This year, The Aurora returned to Sweden’s west coast for its third edition, from 26–28 June 2026. Once again, the event transformed the picturesque Norrviken Gardens in Båstad into a celebration of automotive excellence. Welcoming more than 16,500 visitors, The Aurora further strengthened its reputation as one of Northern Europe’s most exciting car shows.

At the heart of the weekend was a unique double concours that featured both classic automobiles and modern hypercars. The carefully curated selection reflected The Aurora's distinctive ability to unite automotive heritage with contemporary design.

This year’s highlights included the world-first public appearance of the Rolls-Royce Spectre Series II, the unveiling of the Lamborghini Fenomeno Roadster, and the showcase of the production Koenigsegg Gemera.

Beyond the concours, visitors could enjoy an extensive programme of talks, exhibitions, and activations. The expanding Aurora Yacht Show also added another dimension to the event, showcasing an impressive collection of luxury vessels in the nearby harbour.

By combining lifestyle with high-end vehicles, The Aurora continues to establish itself as an international platform that celebrates automotive heritage, innovation, and craft.

Our highlights from The Aurora 2026

Mercedes-Benz Classic

The Mercedes-Benz Classic stand at The Aurora marked 140 years of innovation by placing the brand’s past, present and future in direct conversation. At the centre of the display were two carefully paired moments in automotive history. The 1937 W 125 Silver Arrow sat alongside the 2018 Vision EQ Silver Arrow concept car, drawing a clear line between Mercedes-Benz’s racing heritage and its electric future.

Nearby, the iconic 1970 C 111-II was presented alongside the 2023 Vision One-Eleven, highlighting how experimental design continues to shape the brand’s approach to performance, technology and form.

The display also celebrated the C 111’s distinctive gold-orange ‘Weißherbst’ finish, a colour that has become closely associated with one of Mercedes-Benz’s most recognisable experimental vehicles.

Visitors were also able to see a Mercedes-Benz 300 SL, two running authentic replicas of the 1886 Benz Patent-Motorwagen, and the Roarington simulator challenge, bringing together heritage, storytelling and interactive engagement in one stand. ‘At The Aurora, we brought technological and design history to life,’ says CEO of Mercedes-Benz Heritage, Marcus Breitschwerdt.

Mercedes-Benz.com

Brabus

Brabus made its debut at the event with a bold showcase of modern high-performance luxury. The centrepiece was the Brabus Bodo, a Gran Turismo Coupe created in tribute to the company’s founder Bodo Buschmann. Built as a statement of power, craftsmanship, and elegance, this vehicle will be limited to just 77 units worldwide – a tribute to 1977, the founding year of Brabus.

‘The Aurora was the perfect location to celebrate the official Scandinavia premiere of the new Brabus Bodo, and the response we received from everyone who stopped by our display was absolutely incredible’ says CEO and owner of Brabus, Constantin Buschmann.

The display also included the Brabus Rocket GTS, the Brabus 700 based on the Range Rover P 615 SV LWB, and the Braus 800 Cabrio based on the Mercedes-AMG G 63. Together, the line-up captured the brand’s ‘1 Second Wow’ philosophy, blending opulence with visual impact.

Brabus.com

Koenigsegg

One of the most anticipated moments of the weekend was the public debut of the Koenigsegg Sadair’s Spear. The hypercar showcased the Swedish brand’s evolving design and engineering ambition. With sharpened aerodynamics, a track-focused character, and unmistakable road presence, it is a celebration of high-end automotive design.

Alongside the full-size car, a 1:1 Lego replica brought a playful element to the display. Built from 327,000 bricks without glue, the model recently set the world record for the fastest Lego car, reaching 69mph.

The stand also featured two Koenigsegg Gemeras, the world’s first four-seat Megacar, as well as the CCGT, the company’s only GT1 race car. Visitors could also see the CC Prototype and Koenigsegg’s first production car, the CC8S.

‘The Aurora has, in a very short time, established itself as a refreshing addition to the world’s leading concours events,’ says Christian von Koenigsegg, CEO and founder of Koenigsegg.

