using sustainable architecture principles - one in solid timber featuring natural ventilation, and the other in CLT (cross-laminated timber) and hybrid natural/mechanical ventilation. Both are kitted out in state-of-the-art technology which allows the user to control and adapt when windows and sunshades open and for how long, both in terms of regulating sunlight and ventilation inside the home.

At the same time, all structures share a distinct, cosy and minimalist Nordic aesthetic - spaces clad in light-coloured timber, flowing interiors, tall ceilings, pitched roofs and clutter-free detailing. A garden outside - all the structures are arranged across a timber-lined deck that defines the 'neighbourhood' - ensures windows open to greenery which includes a vegetable garden. Guests are encouraged to pick its fruits to use in cooking.

The aim? To highlight the positive impact of 'a healthy indoor climate' and help prove how architecture can be sustainable on different levels in an efficient, scalable and affordable way (each of the homes, the project's representatives say, can be built in the equivalent amount of the typical Danish family home). So if you can afford a house, why not make it one that supports health and wellbeing too, they suggest.

The method? Inviting guests (one of which was this writer) to stay at one of the homes for a few days. The experiment included several visits taking place over the course of a few months. Each visitor experienced the environment and specific settings in the ventilation and daylight window systems, recording levels of comfort, offering feedback and implementing adjustments along the way. Surveys were filled in, questions were answered and the results were fed through to the programme's team to be collated and translated into measurements.

Meanwhile, the methodology used draws on the model proposed in the scientific paper Well-being at home: a mediation analysis of residential satisfaction, comfort, and home attachment by Bernd A. Wegener and Peter Schmidt, published in the Journal of Housing and the Built Environment in 2021.

Living Place Copenhagen: the results

Now, a little over a year on from its launch, the scheme has revealed its learnings. To that end, the Living Places Copenhagen team confirms that while comfort is a broad term and can mean different things to different people, the home environment and its daylight, thermal conditions, indoor air quality, acoustics, and connection with nature, are identified as key factors in user wellbeing.

'It is clear that there is a strong correlation between a high-quality indoor climate and human well-being, according to new data,' the project team writes. 'In July and August 2024, Velux Group invited nearly 100 architects, entrepreneurs, designers and journalists from 12 countries to live at Living Places Copenhagen as part of an experiment that builds on years of research led by Velux Group in scientifically monitoring different model homes to better understand how building design impacts residents' comfort and satisfaction while assessing indoor environmental quality and its effects on human well-being.'

'Designed to optimise daylight and natural ventilation, 83% of all guests favoured spending time in rooms with more natural light while 90% also found it easy to adjust the shadings to ensure an optimal indoor environment. As part of creating well-being at home, functional factors like design, layout, temperature, lighting, and indoor climate can invoke immediate feelings of physical comfort in a building. During their stay, 85% of the guests perceived the houses to fit their functional needs.'

It was additionally determined that each of the Living Places Copenhagen single-family homes emits only 3.85 kg CO2 eq/m2/year (a fact with third-party verification from AAU BUILD - Department of the Built Environment).

'We spend 90% of our time indoors, so the way we build and live directly affects our physical and mental health. Living Places focuses not only on how we create a better living environment for our planet but also on creating a path towards a future-oriented society that enhances living conditions for people as well,' the report highlights.

'Living Places showcases how we can build homes that don’t just make us less sick but actually contribute to improving our health. Combining mechanical ventilation and effective filtration of outdoor air with natural ventilation through windows and doors secures a healthy indoor climate through the whole year, even when the outside temperature drops.' The tests covered areas such as humidity and fresh air and carbon dioxide (CO2) concentrations that affect mould and pollutants.

A conclusion summarised in five key themes

• Living Places can inspire and showcase how to build sustainably, in designs that can be financially competitive and scalable, use standard materials and follow contemporary lifestyle trends and aesthetics.
• Healthy buildings that are good for people and the planet can be achieved by applying a holistic approach focusing more on comfort, energy and environmental parameters; a no-brainer, perhaps, that architecture should be addressed from concept to building, operation and afterlife.
• Additionally, the way we design our homes can significantly influence residents' well-being and their way of living ('1 out of 3 Europeans is exposed to at least one indoor climate hazard such as lack of daylight, cold, damp or noise,' the team reports. 'Over 70% of Living Places guests reporting improved mood, increased relaxation, and a sense of connection to nature while experiencing minimal negative effects')
• The design of Living Places Copenhagen, which optimizes daylight and natural ventilation, has been well-received by guests, they add
• Finally, Living Places Copenhagen has achieved an indoor thermal environment within the comfortable range according to the European Standard (being awarded a 'first-class indoor climate'

velux.com/livingplaces

The Bjarke Ingels Group (BIG) doesn’t like to do things by halves. Two years after opening an impressive new studio in New York, the hugely busy award-winning firm has now given itself a vast HQ building in Copenhagen, set in the heart of the port to the north of the city centre – and addressing sustainable architecture principles too.

Tour the BIG studio in Copenhagen

A neo-brutalist lump that saves its architectural drama for the interior, the new BIG HQ replaces a car park and stands 27m tall above Copenhagen’s Nordhavn. Three hundred people (or ‘BIGsters’, in the company’s parlance) work here, just under half of BIG’s global workforce. As both designer and client, the studio offered the architects an opportunity to explore and experiment, as well as a chance to practice what they preached in terms of sustainable, low-energy construction and running costs.

Completed in spring 2024, the building has now had several months to bed in. Rising up at the tail end of the Sundmolen pier, with new landscaping starting to soften the hard edges of a curved concrete walkway, the seven-storey building is a reimagination of the classic studio archetype. The east façade has an array of tall windows, with a series of terraces, linked by a 140m-long external staircase, wrap themselves around the façade.

To build here, the architectural firm engaged all its various departments, Landscape, Engineering, Architecture, Planning, and Product Design. This approach is something the studio has dubbed LEAPP (from the deparments' initials), combining as it does its different expertise. To ensure that a cross-disciplinary approach is fully integrated, elements like structural engineering, for example, are closely integrated with the spatial design.

Ultra-high environmental performance started with the structure itself, which is formed from the new Uni-Green concrete mix from Canadian supplier Unicon, a product with a lower CO2 consumption than traditional concrete thanks to its use of calcined clay and lime filler. Solar and geothermal energy systems are paired with natural ventilation; overall, 60 per cent of the building’s energy costs come from renewables.

All this was achieved without sacrificing the structural and spatial drama that has come to characterise BIG’s architectural approach. The central studio space soars all the way from the ground floor to the upper level, with interlocking staircases and walkways bisecting the space. It’s a deliberate reference to the dark but emotive architectural vision seen in the architectural etchings of Piranesi, as well as a way of giving each level its own sense of spatial independence and varied external views. Covering 4,880 sq m, the building offers space to grow without the danger of ever feeling like an empty hangar.

There is a little bit of showboating, as one would expect (and perhaps demand) of a structure built by and for architects, such as the single load-bearing column in the main space. This uses no fewer than six different rock types in order to ‘form a totem pole to [honour] gravity at the heart of the open space that rotates on each floor to align with the beam that it’s carrying’. As well as new external planting on the terraces and pier, the project incorporates a project by sculptor Benjamin Langholz, a spiral of 40 stones.

‘Every floor has access to an outdoor terrace that is connected to the outdoors terrace above and below,’ says Ingels, ‘… you can walk all the way from the roof to the ground floor. This creates incredibly framed views as you move through the building – sometimes you see a fragment of the Nordhavn community, sometimes you see a frame of the water, sometimes a framed view of the windmills at Middelgrunden.’

Ingels and Finn Nørkjær oversaw the project, which was managed by Ole Elkjær-Larsen. The design lead was Frederik Lyng and the project architect was Jesper Boye Andersen.

BIG.dk

The Wallpaper* Architects’ Directory 2024 has been revealed, highlighting 20 studios from around the world as some of the year's most exciting newcomers.

Conceived in 2000 as an international index of emerging architectural talent, the Wallpaper* Architects’ Directory is our annual listing of promising practices from across the globe. While always championing the best and most promising young studios, over the years, the project has showcased inspiring work with an emphasis on the residential realm. Now including more than 500 alumni, the Architects’ Directory is back for its 24th edition.

Join us as we launch this year’s survey – 20 young studios, from Australia, Brazil, British Virgin Islands, Canada, China, Denmark, Estonia, Finland, India, New Zealand, Nigeria, Portugal, Singapore, South Korea, Spain, Thailand, Tunisia, the UK, the USA, with plenty of promise, ideas and exciting architecture.

Wallpaper* Architects’ Directory 2024

Here are the 20 practices celebrated in this year's Wallpaper* Architects’ Directory 2024 – spanning 19 countries and five continents.

Wallpaper* Architects’ Directory 2024: Europe

Kasawoo, UK

London-based Kasawoo was founded by Kyriaki (Katie) Kasabalis and Darius Woo in 2020, after they met during their studies at Cornell University in the USA. Their studio was established with an aim to work on bringing great design to everyone. 'Early on in our practice, we discovered that good design was often out of reach for most people, and we made a commitment to change that. For us, good design does not need to come with a big price tag. That is why we set up our practice to bring this ethos to life,' they say.

This desire is combined with an approach that draws on a more ‘gentle’ architecture – minimalism, not through formal reduction, but rather through the efficiency of both design gestures and resources.

Brown Urbanism, UK

Richard Brown's Brown Urbanism was born some ten years ago, as a London-based architecture and urbanism design practice with a mission to 'create better places for people to inhabit that are inclusive, engaging and meaningful'. As part of this philosophy, the studio works on a range of typologies and scales, including commercial, residential, retail and hospitality; always with a focus on sustainable, low-cost, high-impact design.

'Simple, well-thought-through design that works for the client while creating distinctive and meaningful urban environments,' says Brown. 'We are interested in how design can better reflect, support and enable new ways of inhabiting and experiencing space. We are particularly interested in how the home can support the complexities of life’s requirements – from working from home and experiencing nature to treating the home as a performative cultural place.'

Mast, Denmark

Mast, founded in 2021 by Australian architect Marshall Blecher and Danish maritime designer and architect Magnus Maarbjerg, is on a mission to improve the relationship between the city and the sea. 'We are motivated by the amazing potential that comes from reconnecting with water, as we have seen the amazing effect that even small improvements to water access and quality can produce in cities,' Blecher explains.

Specialising in architecture on or near water, the duo have completed several small structures floating around Copenhagen harbour. There is the 20 sq m tiny prototype floating island KBHØ1 (KBH for Copenhagen and Ø for island) with its 6m tall Linden tree; and the portable ‘harbour bath’, or Dyppezone, which can be freely moved around the city’s waterways, creating intimate bathing experience along its way.

Studio Argus, Estonia

Architect Margit Argus brings more than 20 years of experience in interior design, fine arts, and architecture to her young and fast-emerging architecture studio. The practice, based in Tallinn, is rooted in a Nordic aesthetic, bringing together local Estonian vernacular and a fine attention to detail. Current projects include a seaside hotel in Tallinn, a high-rise residential building, and a university campus in Tallinn, alongside a handful of schools and single-family houses.

Studio Collaboratorio, Finland

Young Helsinki practice Studio Collaboratorio was founded in 2016 by Finnish architect Kristiina Kuusiluoma and Italian architect Martino De Rossi. The dynamic, emerging practice aims to 'create beautiful habitats by using natural and ecological materials while at the same time paying close attention to the place and its history: more beauty, communality, affordability and humanity! Interactive cooperation, profound ecology and long life cycle are at the heart of everything.'

Branco del Rio, Portugal

Founded by Paula del Rio and João Branco, the architecture studio Branco del Rio is based in the riverfront city of Coimbra, Portugal’s former capital. Motivated by curiosity and influenced by the ever-changing city around them, the architects view each project as an opportunity to investigate different contexts and topics. Gathering inspiration from their travels, books and colleagues the team say: ‘We are convinced that what we do can improve quality of life. We live and work in spaces we designed, we share spaces we designed with friends. It is a privilege and also a motivation.’

Wallpaper* Architects’ Directory 2024: Asia

Playball Studio, India and Spain

Established in 2017, Playball Studio is an Indo-Spanish architecture firm led by architects Celia Fernández Duque and Ronak Gangdev. Based in Rajkot, India, and Valladolid, Spain, the studio works on a range of uniquely contextual residential and commercial projects, often within urban conditions.

The word ‘Playball’ reflects the studio’s philosophy of always ‘playing ball’ and prioritising the needs of its clients. Fernández Duque and Gangdev are also conscious of the impact of their projects on the physical environment. The studio’s core strength lies in striking a harmonious balance between the organic and the technical, simplicity and refinement, and form and functionality.

Tsing-Tien Making, China

Suzhou-born Freja Bao's studio, Tsing-Tien Making (TTM), was founded following the architect's education in London's Bartlett School of Architecture and stints in Japan, in the offices of KPF Architects and Kengo Kuma & Associates. Bao set up her independent practice in her home town in 2023 and has been going from strength to strength since.

'As a collective deeply passionate about architecture, we at Tsing-Tien Making thrive on embracing challenges and infusing each project with innovative experimentation,' she says. Beyond her first completed project, featured here, Bao adds that there's more to come: 'Our focus extends to a range of exciting undertakings, including the development of a retirement house, the restoration of a scientist’s former residence, and the conceptualisation of a private collector’s room.'

L Architects, Singapore

Boutique studio L Architects was founded in 2016 by Lim Shing Hui. Based in Singapore, the practice focuses on creating homes that enhance the living experience. ‘Architecture has the power to evoke a wide range of emotions within us. You have to find the soul of the space,’ says Lim. ‘The search [for this] is what keeps me motivated. I believe that a good piece of architecture has the ability to touch the human soul, communicate messages, stir empathy and at the same time quietly delight – and this in itself transcends mere physical realms.’

The studio also believes it is important to stay rooted in its culture, in particular the experiences, cultural background and personal journey of its founder, allowing this to inform the shape and unique style of each residential design, giving it a distinct authorship.

Studio Heech, South Korea

Working across a range of creative fields that encompass architecture, industrial design, furniture, and interactive performance installation, Studio Heech welcomes multi-layered, rich experiences. Meanwhile, ‘the craftsmanship of “making things” is still important in the 21st century,’ says Park. With a keen eye for detail, the studio strives to create its contemporary architectural expression through techniques that bridge technology and traditional manufacturing – ultimately addressing the fundamentals of urban architecture.

Championing both the traditional and the contemporary, the studio often creates intriguing architectural forms. As with many forward-thinking practices, Studio Heech integrates sustainability into its work. From planning through to construction, Park makes sure to collaborate with a wide network of engineers, artists and craftsmen to broaden ideas and spark curiosity within the creative process.

Touch Architect, Thailand

Based in the bustling Thai hub of Bangkok, Touch Architect crafts residences drawing on its cultural ties and environment, while adding sustainable architecture practices. When approaching a project, the duo applies a 'bottom-up approach’, meaning they focus on the functionality of the space before layering on aesthetics. ‘For us, good architecture must be functional, timeless, and sustainable,’ they say. ‘While beauty and aesthetics are also important, it comes as an enhancement which completes the architecture. Great architects like Frank Lloyd Wright and Louis I Kahn inspire this philosophy in our work.’

Wallpaper* Architects’ Directory 2024: Africa

Fleury Atallah Architectes, Tunisia

Fleury Atallah Architectes is one of the exciting emerging architecture practices to be included in the annual Wallpaper* Architects’ Directory 2024. Founded in 2011 by Catherine Fleury and Chacha Atallah, it has offices in Toulon, France and Carthage, Tunisia. The studio focuses mainly on residential projects for private clients who are after a sensitive, sober and context-specific approach as well as inventive and beautiful solutions to architectural and interior challenges; but it has also designed art galleries and wine production facilities.

SI.SA. Nigeria

African culture motivates Lagos-based architecture firm SI.SA. ‘We are influenced by the abstracted forms found in African traditional art and their ability to convey power and meaning,' says founder Seun Oduwole.

Founded in 2015, the ten-person firm aims 'to make beautiful buildings that enhance the built environment’. Dedicated to the betterment of communities, SI.SA focuses on inclusive and socially responsible architectural designs. Boasting a diverse portfolio of residential, educational, and cultural projects, the practice has worked on some impressive projects, such as the colourful John Randle Centre for Yoruba Culture and History in Lagos.

Wallpaper* Architects’ Directory 2024: Americas

AD-WO, USA

Ethiopia-born Emanuel Admassu and Australia-born Jen Wood formed AD-WO in New York in 2015. The young art and architecture studio brings together their 'divergent' backgrounds to create valuable 'friction' within their practice – which, combined with their agility and multi-disciplinary approach, gives them a distinct edge when it comes to crafting works that are 'transnational' and experimental. The portfolio of the research-based studio spans from images and objects to furniture, tapestries, installations, and buildings.

Studio Porto, Brazil

The emerging practice of Camila Porto stands out through its contemporary fusion of Brazilian culture with a cosmopolitan attitude. Studio Porto's projects are intended to be timeless, balanced, and hospitable, Porto explains – but functionality is equally paramount. Attention to detail, empathy, and integration with nature are also strengths.

'Our greatest influence is Brazilian modernism, which brings with it a legacy of architectural solutions guided by simplicity and elegance. We combine this foundation with a contemporary and global perspective, integrating elements of nature and prioritising people's wellbeing. This combination of values shapes our approach uniquely and innovatively in architecture and design,' Porto explains.

TigerQi Architecture, British Virgin Islands and Saint Kitts and Nevis

Lavina Liburd started TigerQi Architecture in 2013, having previously worked at different firms and gained experience on a wealth of projects, from transportation and civic briefs to luxury residences and commercial buildings. With this under her belt, Liburd set up shop on her own, with a focus on a contemporary design approach that embraces simplicity and minimalism.

Due to the climate and topography of its secluded Caribbean home, the practice centres on three key principles; creating healthy buildings that support the social health and wellbeing of its clients; embracing hillside living to maximise views and light; and creating architecture that is designed to serve its community as a whole. These underlying principles are threaded into the studio's design process, wrapped up in a tropical modernism aesthetic.

Svima, Canada

Starting Svima five years ago, Anamarija Korolj and Leon Lai, looked towards nature and ecology. During our era of mass construction, the studio fine-tunes its mission by focusing on three key pillars: air, light and greenery. With this in mind, their designs draw on the blossoming biomes of Canada, while balancing a human-centric approach, ensuring that the client receives a design that provides ample access to nature. The studio's portfolio brings together a series of schemes that nod towards creating a more equitable and sustainable future.

Seeing themselves as ‘not only as designers of buildings but as stewards of human experience’, Korolj and Lai seek to unite art and architecture to ‘continuously leverage the two mediums as vehicles with a reciprocal relationship in pushing the boundaries of the visual and spatial expressions.’ The creative duo strives to implement projects with a sense of place, resilience and inclusivity, ‘reflecting the essence of what it means to be Canadian.’

Büro Koray Duman, USA

This agile New York and Istanbul architecture practice – Büro Koray Duman – was founded by architect Koray Duman in 2014. The studio is a proudly immigrant- and LGBTQ-led business, comprising a team of architects that represent a diverse mix of nationalities and experiences. As a result, its output is equally varied and captivating - from projects for MoMA PS1 Museum, to the Finnish Cultural Institute NY, the Noguchi Museum, IKSV, artist Richard Prince, the American Society for Muslim Advancement, Council for Fashion Designers of America, and Design Within Reach.

Wallpaper* Architects’ Directory 2024: Oceania

Alexander Symes, Australia

Architect Alexander Symes founded his namesake practice in 2014 with a vision to challenge the current status quo in sustainability in architecture, pushing and challenging the field's boundaries. With a ‘hands-on’ approach and a speciality in delivering passive homes that don't impact their context negatively, the practice aims to create residential design with a purpose.