Koenigsegg.com

The Aurora Yacht Show

Now in its second year, the Aurora Yacht Show brought a strong maritime dimension to the weekend, expanding The Aurora beyond automotive excellence into a broader luxury lifestyle experience. Set in Båstad Harbour, the show featured an impressive collection of premium brands, including Delta Powerboats, J-Craft, Nimbus, Axopar, Riva and Fleming Yachts.

Highlights included the new Riva Dolceriva 48 and a Riva Iseo displayed in the gardens of Norrviken. Attendees also saw a fully equipped explorer yacht from the Tung Hwa Boatyard in Taiwan. New for 2026, the Yacht Hospitality Package allowed VIP guests to arrive by sea, with a Princess F60 welcoming guests throughout the event.

The Aurora.se

40 Years of the BMW M3

BMW’s third year as a partner at The Aurora brought together motorsport heritage, high-performance engineering and future-focused design. The display celebrated 40 years of the BMW M3, with the iconic 2002 Turbo and M3 GT E36 highlighting the brand’s sporting legacy. The showcase also featured the new i3, iX3, 7 Series, and the upcoming all-electric X5, showcasing performance, technology, and contemporary automotive design.

Looking to the future, BMW presented the all-electric M Concept Neue Klasse, following its world premiere at Le Mans. Finished in Monza Red metallic, the concept car combines expressive proportions with motorsport-inspired aerodynamics, offering a glimpse of the German brand’s next generation of high-performance vehicles.

‘The Aurora is proving that Scandinavia can host an automotive event on the same level as the very best in the world’ says president and CEO BMW Group Northern Europe, Stefan Teuchert.

BMW-M.com

The next edition of The Aurora will run from 2 to 4 July 2027
TheAurora.se, @TheAuroraConcours

Swedish chef duo Adam Dahlberg and Albin Wessman have opened some of Stockholm’s most popular restaurants in recent years. It started with their fine dining restaurant Adam/Albin in 2012, which was awarded a Michelin star in 2022, followed by Solen – an 800-square-metre vibrant restaurant in the heart of the newly developed meatpacking district – and the izakaya-brasserie Misshumasshu in the historic Birger Jarlspassagen in Östermalm.

The duo’s most ambitious project so faris Adam Albin, a new restaurant overlooking the Royal Palace, the Royal Opera and the Swedish Parliament. It is an evolution of their original fine-dining concept, with a focus on seasonal Swedish produce, while still incorporating flavours from around the world.

Wallpaper* dines at Adam Albin, Stockholm

The mood: Eclectic mix

The chef duo has teamed up with Swedish design agency Halleroed. Led by Ruxandra and Christian Halleröd, the agency is known for its sleek fashion stores for brands such as Acne and Toteme. Marking their first restaurant project, the duo has worked to align the interior with the gastronomy.

Guests move through a sequence of rooms, including a lounge where dark wooden panels create an intimate setting, and a large dining room with arched windows that flood the space with light. Svenskt Tenn chairs, handblown glassware by Simon Klenell, and steak knives by Sámi craftsman Jon Tomas Utsi are just some of the carefully chosen objects. The open kitchen creates the feeling of a rustic home rather than a strict fine-dining restaurant, complete with Italian orange handmade tiles, stainless steel worktops and wooden chopping boards.

Overall, Halleroed aimed to create an eclectic mix – not something strictly Swedish or international, but rather a blend of styles. ‘It was important not to confine ourselves to any one country or style, but to work more intuitively,’ Ruxandra Halleröd explains. While classic white tablecloths are present, other elements, such as the 1960s and 70s aesthetic, add a sense of contrast. ‘We wanted to introduce small clashes in the interior,’ she says, noting that it reflects the chefs’ approach: ‘fine dining with classic rock – exuberant yet relaxed.’

The art, curated by local gallery Magnus Karlsson, features Swedish artists. Highlights include a sun in glazed porcelain by Klara Kristalova in the lounge, an oil painting of a large pink sofa by Anna Bjerger in the dining room, and Jockum Nordström’s collage Europa in the private chamber. Even the wine cellar has been given attention – a metal assemblage by Lisa Jonasson designed to withstand the cold and humid conditions.