‘On a macro level, this ensures we contribute to protecting biodiversity and providing a future-proofed housing stock,’ says Symes, ‘while on a micro level providing a healthy and resilient home for our clients in the changing climate.’ With this in mind, it is arguably only natural that the environment would be the studio’s biggest influence. Keeping context and nature at the forefront of its decisions, the practice enjoys working with bio-based construction and existing materials and suppliers. The result is buildings with a natural feel and a reduced carbon footprint.

Spacecraft Architects, New Zealand

Spacecraft Architects founders Roberston and Gittos often tackle limited budgets and the smaller scale in their work – a challenge they enjoy taking on to make architecture more accessible. Their own headquarters is nestled off the back of a self-built house in Whanganui, and is a clear representation of the studio's ethos.‘ The constraints offered by tight budgets and difficult (affordable) sites breed creativity and drive our design work,’ the creative duo told Wallpaper*.

With an interest in buildings that do not rely on luxurious materials or highly detailed construction, the pair hope to create powerful architecture even within the simplest structures. Working on infill housing across New Zealand opened up a niche for a wealth of recent work focused on the rising appeal of co-housing, in various forms of multi-residential projects and apartment builds.

The Wallpaper* Architects’ Directory 2024 includes Mast, a young practice joining our annual round-up of exciting emerging architecture studios.

Who: Mast

Mast, founded in 2021 by Australian architect Marshall Blecher and Danish maritime designer and architect Magnus Maarbjerg, is on a mission to improve the relationship between the city and the sea.

'We are motivated by the amazing potential that comes from reconnecting with water, as we have seen the amazing effect that even small improvements to water access and quality can produce in cities,' Blecher explains.

Specialising in architecture on or near water, the duo have completed several small structures floating around Copenhagen harbour. There is the 20 sq m tiny prototype floating island KBHØ1 (KBH for Copenhagen and Ø for island) with its 6m tall Linden tree; and the portable ‘harbour bath’, or Dyppezone, which can be freely moved around the city’s waterways, creating intimate bathing experience along its way.

Our favourite is perhaps the recently finished floating Sauna KFF, developed in collaboration with Copenhagen City. Complete with a cold water plunge pool, this has export potential to any place with a clean body of water and a sauna-hungry population.

Mast also works on larger-scale projects, like the transformation of a sand quarry outside of Milan and a proposal for a floating hotel in an abandoned salt production facility in southern Portugal.

What: Houseboat Svenborgsund

Extending the life of a discontinued car ferry from 1947 into a two-storey houseboat was what made Blecher and Maarbjerg formally join their previously separate offices into Mast and set their direction towards working with maritime architecture.

'The houseboat started out as a 1940s Danish car ferry with a timber hull. Many ferries like this once served the small islands around Denmark but have been decommissioned as bridges have been built and modern ferries have replaced them,' Blecher explains.

With the help of the nearby professional shipyard Krohns Bådbyggeri, Maarbjerg and Blecher designed and built the houseboat over 18 months. 'Almost all the interior, including the flooring, kitchen cabinets and the staircase are made of solid Danish oak to keep the materials authentic and close to the original,' Maarbjerg explains. The lower floors consist of a large master bedroom, bathroom, a lounge area and a workshop. The upper deck is kept as one large 22m-long living, kitchen, and lounge area.

The old wheelhouse was renovated and added back on top of the vessel; it has become a small bar with access to the old lookout platform that now serves as a small terrace.

Why: Architects’ Directory 2024

Conceived in 2000 as an international index of emerging architectural talent, the Wallpaper* Architects’ Directory is our annual listing of promising practices from across the globe. While always championing the best and most promising young studios, over the years, the project has showcased inspiring work with an emphasis on the residential realm. Now including more than 500 alumni, the Architects’ Directory is back for its 24th edition. Join us as we launch this year’s survey – 20 young studios from Australia, Brazil, British Virgin Islands, Canada, China, Denmark, Estonia, Finland, India, New Zealand, Nigeria, Portugal, Singapore, South Korea, Spain, Thailand, Tunisia, the UK, the USA, with plenty of promise, ideas and exciting architecture.

mast.dk

Known for his clean lines and superb craftsmanship, architect and furniture designer Kaare Klint (1888-1954) is often called ‘the father of modern Danish furniture design’. Classic Klint creations include the 1915 ‘Faaborg’ chair as well as the reception room of the Danish Pavilion at the 1929 Barcelona International Exposition. Now two of his sought-after designs are available to purchase once again thanks to Danish furniture specialist Carl Hansen & Søn.

Kaare Klint furniture designs revived

With a catalogue already including Klint’s ‘Faaborg’ and ‘Safari’ chairs, as well as some of his side tables and ottomans, the leading Copenhagen-based brand continues to celebrate the designer’s work with the reissue of both his ‘English’ chair (1931) and ‘Spherical’ bed (1938), two extremely detailed designs that require the talents of experienced cabinetmakers.

The newly reissued pieces of furniture are made by Carl Hansen & Søn’s team of expert woodworkers, based at The Lab, the company’s in-house apprentice workshop located at its furniture factory on the island of Funen in central Denmark. Requiring the use of hand-held templates, traditional band saw, spokeshave and moulding items, the ‘English’ chair and ‘Spherical’ bed are some of the most time-consuming and complex designs in the collection.

‘Kaare Klint was an innovative architect whom we are fortunate to have in our collection,’ says Knud Erik Hansen, CEO and third-generation owner of Carl Hansen & Son. ‘His works are incredibly complex, which means that most of them do not lend themselves to serial production. However, we have a real desire to continue Klint's legacy, and therefore, the “English” chair and “Spherical” bed are obvious pieces for our apprenticeship workshop The Lab. Here, the apprentices get the opportunity to explore one of Danish design's biggest profiles, and to be trained in traditional cabinetmaking while keeping Klint's legacy alive.’

First presented at the Cabinetmakers' Autumn Exhibition in Copenhagen in 1931, the ‘English’ chair takes inspiration from 18th-century English chairs and features contrasting wood elements in oak, mahogany and rosewood, as well as a French canework seat that requires almost a week’s work to complete.

Meanwhile the ‘Spherical’ bed, launched at the same exhibition in 1938, is a geometric design with rounded edges creating the outline of a 2.3m sphere – a highly impressive feat of mathematics and woodworking for the time. Originally a single bed, it is now available as a double bed, its high head and footboards creating a well-defined space in any room. All the wood for the frame comes from the same tree trunk to create a uniform look, highlighting the beautiful grain. Its production is just as time-consuming as for the chair: it takes an entire month just to make one bed.

The son of Peder Vilhelm Jensen-Klint, the architect of Copenhagen’s stunning Grundtvig’s Church, Kaare Klint helped establish the Department of Furniture Design at the Royal Danish Academy of Fine Arts, where, working as a professor, he inspired some of the greatest Danish furniture designers and architects – including Hans J Wegner, Arne Jacobsen and Poul Kjærholm. These two reissues allow us once again to admire his astute sense of proportion and functional design, and celebrate the Danish tradition of excellent craftsmanship.

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The recently refreshed Aarhus showroom for timber specialist Dinesen and kitchen and cabinetry maker Garde Hvalsøe exemplifies the Danish companies' intention to celebrate their joint home's architectural origins and surrounding historical context. The two entities partnered on the project and worked with Copenhagen-based architecture studio Djernes & Bell to transform the showroom into a hybrid hub where community and collaboration meet, extending its function beyond that of a typical showspace.

This Aarhus showroom celebrates its historical context

This isn’t the first transformation the building has undergone since it was constructed in 1898. It opened as a showroom in 2018, spreading across 600 sq m and split between two wings – the left one redesigned in 2022, leaving the right one an open canvas to experiment with. Djernes & Bell preserved its Victorian-era features, highlighting its sweeping glass ceiling and colourful windows. These elements, seen throughout the redesign, offer a nod to the surrounding historical Nørre Stenbro area.

Swept behind transparent curtains by Kvadrat and Stilling, the 'salon' is the first room in the right wing. Designed to be a space for people to gather and share ideas, it features an asymmetric spatial room divider finished in Ash Oil curving through the space, creating a meeting area with a handcrafted round table and chairs by Magnus Olesen.

The next zone features the kitchen and pantry areas, which were inspired by the respective spaces at Castle Drogo in the UK. The craftsmanship of Garde Hvalsøe and Dinesen shines here, with a round kitchen island in elmwood, topped with leather at the heart of the room. Bespoke benches with storage space are surrounded by an amalgamation of modern wooden panels designed to slot side by side next to the old ones along the kitchen walls. The pantry is stocked with a supply of dried groceries and fermented products in collaboration with Danish restaurant Moment.

The study is designed as a homage to Louis Kahn's Phillips Exeter Academy Library in New Hampshire. The design also includes seating booths, which can be used as office space by both Dinesen and Garde Hvalsøe. 

The refresh celebrates many local designers, using glass artworks by Alexander Kirkeby, ceramics by Sarah Mirkhani, and lamps from Scandinavian lighting house Wästberg. Paint from File under Pop covers the walls and ceilings, while stone detailing is by Surface.

‘We wanted to celebrate the transformative crafts connecting our homes to the landscapes surrounding them,’ explains Jonas Djernes and Justine Bell of Djernes & Bell. ‘The care and tradition that enable the almost alchemic metamorphosis from seed to cabinetry provide a powerful narrative for our ecological connectedness. The tree, the forester, the craftsman, and the generations that wear in the floorboards or kitchen through use and care are all joined. Making is a collective and anthropological act. Together, we constantly make our environments through cycles of use and repair.’

dinesen.com 

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The Danish town of Vangså, located in the North Denmark Region, carries an elusive online presence, scarcely hinted at by plain two-dimensional maps depicting an untamed terrain with feral waterways. Yet, these representations fail to capture the real essence of the landscape’s unspoiled coastline, windswept dunes, lush heaths and tranquil lakes. In this remote enclave, nestled within Thy National Park, Denmark’s oldest natural reserve, lies the Danish design label Vipp’s latest bookable guesthouse (joining properties including the Vipp farmhouse in Lolland, Denmark, and the Vipp Villa in Puglia, Italy, for example).

Vipp Cold Hawaii Guesthouse in Denmark is a shore thing

Architectural studio Hahn Lavsen was appointed to craft a fisherman-style cottage, epitomising the Scandinavian minimalistic design philosophy and honouring the area’s rich fishing heritage, now evolving into a modern surf haven known as Cold Hawaii. Spread across 155 sq m, the structure sees geometric forms and a limited material palette dominating its timeless aesthetic. ‘We used wood, bricks, glass, concrete, and stainless steel to push an honest and tactile experience both in aesthetic and technical terms. What you see is what you get,’ explain the architect couple, Caroline Hahn and Ebbe Lavsen.

‘We tried to keep everything as raw and untreated as possible. It may seem obvious, but if you look closer, we didn’t distinguish materials from the exterior to the interior. For example, the rendered walls have the same texture inside as on the outside, carrying the same construction and material throughout.’

Whether inviting and charming during hot summer days or daunting during winter storms, the Cold Hawaii Guesthouse by Vipp is a truly unique location to experience the different personalities of the region. The two-storey house greets you straightforwardly and accommodates up to eight guests, featuring three double bedrooms, two bathrooms, and a combined living area and kitchen. Classic oak stable doors and glass walls accentuate the connection to the outdoors, while exposed brick floors add a touch of brutalism and nod to the nearby sandy beaches.

Whereas the house’s exterior gains its character from the rawness of its materials, the interior, overseen by interior designer Julie Cloos Mølsgaard, is dotted with furniture and objects high in craftsmanship, with texture taking precedence over colour. Vipp furniture is paired with pieces from local artisans, vintage discoveries, and artworks, celebrating the region’s heritage. The guesthouse’s jewel, however, is a well-appointed Vipp V3 kitchen comprising six metallic units and customised oak cabinets. This one is paired with a curated seating area and panoramic views, while a custom fireplace in bush-hammered stone adds warmth and character to the space.

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A version of this article appears in the May 2024 Milan Preview Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Heatherhill Beach house is set among the scenic seaside hills and low vegetation of Vejby in northern Denmark. The holiday home, designed by Norm Architects, was conceived as a retreat that stands as a 'testament to the beauty of simplicity and the elegance of nature,' the team writes. The modest structure, built in earthy tones and organic materials does not detract from the existing landscape; rather, it complements it, drawing on sustainable architecture principles and calming minimalism. 

Heatherhill Beach house by Norm Architects

The new build structure is organised around two central circulation axes, crafted within a barn-inspired outline that references the traditional vernacular of the region. The architecture's sedum roof and cedar cladding were selected to age gracefully, blending even further in time with their natural surroundings.

'The architecture is designed to draw the eye and hold your attention – leading you on a journey of discovery throughout the entire property. Long views extend through the house, welcoming you with a glimpse of the breathtaking scenery beyond,' said Norm's Sofie Bak.

Inside, clean surfaces with a restricted material palette follow the same, considered approach. There are lye-treated Douglas Fir planks from Dinesen on the floor; slim brown brick flooring and stair surfaces; and architectural lighting by Møller&Rothe for ONE A. 

'Every joint, connection, and detail are intentional and finely tuned, each playing a specific role to serve a larger whole that engages with us on an emotional and practical level. With this essentialist mindset we’ve wanted to create a space that last, rather than succumbing to passing trends or construction shortcuts,' said Peter Eland of Norm.

The result is a carefully curated whole and a timeless residential escape for its owners, perfect for connecting with the outdoors.

normcph.com

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Spatial immersion, bold gestures and the evocative; the 3XN exhibition 'Aware: Architecture and Senses' has just opened its doors in Copenhagen's Danish Architecture Center. The new show focuses on leading practice 3XN's rich architectural output and unique approach, with a multi-layered takeover that makes the most of the generous proportions of OMA partner Ellen van Loon's landmark building in the Nordic capital.  

3XN exhibition: 'Aware: Architecture and Senses'

The exhibition's concept discusses the effect that architecture has upon us – the feelings it summons and its intangible power to alter experiences and, therefore, lives. To emphasise this, 3XN's curated display doesn't showcase the studio’s ever-growing body of work; rather, the exhibition invites visitors to an immersive journey through six site-specific installations. 

'Design choices are never merely aesthetic – they fundamentally influence our lives and affect our experiences,' said Kim Herforth Nielsen, 3XN founder and creative director. 'Architecture shapes our behaviour. Are you – are we – aware of how?'

He continues: 'These intangible, fleeting qualities have long been a driving force of 3XN GXN’s work. We are fascinated by how people and space interact and have a hunger to understand and work with the innate, universal dimensions that make up experience. Why? Because experience is how we all understand architecture.'

Each of the installations is calibrated by the studio to inspire a different response – offering variety in the context they create. They span from organic forms to structured, crisper shapes, and from subtle, natural hues to the twisting staircase's powerful red environment. 

Harnessing architecture's power to move us is key in planning our future homes, cities and communities, the team behind the newly opened show proposes. 

'In Denmark and throughout Scandinavia, there is a very strong sense of responsibility for the collective,' said Kasper Riisholt, programme manager for culture at the Danish Architecture Center. 'This responsibility is also about our wellbeing – that our society and space must nurture, support, and facilitate a good quality of life for everyone. For architecture to contribute positively to our wellbeing, we must understand its core: What is our relationship with architecture, what does it do to us?'

'Aware: Architecture and Senses' will be open at the Danish Architecture Center from 22 March to 15 September 2024

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3xn.com

If Copenhagen Fashion Week has grown a reputation for being one of the most conscious showcases on the annual schedule with its reputable 18-point sustainability criteria and its egalitarian ethos, then this season the organisers made a point of acknowledging it. In her opening speech for Copenhagen Fashion Week A/W 2024, the fashion council’s CEO Cecilie Thorsmark told attendees that against a backdrop of war and political division, the fashion community should be ‘remind[ed] that democracy is not to be taken for granted. In this super scary context, to put it straight, let’s all remind ourselves that from our privileged ground in this industry, we must make the most of our voice, and the most of our platforms for something better.

‘Many of us in our industry, […] have such loyal communities who listen and take inspiration from us,’ she continued. ‘So, we need to take that opportunity and make ourselves heard and push for change. Whether we push for a better climate, peace, more diversity and inclusion, political stability, or the safeguarding of our democracy.’

Of the 29 brands on the schedule, a handful carried the same message (see: Alectra Rothschild / Masculina, Stamm and Henrik Vibskov) and were the most successful for it. Elsewhere, the absence of megabrand Ganni (which opted to support young brands including Nicklas Skovgaard, Sarah Brunnhuber, and Alectra Rothschild this season) put the spotlight on its fellow experts in contemporary wardrobing, for which this Nordic showcase remains famed. Stine Goya, Munthe and OpéraSport all got the memo, presenting collections that found a point of difference when it comes to originality and, crucially, retail positioning.

Here, we report on the best of Copenhagen Fashion Week A/W 2024. 

The best of Copenhagen Fashion Week A/W 2024

Rotate

Celebrity favourite Rotate took the big billing of the week bringing a close to the shows in a chandelier-lit warehouse. Its designers (and two of Copenhagen’s most popular fashion influencers) Jeanette Madsen and Thora Valdimarsdottir have built this brand into a huge success story because of their unapologetically fun-loving pursuit of sequins and OTT Nordic glamour. This season, they took it a step further with corsage-covering mini dresses worn with stockings, navel-cut cocktail dresses dripping in crystals, and transparent sequin wiggle dresses. ‘We love to embrace the female body and be sexy,’ said Valdimarsdottir after the show. The big gearshift this season was the pair’s foray into bridalwear for which they went digging in the archives of 1950s magazines that informed the cinched corseted waists of the eight-piece capsule (a number chosen in honour of Elizabeth Taylor who famously tied the knot the same amount of times). ‘We think about all kinds of girls, not necessarily only the girl who wants the long dress because a lot of people [already] cater to that,’ continued Valdimarsdottir. ‘If I were to get married, I would love to have something short, maybe a little bit see-through. The bridal market has become less and less traditional, so for us to step into that [space] just feels really natural.’As they brought the curtain down on the week, another velvet curtain dropped behind them to reveal a free vodka bar that was slated to go on well into the night to a club-night Lana del Rey remix – much to Madsen’s delight. ’She’s dramatic and she's powerful and she's all about that woman that we are catering to.’

Munthe

Capturing an insouciant effortlessness that is as evocative of the Parisian Left bank as it is Copenhagen’s Vesterbro, Munthe has been answering the call for creative-office dress code since 1994 and continues to nail it. This season, creative director and founder Naja Munthe was inspired by her childhood love of horses. ‘Those formative years were marked by the sanctuary I found in the stables and the profound companionship of horses, each hoofbeat leaving an indelible mark on the canvas of my character,’ she said. ‘For this collection, we have embraced the meticulous contrast of rugged denim against delicate fabrics, ranch patterns and combined it with inspiration from my childhood memory of these majestic creatures.’ It accounted for the triple denim references (seen at multiple shows this week, arriving here with a fringed crystal trim), the balloon-sleeve shirts cinched with waistcoats, and true-blue jeans tucked into leather cowboy boots, the latter a Noughties styling hack that is making a comeback across multiple fashion capitals. For the most part though, this was a collection that just made looking good like easy, which is actually the inspiration one needs. Whether it be baggy jeans worn with a leopard-print blazer or cashmere sweaters worn over crisp shirts, this collection gave a fresh perspective to the familiar, bridging the gap between delicate hero pieces and daily essentials.

Henrik Vibskov

‘We just had to get through it a bit this time,’ smiled Henrik Vibskov after his show that was conceived after a deep dive into therapy. The designer, like several of his fellow designers on the schedule, was in a reflective mood when conceptualising this collection, and so had an open brainstorm with his team where he asked them what a fantasy day at work would entail. One answered, ‘daily therapy sessions’ and it stuck with Vibskov. ‘I think it’s very much a sign of a very fragile society where people are not 100 per cent sure, because you know, the world is in a mess. There are such big problems happening, from war to the environment,’ he expanded. ‘So, the only thing you nearly can handle is kind of individual needs because the other stuff is so big questions that you like: whoa I don’t know where to start.’ 