The food: Swedish produce with panache

Having been able to build their dream kitchen, Dahlberg and Wessman have made sure to include the details they missed in their previous one. During Wallpaper*’s visit, the on-site pastry chef prepares items such as croissants filled with cheese and onion for snacks, bread buns, and chocolate sticks for coffee.

With one seasonal tasting menu and a selection menu – where guests choose two starters, one main course and one dessert – the kitchen is in constant flux. ‘It also depends on what produce is available,’ Wessman says, pointing to a box with quail birds currently on the menu. ‘We now place a greater emphasis on individual ingredients, allowing them to stand out on their own.’

One of the first courses features blue-shelled lobster with smoked reindeer and blackcurrant leaf ponzu, presented on handblown plates by Klenell. There is also grilled Swedish squid with Noir de Bigorre lard, chestnut honey ice cream with meringue and scallop and wagyu cooked in elderflower juice – altogether, food that leaves you wanting more. Spices and flavours such as cardamom, fig and leaf cilantro hint at the chef duo’s mixed sources of inspiration.

‘We have thought a lot about what a fine dining experience is,’ Dahlberg says. ‘For us, it’s about the pleasure of food – not the most precise techniques or perfection. We’ve tried to create an experience that goes beyond the food: it’s the chairs you sit on, the service you experience, and the overall ambience.’

Adam Albin is located at Regeringsgatan 2, 11 53 Stockholm, Sweden

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

For more than a decade, Alexander Wessely has moved fluidly between worlds – from his early years roaming the streets of Stockholm in the 1990s, absorbed in graffiti and drawing, through photography and film, to the sculptural installations and large-scale scenography that now define his work. His visual language tends toward the monumental: strobes, towering forms, extreme contrast and a distinctly ritualistic energy typify his work, staged everywhere from concert halls to the global pop arena, including projects with artists such as The Weeknd, FKA Twigs and Swedish House Mafia.

Now, that sensibility enters an unexpected setting. For the first time in its history, the Nobel Prize ceremony (held 10 December 2025) was reimagined through a contemporary artist’s lens, with Wessely given rare freedom to reshape the banquet inside Stockholm City Hall. His response – a three-act meditation on light, atmosphere and human progress – marked a striking departure for both the artist and the institution.

Ahead of the ceremony, Wallpaper* spoke with Wessely about the origins of the project, the process behind it, and the ideas that shaped this unprecedented commission.

Wallpaper*: How did this project first come about? It’s a new direction for you and something unprecedented for the Nobel Prize.

Alexander Wessely: It came through Jacob Mühlrad, the composer. He introduced me to the Nobel Foundation earlier this year, and we started talking about the possibility of this and what it could potentially be.

It’s very exciting. And like you said, in one way it’s quite a different scenario for me to be in, and in another way it’s the same thing as usual – music and light.

W*: When you first received that introduction, was there any kind of brief or structure? Or were you given a blank canvas?

AW: It was pretty much a blank canvas. They gave me creative freedom to approach it however I saw it. Jacob sent me the initial music, and I’ve been working with him previously – we’ve done things at the Royal Dramatic Theatre here in Sweden, at Berwaldhallen, and a couple of things of that nature.

We’ve invited each other into our [respective] worlds over the years, and I’m very gravitated towards his music – the sort of ritualistic tone of it, the serious nature of it, but with that glimpse of hope. It aligns very well with what I do.

I received the music and went to Athens, my second home in Greece, and lived with it for almost three weeks. I started writing the ideas and then came back to Sweden, sat down with the team, and started building out this narrative and this world and what it could be.

W*: When you’re living with the music like that, do visuals arrive quickly? Or is it more gradual?

AW: Yes and no. It does come, but sometimes I have to hold myself back a bit. It’s a fine balance – especially in a context like this. I always want to put things on the very tip and push it to the edge, but I also want to respect the context.

I’m a big user of strobes and very strong, heavy lights and extremely dynamic, high-impact visuals. But with live TV and with the Nobel context in general, I needed to hold that side of me back and invite viewers into a more roomy, dynamic journey – something more pulsation-driven, softer, wrapping people in the experience instead of them just looking at a wall over there.