Exploring different therapies led Vibskov to digital gaming, old-school board games, horse therapy and morning light therapy, all of which were symbolised in the collection from matelassé embroidered chess pieces to knit-intarsia horses that appeared on enveloping padded coats, warming knitwear and multidimensional jacquard tailoring. ‘I think that clothes can do a lot and is a part of consumerism therapy in how you make yourself feel safe and how you protect yourself from all kinds of daily needs in this wobbly world,’ he said. Vibskov’s own therapy is chewing gum, hence this collection’s mantle, ‘The Daily Chewing Gum Therapy Session’, and the theme of the set design that saw performers (wearing costumes Vibskov has designed for the forthcoming production of Flammenwerfer in Malmo) stretch out gauze symbolising pink bubblegum from boxes from where they watched the show play out. ‘They were confession rooms,’ revealed Vibskov, ‘which is also kind of therapy.’

Skall Studio

‘The mood is this intellectual New Yorker in the 60s and 70s, artists like Joan Didion and Leonard Cohen, people who use their words as their craftsmanship,’ explained Skall Studio’s Julie Skall alongside her sister Marie post-show. It’s a mood that the pair deliver with a light touch most of the time and this season they nailed the look of their literary heroes once more. Here, the clothes riffed off utilitarian and industrial codes that imbued an attitude of quiet determination to enveloping silhouettes, boile suits and boxy tailoring. With models clutching their coats (crafted from recycled GRS wool from Italian Manteco) close to their necks with one hand and a Moleskin notebook or newspaper in the other, it wasn’t a stretch to imagine these women walking around Manhattan – the wool coat over blue jeans look appeared to be a direct ode to the uniform of another NYC literary icon, Fran Lebowitz. In a counter celebration of their own artistic roots, their pair also incorporated heavy tape embroidery from India where the pair lived before starting their label a decade ago this year and collaborated with Kinraden on the collection of jewellery that appeared as earrings and brooches on lapels and is crafted from recycled silver and gold.

Stine Goya

Last season, Stine Goya held a street party outside her Copenhagen home for her show; this season, she invited us into her atelier in the city to lift the latest curtain on her world. All sweeping staircases, bay windows and parquet floors, the space played host and muse, as the designer paid homage to its energy and architecture through her clothes. Ink illustrations of the atrium stairwell provided the hero pieces of the collection that Goya aptly titled ‘Art Work’. Meanwhile, watercolour lilies splashed across silk dresses looked as though they could have been finished backstage moments before on account of the paintbrushes and jars of pastel-hued water that were positioned around the set. It was intended, said the designer, to be a celebration of the artistry involved with fashion design hence why she sat the audience within a whisper of the models passing by so we could examine the skill up close. Micro-sequinned gowns, embroidered jacquard coats and bomber jackets, and layered pinstripe tailoring were countered with more casual leather jackets and denim on denim (the latter a trend that is slowly but very surely gaining pace), coming together to form a wardrobe with oodles of Scandi art-house appeal.

Mfpen

For his debut runway show, Mfpen creative director Sigurd Bank gathered guests in Galleri Nicolai Waller to watch his sweaty, messy, good-time crew stalk around the room in a hurry. For the record, this was a good thing – giving en-route-to-work-when-you-haven’t-been-home-yet vibes. ‘Exactly, they just left a punk show in their suits after a hardcore show and they are really tired but they're still psyched and pumped,’ smiled Wallner backstage. Probably the best-dressed ravers in town, the show presented corp-core with an alluring filter and a heavy punk soundtrack that included Circle Jerks. Super-light tailoring that looked like a second skin was worn with a nonchalant swagger, pinstripes were teamed with relaxed shirts, and shredded dresses kept under wraps by heritage wool and tweed tailored coats. ‘This is my playlist I've been listening to hardcore metal and punk since forever and I still love tailoring; I like I like the mix of those two,’ he added. Collectively, 60 per cent of this collection was crafted from deadstock, while the rest was made from organic and recycled cotton, giving a lived-in sensibility to these clothes and an extra dimension of authenticity.

OpéraSport

After four seasons, OpéraSport founders and designers Stephanie Gundelach and Awa Malina Stelter have firmly hit their stride, fusing their signature sporty jersey silhouettes with a maturity and newfound elegance. The pair took inspiration from their name this season, not only opting to present at the Copenhagen Opera House but basing the collection’s motif of the baroque architecture and opulence of the Palais Garnier. It could be seen in the quilting on leather trousers and in a two-piece bomber and skirt set, each made from vegan leather; in the ruched waves that flourished across knitted dress and tuxedo-style shirts; and in the faux-fur stoles that sat atop models’ shoulders. Much like their incongruous inspirations, it created contrasts of sporty and sexy, casual and high-wattage that felt fresh. ‘I think we’ve really found our place now,’ said Stelter backstage. ‘We are growing and we know which direction we want to go.’ 

J.Lindeberg

J.Lindeberg may have enjoyed a strong association with golfing attire since it launched back in 1996, but these days its sights are firmly set on higher ground. ‘We've got this rave dream apres-ski concept going on which goes back to our Y2K heritage,’ said chief creative officer Neil Lewty, backstage at the brand’s first show on the CPHFW schedule. ‘I love the idea of [going] back and forth between [then and now] and making it relevant.’ To do so, he used club-inspired glitch graphics as a symbolic segueway between both the eras and each sporting pursuit, bringing skin-tight motocross silhouettes, body-con golf-inspired knitwear and huge padded outerwear into one wardrobe. ‘We’re never gonna be the brand that's gonna take you all the way up to the top of the Alps. But we just want to make sure you look good on the way up there and on the way down,’ laughed Lewty. Joining the line-up of models here was Lucas Braathen, the reigning World Cup slalom champion, winner of five World Cup races and the brand’s new campaign star. 

Stamm

Elisabet Stamm’s collections are always a personal reflection of the world and how she sees her role in it. In doing so, she is one of this showcase’s most original thinkers and frequently the host of its most thought-provoking show. This season, she stayed true to form, inviting guests into a set that was scattered with objects from her life. Books, a car seat, a bottle of water, a Netto supermarket bag, her child Svante’s drawings, plants and a sofa, where musician Ephraim Raiden Rose read the show notes to the live soundtrack mixed by Columbus Marslew. ‘We live in between art and commerce. Art and commerce baby. What can I tell you about the universe? It’s a lot of business lingo lately, I see poetic in potential, I see potential in poet. Sales window, delivery window – it’s a window of opportunities. I just gotta catch my breath’. It related, she said, to her role as both a designer and a mum. Times are difficult, and I was like, ‘what is fashion right now? How can I do anything without it being superficial?’ I go to a lot to museums, which I love. It's kind of where I find peace. And then my everyday is, I go there, I go to Netto, I pick Svante up from school and I go home.’ Her routine materialised in pictures she had taken of sculptures laser-burned onto denim, in collaboration with her friend and denim designer Chris­tine Detlefsen; a calming palette with hits of optimistic ‘Netto’ yellow; and huge enveloping padded coats designed to evoke a cocoon-like practicality that caters to both the everyday and increasingly trying times. ‘I see the art and commerce space as a window of opportunity, and this is art from my heart,’ she said.

Aeron

Aeron creative director Eszter Áron chose her gallery show location in Frederiksgade for its serenity and sophistication, creating an apt prelude to her collection. The designer, who started her brand ten years ago, has long been fascinated by the intersection that exists between art and fashion – finding common ground in concepts involved. ‘[It’s] a continuous journey of learning, developing, and maturing,’ she says. ‘Art has always been a source of inspiration to me. Not just the artworks themselves, but the process of observing and interpreting the subject, which then becomes a new creation inside the mind. That's how I look at a garment or a collection: in motion, filled with feelings and emotions.’ For this collection, she collaborated with the artist Sári Ember, who is based in Budapest where Aron is also from, and whose sculptural medium translated to silver hardware and brooches on tailoring and trenches, abstract prints and an earthy-pastel colour palette that played out in razor-sharp silhouettes creating a positive tension between spontaneity and sobriety. Think ’artist on a reconnaissance’ and you’ve got the picture.

Nicklas Skovgaard

Last season’s wunderkind (among Wallpaper’s fashion designers to watch in 2024) returned for his sophomore collection with a well-earned bounce in his step. Last season for his debut, Nicklas Skovgaard wowed the crowd with a collaborative avant-garde performance by Britt Liberg, who modelled the entire collection solo. This season, she was back to bring the drama with a group. Skovgaard has seen results and a growing fan base from and for his Victoriana-meets-1980s aesthetic. Here, he conjured Melanie Griffith in Working Girl by way of Bridgerton. Exaggerated shoulders (with pads, of course), pleated midi skirts, suede-insert leather bomber jackets and sequined funnel necks paved the way for leotards and tailcoats, the latter proving a winning combo. And, while Skovgaard once again showed his natural flair at igniting a mood and putting on a really good show, take away the styling – all backcombed hair-sprayed up-dos, white high heels, Flashdance shoulders, and leg warmers – and this was still a collection full of great clothes.

Won Hundred

Celebrating its 20th anniversary, Won Hundred made a solid case for investing in truly excellent separates with its A/W 2024 collection. Having made its name as an expert in denim, founder and creative director Nikolaj Nielsen went into the archives ‘to reimagine iconic denim styles that were pivotal in our early years’, he said. This translated to the brand’s signature slim-fit jeans reworked in a looser silhouette by integrating panels from deadstock fabric and the debut of a unisex jean, the ‘Genoa’, straight cut with a subtle flare. Aside from the denim, material advancement was the story here: the leather was a hit, arriving in the kind of biker jackets one could happily live in and made from hardy Realgrade-certified leather sourced from New Zealand. Elsewhere, advances were made with its puffer jackets which have been crafted with 100 per cent recycled nylon and given a ‘Bionic-Finish Eco’ that imbues water resistance without chemical treatment. ‘We’ve taken time to understand what Won Hundred truly represents. Now, we’re ready to unleash the full potential of our work, channelling our collective experiences into [this] collection and drawing inspiration from the past two decades,’ says Nielsen.