W*: And the performance unfolds across three acts?

AW: Yes. The first act is an emulation of a sunrise – a dusky silhouette, a hard, almost dystopic introduction, like a new beginning.

Then, in the second act, we introduce another element: a light pillar. It’s basically a laser pillar, a physical object in the centre of the stage shooting up towards the sky.

In the third act, we introduce projection. We have multiple projectors mapping the room to create a surreal situation where I hope people start to wonder what’s real and what’s not – what’s physical and what’s digital. Because I really want to play with atmosphere. We have heavy smoke pouring out of the windows, creating emulations of fog or waterfalls. Blending the physical and the digital really intrigues me. I want people questioning what they’re actually looking at.

W*: You had a live audience in the room, but also a global televised audience. How did that shape the staging?

AW: It’s broadcast live, and there are around 2,000 people in the hall. The performance takes place in front of this huge staircase and along the long floor, with the audience sitting at tables on either side.

They’re looking in one direction, but the experience takes place from the sides and the front. As the evening goes on, they start to feel themselves immersed more and more into it – as we add atmosphere, introduce projection and so on.

W*: And Stockholm City Hall itself – did the space influence what you could or couldn’t do?

AW: It’s a sacral, almost church-like architecture, and that plays a role in a lot of my work. We’re in a 150-year-old building with these 30m ceilings, beautiful stone and brick, huge painted-glass windows.

The space is interesting in itself and in a lot of ways makes my work easier – at least with what I want to accomplish – because just placing a light pillar in the centre of this space becomes surreal in itself.

It’s almost like a cheat code, because the room is already so good. At the same time it sets boundaries, because it’s perfect already in many ways, so adding to it is complex. That’s why I keep it minimal in a purposeful way. The idea might start with seven elements, and then we sit down, take it in, peel it back, peel it back, until it’s balanced.

W*: Is peeling things back – reducing the idea to its core – your usual design process?

AW: Yes. It can be the biggest, most advanced space with 50,000 people, but I love the idea of pushing it to its core. Rather than having all of these things, what can we accomplish with, for instance, one strong beam from this direction, mimicking the sun?

I’m fascinated by how powerful one light source can be when you push atmosphere into the space with haze and smoke. And you actually made me think about that, because I realised it’s the same approach I had in a sculpture exhibition I did a couple of years ago at Fotografiska in Sweden. That whole exploration was about peeling back the layers of the human – exposing the purest form of what we are.

This is the same. Bring it back down. Strip away the extra things. Keep the purest form.

W*: Working in such a charged architectural space – does that make the process more enjoyable, or more challenging?

AW: Right now in my life and career, I enjoy this more. Maybe because it’s more challenging. There are more restrictions – the building is protected, you can’t hang things wherever you want, things are fragile, it’s not flexible.

In a stadium, you have a blank canvas. Here, the architecture is already a beautiful piece of art. That makes it more complex, but also more intriguing.

W*: You mentioned the installation period is very tight. What does this final stretch feel like for you?

AW: We’re in the studio working almost 24/7, making sure everything is correct and still doing some trial and error. We start building on Sunday (7 December 2025) evening – about four days before the ceremony.

I’ve become good at handling stress, which is probably not a good thing, because I don’t feel it, but I know it’s inside me. I’m never stressed about what the audience will think. As long as I’m happy and proud of the work we did, then it’s happy days for me.

W*: And when everything finally comes to life – do you get a sense of excitement from seeing something that began in your head become real?

AW: Yes. That’s still the driving factor. Seeing it come alive is the rewarding part. Then the dark part arrives quickly. Months or years of work are over after 60 or 90 minutes, and a big black hole opens up. It’s empty. And then it’s on to the next, in a weird way.

W*: You said earlier that you don’t mind whether people ‘like’ it or not. When you’re designing, do you still hope to make people feel something specific?

AW: I’m very intrigued by making people question what’s real and what’s not – this sort of existential terror. I feel I want to ignite something inside the audience, whatever it might be.

I love the idea of people leaving with extremely different opinions. Not one aligned reality. I’d rather hear someone say it’s shit and explain why than have everyone think it’s just cool or good.