Forza Collective

Having worked in the studios of Raf Simons, Christian Dior, Balmain, Lanvin and Theory, Forza Collective founder Kristoffer Guldager Kongshaug decided to make his own-brand debut in Copenhagen because his womenswear brand aligns with Danish values. ‘Quality, craftsmanship, longevity, responsibly sourced textiles and a love for natural products, community – through these values and by drawing on my experience from two very opposite cities in the world of fashion, Paris, and New York, I work to bring a new take on Scandinavian minimalism,’ he told Wallpaper*. For his show on Monday 29 January, the designer presented a tight offering that outlined his vision. Industrial-inspired dust coats and utilitarian dropped-waist dresses with PVC overlays contrasted with ruffled, picked denim and a series of quite dreamy corset dresses that had breastplate inserts and subtle cut-outs. The last he presented in nylon, as opposed to fabrics more frequently associated with the grandeur of eveningwear. ‘Something you usually think of as old and dusty suddenly gets a facelift and feels sporty and relevant,’ he explains. ’It suddenly feels very different and speaks to a different customer just by changing the fabric.’

Saks Potts

The it-girl favourite of the Copenhagen fashion scene, which captured a million hearts with its ‘Foxy’ coat, returned to fashion week with a collection that proved outerwear remains its USP. Here, jewel-toned puffer jackets, a panelled cow-hide coat and the ‘Foxy 2.0’ in leather and shearling were the highlights of a concise 14-look show. For the rest of its ready-to-wear, Kate Moss at Glastonbury circa 2003 was clearly on the moodboard here, with a replica look comprising a pink kaftan, low-slung belt and black suede boots. Elsewhere, the baseball T-shirts, satin slip dresses, and whipstitch leather trousers, all of which were worn with kitten heels, were classic Y2K-era styling, a look that is continuing to peak this season – if it hasn’t already done so.

Alectra Rothschild / Masculina

Making their debut at Copenhagen Fashion Week, Alectra Rothschild and her eponymous brand – Alectra Rothschild / Masculina – staged what was only the second show of the week but its energy is proving hard to beat. Bringing her friends and personal heroes together to model her collection, entitled ‘The Rebirth Carry’, Rothschild turned the catwalk into a club with the help of DJ G2G, who created the exclusive soundtrack to the show, featuring voiceovers from trans icons that played from the decks in the centre of the room. As soon as the first beat dropped, the runway came alive, as each model took a turn around the room and remained on the floor thereafter. A trained tailor, the CSM graduate’s own identity and influences shone here, from the captivating corsets that feature her ’zero-waste technique’ to fit a multitude of bodies to the undeniable impact of her former mentor Casey Cadwallader at Mugler. ‘I think what I just showcased here today is my culture, what I come from and the people I have around me are other people than what’s usually portrayed as Scandinavia. I think it’s time we showed other narratives,’ she said backstage.

Stay tuned for more from Copenhagen Fashion Week A/W 2024.

We hear a lot about AI. Post-humanism, Matrix-infused fantasies, and bodies morphing into machines surround us in a narrative that makes us feel that the future is now. Now ‘The Irreplaceable Human’ at Denmark’s Louisiana Museum of Modern Art addresses this fast-evolving subject but with a twist – the focus is on us, the humans who created and will work with all this life-changing technical innovation.

The exhibition features work by artists from Pablo Picasso to RobotLAB, and presents questions such as: ‘If AI is based on what we have already made, does that make it a historical tool?’ 

It looks at how creativity works in a world that is becoming ever more computer-guided, and highlights that this technology is always made, owned or monitored by human beings. Taking the focus away from the tech itself allows us to look at ourselves in relation to it. And this theme is explored through the eyes of artists including Ian Cheng, Trevor Paglen, Dawn Parsonage, Pablo Picasso, Yuri Pattison, Huang Po-Chih, Jon Rafman, Aura Rosenberg, Nastja Säde Rönkkö, Qiu Shihua, Tavares Strachan, Pilvi Takala, Emma Talbot, Tourmaline and Lee Wan, across mediums from painting to self-generating AI. 

Curator Mathias Ussing Seeberg spoke to Wallpaper* about putting together ‘The Irreplaceable Human’, which presents new and unexpected viewpoints.

‘The Irreplaceable Human’: how can humans and AI coexist peacefully?

Wallpaper*: The title of the show suggests that you are celebrating the human in the machine, would you say that is correct?

Mathias Ussing Seeberg: We wanted to talk about the relevance of the human contribution to society and to address how you create an environment for new things to sprout and grow without necessarily knowing exactly what to think.

In what we have gained through technology, we have also lost something. Obviously, the time we're at work is one thing, but the time [when we’re at home], you could say that's been colonised by tech, in a way that something has come into our lives and is taking valuable time from [us], from our children and young people. They used to be bored, or do nothing, and that time has been taken away. It doesn't exist anymore.

We're all maybe guilty in some ways of absorbing these technologies and we see progress in tech as inevitable, like we've given up; we've given up on resisting technology, because there's also a lot of convenience.

I think it’s important to talk about the fact that if a computer or a machine is replacing human labour, that's a choice someone has made.

W*: How did you start to select the artists for the exhibition?

MUS: There are a lot of personal heroes in the show, artists that I always wanted to show and never had the chance to before, like Lily van der Stokker and Martin Kippenberger. This show has been in my head for ten years, and during that time I have been travelling a lot and seeing other shows. The Tony Cokes piece is an incredible work that I saw in Philadelphia five or six years ago.

I did a post-internet show some years ago, which was generational and it was a really coherent show but I didn't want that coherence; I wanted things to go in different directions. I think that all of these boxes, categories and groups we make are a little debilitating in some senses, which is why I wanted a large range of artists in the show, representing [different] viewpoints.

W*: The narrative around AI seems to change daily. Did you put the show together with that in mind?

MUS: The show talks about creativity in the age of AI, but it doesn't place creativity, necessarily, in the world of AI and it also talks about other things. But in terms of AI, I think what was important was that the show shouldn't be like the showroom of new technology.

So, it's not about your fascination with chat GPT. I mean, all of that's great and I think there's a lot of amazing new tools that will make our lives easier. Thinking how to keep up with everything that's happening continuously is to ask fundamental questions about what AI is, how it operates and who owns it.

There is a Trevor Paglen work in the show, for example, From Apple to Abomination, which shows how even an Apple can become something sinister. All of these things make you realise that AI doesn't know anything that we haven’t taught it.

‘The Irreplaceable Human’ is at Louisiana Museum of Modern Art, Denmark, until 1 April 2024

louisiana.dk

Copenhagen is welcoming The Opera Park, a new, green lung for the Danish capital, which has been bustling with construction activity. The architectural garden has been designed by Danish studio Cobe, and is set on an island between The Royal Danish Opera and Paper Island, a soon-to-be-completed former industrial area transformed into housing by the same architects. 

The Opera Park: a rich, green, urban environment for all

The Opera Park is a green park island, featuring six gardens and a greenhouse: the North American Forest, the Danish Oak Forest, the Nordic Forest, the Oriental Garden, the English Garden, and the Subtropical Garden (the last, housed within the greenhouse at its heart). The scheme was commissioned via a competition supported by The AP Moller Foundation, and was conceived to act as a counterpoint for the densely built inner harbour of Copenhagen. 

Dan Stubbergaard, founder of Cobe and professor at Harvard, explains: 'The Opera Park is a place where nature comes first amidst Copenhagen’s bustling urban development. With its six gardens, winding paths and carefully crafted viewpoints, the project seizes elements of Copenhagen’s historical, romantic gardens to tackle today’s challenges, such as the decline in biodiversity and water management.'

'Designed for recreation, relaxation and contemplation, the park provides the city with a much-needed green oasis. As you stroll through the park, you get the feeling of having left the city and being immersed in nature, almost forgetting you are in the middle of the dense city centre.'

The architecture team pulled out all the stops to craft a richly planted public landscape that could be enjoyed by all, year-round. It encompasses 628 trees, 80,000 herbaceous perennials and bushes, and 40,000 bulb plants, from all around the world. 

Stubbergaard adds: 'The Opera Park sets the stage for experiencing nature in the heart of Copenhagen. Like an opera stage, the park is a composed landscape with a foreground, a middle ground and a background.'

'The 80,000 plants and 600-plus trees are placed to naturally create a scenic setting facing the harbor. The terrain and trees are tallest where they create the background, and lowest in the foreground towards the harbour.'

cobe.dk 

During 3 Days of Design 2023 this year, Tableau unveiled a collaboration with the Gernes Foundation, which also marks the Danish design studio’s first reissued design.

Tableau founder Julius Værnes Iversen (whose studio focused on floral compositions and opened a flower shop before branching out into design) had been fascinated by the work of Danish artist Poul Gernes since he was a child, and a lucky encounter with his foundation led to this new project, the first historical reissue by Tableau. 

Tableau and Poul Gernes

'The pieces by Gernes have been very influential in Denmark due to the many works in public spaces,' says Iversen. 'One of the most significant for me was Palads, a cinema in central Copenhagen, which I thought was a castle for kings and queens. His use of colours was very significant for the late 1980s period. I grew up in an area where he decorated Ordrup high school, and it made a big impression on me. I believe the colours in his work appealed, and still appeal, to my childish side, creating a joyful aesthetic that still impacts my work.'

The project was the result of Iversen’s deep dive into the archives of the Gernes Foundation, where he had access not only to the spatial colour interventions for which the artist was well-known, but also discovered less-documented functional artworks. Originally designed between the late 1980s and early 1990s, when Gernes was a professor at The Royal Danish Academy of Fine Arts, the prototype has been at the Gernes Foundation’s headquarters since its creation but it was never shown to the wider public. 

It was a lucky encounter that made the project possible. 'I met Bibi Saugman [of the Poul Gernes Foundation] at our concept store in Copenhagen, where we sell collectible design, functional art, and flowers,' he recalls. 'We started discussing Gernes' work with florals and how well it aligns with Tableau's work.

'This chance meeting led to the collaboration, and we began discussions with Ulrikka Gernes about showcasing Gernes' works and dusting off old prototypes. To me, it was essential to recreate Gernes' exact version of the lamp. Technical drawings were never made, so we had to create them based on the single prototype we had. We decided to scale the prototype to 150 per cent size to fit contemporary homes better, but both the original and the larger version are available.'

'Through conversations with Bibi Saugman and Ulrikke Gernes, it was clear that the lamp was intended to be a design rather than a unique artwork, which allowed us to reissue it,' explains Iversen. The lamp is defined by a sheet of aluminium, sliced and bent by hand to create the shape (a process that Tableau does in-house, in the very space where the lamps made their debut back in June).

It's also a project that marks a new era for Tableau: 'the concept of collaborating with the Gernes foundation is to do more of this type of work,' explains Iversen. 'Gernes created many objects that have never been published, and we plan to produce more items in the future. In general, we would like to engage in collaborations to bring forth historical archival works by functional artists and designers.'

tableau-cph.com

‘The Anthropocene Museum’ by Cave Bureau is the sixth and final instalment in the family of exhibitions titled ‘The Architect’s Studio’ held at the Louisiana Museum of Modern Art in Denmark. Since the series’ inception in 2017, visitors have been able to get to know international architects who are challenging the field at its core. Over the years, this has opened up a discussion, not only about where building culture is heading, but also what architects are able to work with, and how. 

The final iteration of this theme, by the Kenya-based practice, is no different. Working at the boundaries of architecture, it is a quiet presentation of model, print and visual media loaded with social and cultural iconography; presenting a real cross-sectional view of the African condition as it begins to disseminate an approach towards a decarbonised and decolonised mode of operation.

Cave Bureau at the Louisiana Museum of Modern Art

Taking nature as its starting point, ‘The Anthropocene Museum’ searches for an understanding of ‘Origin’ – or a return to origin. It begins by recording and analysing natural structures that are millions of years old; specifically, Mount Suswa in Kenya. The studio’s interest in an undocumented past (the mountain itself had never been documented through architectural drawings before) sets in motion thoughts about what merits recording in the history of architecture, and about the coexistence of architecture and nature. This new learning is then re-presented as a way of rethinking architectural discourse. 

Using the cave as a springboard to narrate unrepresented histories of their own people and compatriots, Cave Bureau takes learnings from this research to reveal African notions of custodianship and care. The projects presented are gentle interventions in the landscape that support Indigenous people and the rhythms of nature while intending to relate to a modern Africa, and to heal fissures in the culture. The ‘Cow Corridor’, for example, is a restoration piece that seeks to reestablish the Maasai grazing routes through the capital Nairobi, which has been forbidden territory for cows since the British partition of the country.

Not simply a passive act of recording, many of the objects on display present an unavoidable confrontation with an uncomfortable past. The installation ‘The Door of No Return’ for example, is a version of the gate through which West African slaves passed before departing by ship to the Danish West Indies. Using stone sourced from a limestone quarry in Faxe, Denmark, it references the limestone found in the Shimone Caves of eastern Kenya. 

The exhibition culminates in an ambitious full-size attempt to reproduce the spatiality and materiality of the caves. Titled ‘Cave’ woven in rattan, it is inspired by pre-colonial craftsmanship and building techniques and is the result of a collaboration with The Centre for Information Technology and Architecture at the Royal Danish Academy in Copenhagen.

According to Cave Bureau founders, architects Kabage Karanje and Stella Mutegi, the architecture of the future must rely on knowledge of geology and connection to nature, as it traditionally has done in Africa. The architecture through which we have built our society in modern times and the way we view space, borders, cities and collective ties have to be reassessed by taking a critical stance towards anthropocentrism – the epoch within which our activity as humans on this planet has bred near irreversible shifts in our ecology.  

‘Geology provides us with a tool to re-inscribe, to re-orientate and to relate to new ways of being on this planet; to realise that we are background,' says Karanje, director at Cave Bureau.

With re-orientation comes the potential for collective healing, and the potential of the continent to imagine its own future – to rewind in order to unpick and return with the appropriate knowledge that informs the now, and next.

cave.co.ke 

louisiana.dk 

The Icelandic artist Ragnar Kjartansson is tickled. His first retrospective in Scandinavia is opening at Louisiana Museum of Modern Art, north of Copenhagen.

‘It’s pieces from my oeuvre,’ he says with a comic drawl. Kjartansson has never taken himself too seriously, even now as a world-famous artist: ‘I find the idea of properness so crazy. It’s just totally nuts.’ He’s speaking from Louisiana – the pinnacle of ‘properness’ – on a sunny morning, with birds heard singing in the background. It’s so beautiful that it’s hard not to laugh. And we do, constantly.  

The title ‘Epic Waste of Love and Understanding’, filled with Nordic melancholia, was inspired by Kjartansson’s wife, artist Ingibjörg Sigurjónsdóttir. ‘We were having an argument and she said, ‘I hope this is not just an epic waste of love and understanding,’ and I said, ‘Hold it there!“‘ A plywood monument in Louisiana’s courtyard is a memorial to the epic waste, like the theatrical set of a cenotaph. 

Kjartansson was brought up in the theatre, with famous Icelandic actors for parents. The earliest work at Louisiana shows his mother Guðrún Ásmundsdóttir spitting in his face – the first in a series that Kjartansson has returned to every five years. And yet, there are crucial differences between art and theatre: ‘What I love about visual art is the ambiguity of things and the adventures that art allows one to go on.’ Kjartansson never wants to dictate how an audience should feel about his work. He likens his mantra to a Rolling Stones song – ‘No Expectations’. 

Learning lines and rehearsing have shaped Kjartansson’s use of repetition and marathon-like duration. At Louisiana, Kjartansson appears as a crooner, singing ‘Oh why do I keep on hurting you?’ on repeat (Mercy (2004)), and a troupe of actors perform the final aria of Mozart’s The Marriage of Figaro for 12 hours straight (Bliss (2020)). 

In the iconic A Lot of Sorrow (2013-2014), the American rock band The National play their hit ‘Sorrow’ for six, emotionally wrought hours. These feats of endurance do something extraordinary to lyrics, making words sound strange, or like the whispered prayers of liturgy.

Kjartansson is recording a new performance at Louisiana with actress and comedian Saga Garðarsdóttir. The pair will drink whisky and listen to ‘Hver dag er en sjælden gave’ (‘Every day is a rare gift’) by 1940s Danish popstar Elsa Sigfúsdóttir for 11 hours, while repeating a familiar Danish phrase in Iceland: ‘What have we done to deserve this?’ 

For Kjartansson the words are ‘inspired by the gorgeous properness of Louisiana and the mysterious privilege we all have when we are here’. The phrase highlights the shared history of Denmark and Iceland, and the residue of colonialism. 

Kjartansson’s work possesses an essential human quality that often captures the zeitgeist, as with The Visitors (2012). In a mansion in upstate New York, Kjartansson and a group of musicians play the song ‘Once again, I fall into my feminine ways’ in separate rooms before spilling out onto a meadow. It’s been compared to the experience of isolation and joyful reconnection through Covid-19. 

A proud feminist, Kjartansson frequently pokes fun at masculine identity. At Louisiana, the theatrical remains of Hitler’s Lodge (2006) lie in ruins and a tuxedoed-man teeters on a ledge. The Bangemand (2023) (‘scared man’) ‘has the identity of the problem, and he is just there, scared on a ledge in a tuxedo’. 

Reflecting on his play with male characters, Kjartansson highlights the influence of feminist performance artists like Carolee Schneemann and Marina Abramović. Kjartansson is a lover of art history: ‘I am just totally in awe of the world and all its mystical beauty and mystical violence.’ 

Does Kjartansson see his own work as shocking? ‘No,’ he laughs, ‘I see my work as very proper!’

Ragnar Kjartansson, ‘Epic Waste of Love and Understanding’ is at Louisiana Museum of Modern Art, Gl. Strandvej 13, 3050 Humlebæk, Denmark, until 22 October 2023, louisiana.dk 

Danish design company Gubi joined forces with New York fashion brand Noah to create a collection that is infused with the spirit of summer. Mixing fashion and design, the Gubi x Noah collection is launched at 3 Days of Design 2023, and comprises a special edition series of Gubi’s ‘MR01 Outdoor Lounge Chair’ by Mathias Steen Rasmussen in a fresh new palette, and a five-piece capsule collection. 

Gubi x Noah: a summer-appropriate design collaboration 

‘The coastal way of life is rooted in freedom and flexibility – it is light, bright, airy, and easy,’ says Marie Kristine Schmidt, Gubi’s chief brand officer. ‘Gubi x Noah’s new take on the “MR01 Lounge Chair” and the accompanying clothing collection perfectly express this coastal state of mind, seamlessly bridging indoor and outdoor, referencing life at sea and on shore, and introducing bold and brilliant new colours that spark joy and conjure visions of coastal life.’

The collection merges the two brands’ identities, with Gubi’s design rooted in Scandinavian heritage and Noah’s subculture-led East Coast approach. By bringing their two companies together, Gubi and Noah have created a contemporary, timeless interpretation of summetime classics.

Gubi’s ‘MR01 Outdoor Lounge Chair’ is a low seat made for meditation, constructed of outdoor-appropriate iroko wood with a distinctive rope seat – made of high-performance, waterproof polyester (used in speed sailing) in a palette curated by Noah of yellow, royal blue, navy and grey. Its laid-back design and lightweight construction make it an ideal garden furniture piece, while its sleek design is an ideal addition to both the outdoors and the indoors.

‘The design of the “MR01” is so classic I wanted to add an old, artistic expression and practical element to the design as an alternative to something that is already perfect, thus ultimately using weatherproof nautical rope,’ says Noah co-founder Estelle Bailey-Babenzien. ‘I imagined four chairs sitting together on the beach all afternoon and into the evening, bringing an intentional vibrant energy to every space, and making a concise, positive statement.’

Meanwhile, the fashion capsule features an oversized beach towel, water-resistant hat, swim shorts, tote bag and boat-neck sweater in striped motifs that reflect and complement the chairs’ palette. On the accessories is also a new interpretation of the Gubi fish logo in a rainbow colourway developed as part of the collaboration with Noah.

‘Water has always been an important element in the Noah lifestyle, so naturally it has found its way into the design,’ adds Noah co-founder Brendon Babenzien, former design director of Supreme. ‘Growing up in a coastal community, nautical style naturally becomes a part of your personal expression. We loved the Gubi logo and thought it would work incredibly well on a few simple items. We’ve selected items and colours that give a sense of being near the sea.’

The GUBI x Noah collection will be exclusively available in-store during 3 Days of Design (7-9 June 2023) at Storm Fashion in Copenhagen

The collection will then be widely available from 15 June from Noah’s stores in New York, Osaka and Tokyo, at Storm Fashion in Copenhagen, and online at gubi.com and noahny.com

Gubi Showroom, Orientkaj 18-20 · Nordhavn 2150 

gubi.com
noahny.com

Mozambique, the emergent southeast African nation now home to Swiss entrepreneur Nina Flohr’s Kisawa Sanctuary, is sometimes described as the pearl of the Indian Ocean in reference to its stunning 2,470km-long tropical coastline. Recognising this, Flohr has made the aquamarine waters surrounding Kisawa a strategic feature in her ambitious first development, a ‘resort-to- research’ venture on Benguerra Island, the second largest of six islands in the Bazaruto Archipelago in southern Mozambique.

Set amid pristine dunes on the southern tip of Benguerra, Kisawa is a blissful hideaway conceived and piloted to completion by Flohr’s Dubai-based design studio NJF. The core of the resort is a collection of 11 one-, two- and three-bedroom residences, tactfully located out of view of one another. Each residential compound has its own open-air deck space with infinity pool and thatched kitchen and living room. Befitting its luxury pedigree, Kisawa offers fine dining at three dedicated sites, as well as a wellness centre with a menu of Ayurveda treatments and, uniquely in Africa, Iyashi Dôme infratherapy.

But it is the variety and profusion of marine life that is Kisawa’s real draw. Large sea animals abound here, among them manta rays, hammerhead sharks, various turtles and dolphins, game fish like marlins and wahoos, as well as migratory humpback whales. Bazaruto is also home to the last viable dugong population in East Africa. One imperturbable member of this critically endangered species of sea mammal, a relative of tropical Atlantic manatees, has a reputation for foraging sea grass in the shallow waters off a neighbouring island.

Kisawa offers viewing expeditions aboard a sleek Axopar bay cruiser. The boat’s route follows tidal channels used by the seafaring people that first settled on Benguerra in the late 19th century. Many of them still use traditional dhows to fish the fertile waters. Some of these locals have, however, opted to participate in Flohr’s eco-tourist project (which pairs luxury hospitality with critical marine science) as butlers, servers, marine escorts, groundskeepers, activity guides and even entry-level scientists.

Dugong spotting is not a science, but rather a form of sightseeing. As an activity, it is also remarkably similar to terrestrial big game viewing in that it involves scanning an undifferentiated topography, here a glassy water mass, and hoping. ‘There!’ exclaimed a crewman after a period of our crisscrossing the same waters. He pointed to a dark form lazily gliding through the clear water. Eventually the elusive animal gracefully surfaced for air. With their downturned cleft snouts and crescent-shaped tails, dugongs are a bewildering marvel of natural design – think a walrus sutured to a mermaid. They are unlike any marine or terrestrial mammal one is likely to encounter in any of Africa’s increasingly atomised wild places.

A former creative director of VistaJet (a private jet charter company founded by her father) and a seasoned traveller to Africa since her teens, Flohr is clear about the importance of Mozambique’s submerged marine richness in her vision of integrating for-profit luxury hospitality with non-profit marine research. ‘Africa has an abundance of safaris all over the continent,’ explains Flohr, who first visited Mozambique in 2011. ‘What interested me in Mozambique was that I could do something interesting from a hospitality and design point of view that incorporated marine wildlife and the ocean rather than a terrestrial landscape.’

Kisawa distinguishes itself from East Africa’s growing number of luxury marine resorts (among them a neighbouring property, also on Benguerra Island, operated by safari group &Beyond) through its close partnership with the Bazaruto Centre for Scientific Studies (BCSS). A series of pitch- roofed wooden structures snugly embedded into the landscape on the northern end of the same island as Kisawa, BCSS is Africa’s first permanent ocean observatory focused on multi-ecosystem research. Flohr established the marine observatory in 2017 as a precursor to her hospitality project. While it operates independently of Kisawa, BCSS is central to the resort’s ocean-conscious ethos.

‘We are trying to create a 21st century luxury understanding of nature and the environment, and how to live within it rather than against it,’ says Flohr, who, since her 2020 wedding to a member of the non-reigning Greek royal family, has acquired the title Princess Nina of Greece and Denmark. ‘This is something exciting and goes beyond the design of a hotel room or the sustainability management that you would see at most resort properties.’

Heading up BCSS is Dr Mario Lebrato, a Spaniard with expertise in oceanography, marine biology and ecology, chemistry and data management. His duties are split between defining the station’s scientific agenda and its day-to-day management (BCSS employs 24 staff, including 16 islanders, five Mozambicans and three expatriates). Spending time on the water is the sweet spot of his professional responsibilities. BCSS’s scientific activities are guided by four marine- specific themes: ecosystem monitoring, species identification and habitat mapping, fish population dynamics, and marine debris monitoring, notably involving plastics.

Marine observatories are not new in Mozambique. In the 1950s, a university in Johannesburg inaugurated a marine biology research station on Inhaca Island, near the capital Maputo. At nearby Tofo Beach, a tourism company operates an accredited field station involved in marine research. BCSS is different from these operations, as well as the new European Union-sponsored Odyssea maritime observatory near Tangier in Morocco, in its time-based focus on data collection linked to a defined territory. Equally novel is its open-source approach to sharing data related to its time-series monitoring of the Bazaruto Archipelago.

‘We don’t have the expertise to process everything,’ says Lebrato, a keen surfer with a strong scientific publishing record. ‘For instance, we have hydrophones to record process that data, but a collaborator analysed the sounds and found three whales that we have never seen here. BCSS was listed as a co-author, which is very unusual. Scientists are typically very guarded about their data and won’t share it – but we do.’

Flohr is keen to underscore the regional implications of her non-traditional model of funding research. ‘In an environment where science is usually funded on a grant-based basis, we have a platform where we can provide long-term science in a stable format to a team of scientists with the support of the hotel,’ says Flohr. ‘This enables international collaboration with other research platforms, but, most importantly, it enables us to provide data and information to the Mozambican government and NGOs with the idea of contributing to long-term conservation and better environmental information.’ In the short time since Kisawa opened in November 2021, diving has emerged as the most popular activity with guests visiting BCSS. The dive tours are typically paired with three-dimensional seabed mapping exercises. Covering an enormous spatial radius (50km in any direction) and encompassing a number of offshore shoals, this expensive empirical activity falls beyond the capabilities of professional tour companies. Lebrato says participation in this activity by Kisawa guests establishes a direct link between the visual feedback of diving and the science of marine environmentalism.

Kisawa and BCSS are both located within a state-supervised national park on an inhabited island. This presented unique environmental, social and governance issues to the Kisawa project. The social concerns are self-evident on the unpaved roads between the lodge and marine observatory. They pass through the island’s small pockets of residential settlement. Mozambique, which briefly adopted a socialist ideology after winning independence from Portugal in 1975, is one of the poorest countries in the world.

An important virtue of the overall Kisawa project, insists Flohr, is its reliance on local know-how. Kisawa took three years to complete. At one point, there were 1,500 labourers on site, many of them local. Flohr, a dedicated taskmaster by all accounts, visited the island every six weeks to supervise the project to completion. Kisawa is the product of various collaborations, with the likes of industrial designer Ivana Porfiri and architectural practices Menezes e Peral in Maputo and Plus Design Studio in LA, but also with local islanders. Cristiano ‘Nelson’ Machel supervised the rustic thatching of the residences and straw domes atop the wellness centre. The Chizungune family led the weaving on the interior sliding doors and ceiling panels in the residences, and members of the Zivane family helped carve the modernist chairs and tables from local jambir and sambiri woods.

The colour palette and choice of woods for the resort was strongly informed by local traditions. Flohr, whose design studio has just completed a luxury residential project in Kenya, says her eclectic approach to design is informed by her studies in art history at New York University. ‘It is in my training to reference and research rigorously. I don’t know any other way.’ Her research was both technical and aesthetic. It involved sourcing building technologies like Surefoot, a concrete-free alternative to traditional piling and concrete slab foundations, and spending time in Johannesburg with Hartman’s Woodcraft, whose joinery fulfilled her exacting residential standard for Kisawa.

In March, Kisawa lived up to its name (‘unbreakable’ in Tswa, the islanders’ language, a reference to the bond between people and land) when it came through the longest and most intense tropical cyclone ever recorded worldwide. It was a marked win for a worldly resort that purposefully shuns the colonial-era modernism of architects such as Amâncio ‘Pancho’ Guedes. Not that Kisawa disavows earlier know-how. The large porthole windows in the beach- facing Main Terrace restaurant, which incidentally houses an exceptional wine collection, reference a circular motif from Jean Prouvé’s prototype Maison Tropicale flatpack houses, designed between 1949-1951. Kisawa also acknowledges the unique Swahili culture linked to the maritime trade between Oman and Zanzibar, all the way down to Mozambique. ‘We have created a modern dialogue that is multi-referenced and multilayered,’ says Flohr. ‘The idea of interpreting modern-day Mozambiqueconstantly came back as a stable pillar.’  

kisawasanctuary.com, studionjf.com

A version of this story appears in the June 2023 Issue of Wallpaper*, available now in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today