W*: Do projects like this continue to inform what comes next? Do elements carry forward into future work?

AW: Yes. I’m bringing in a couple of projection elements I used at Museu del Disseny in Barcelona. Some things from Berwaldhallen [concert hall in Sweden] are in here too. And then there are new elements.

I’ll most likely condense what felt best and bring that into the next project. It’s like a never-ending puzzle. I’ve always collected things – postcards when I was young, vintage watches from the 1950s, 1960s and 1970s later on. Time fascinates me a lot.

I feel a career is like collecting. You add experiences, ideas, thoughts. You can remove things from the collection and add new ones. That’s how I approach projects. I look into my mental collection, apply things, and add new pieces, remove old ones.

W*: So there’s no grand career plan – it’s more about following what feels right next?

AW: Exactly. It’s terrible in a way. Since I was about 20, I’ve had this feeling everything is going to go to shit. When I reach certain milestones, I reboot.

With photography, when I reached certain points, I said: OK, let’s stop. Let’s investigate film. I did the same again. Then creative direction and art.

What’s stuck so far is having one leg in the cultural institutional space and one leg in pop culture and commercial space. That balance suits me – I get easily bored, so I need to challenge myself.

W*: So after working on something monumental, you might go in the opposite direction – do something completely different, something much smaller in scale, like a sculpture?

AW: Yes. I will. It’s like, when I’m standing in Mexico City at four in the morning looking at this huge skeleton of a production and thinking, why am I doing this? What’s the purpose? I go back to the hotel and fall back on that idea – me in a monastery in central Greece, close to Meteora, sculpting, and I get calm.

That’s the light at the end of the tunnel. Even though I love what I do, I sometimes really question the purpose of it, but then I can see the impact it makes on thousands of people. It makes me feel good for a bit – and then it’s on to the next. It’s interesting.

Planora, the ingenious new room planner kit, is the brainchild of three Stockholm-based architects – Matilda Falck, Victor Lindén, and Anna Bärring. Conceived during the pandemic, when the industry slowed down, leaving the Swedish architects with more time on their hands and brainspace for blue-sky thinking, Planora is designed to become the ultimate planning tool for those looking to conceptualise their new home without constantly looking at a screen.

The product is simple – and refreshingly easy to understand. It comprises a series of precisely scaled pieces made from wood, which users can pop out and use on their floorplan. It allows the user to try out layouts and play with different spatial arrangements as they imagine their daily life and the use of each architectural interior in a new design.

Room planner kit Planora – meet the makers

Emphasising collaborative, real-time, in-person working and the physical qualities of the process of architectural design, Planora’s founders call their project a 'quiet counter-movement'. We caught up with them to discover the thinking behind their product.

Wallpaper*: What inspired you to create Planora? How did it all start?

Planora team: A few years ago, during a slowdown in the building industry, our architecture practice suddenly had fewer projects on the table. We’re not the kind of team that sits and waits for work to arrive, so we started asking ourselves what we could create that still connected to our everyday architectural work.

In our private client projects, we kept seeing the same pattern: people would arrive with their first ideas sketched on paper – imaginative, enthusiastic, but usually not to scale and with proportions that didn’t quite hold together. Which is completely understandable; that’s the part architects are meant to resolve.

But it revealed something important: people love imagining their homes. They want to sketch, experiment and play with spatial ideas – yet not everyone wants to wrestle with software or think about scale on paper.

So we asked ourselves: what if spatial thinking could be effortless? What if there were a tactile, intuitive tool that allowed anyone to sit down, move pieces around, and test ideas without any technical knowledge? That became Room Planner, our first product.

The system grew naturally from there – Kitchen Planner, Garden Planner, Bathroom Planner, and a series of add-on packs that allow people to expand their toolkit depending on the project. As the collection evolved, we needed a unifying identity for this growing ecosystem of planning tools. That became Planora.

W*: Was it straightforward to create, once you had the initial idea? Or did it take many tests to reach its final form?

P: The concept came quickly – we knew exactly the kind of experience we wanted to create. As architects, we work with these shapes every day – furniture, walls, doors, circulation – all in digital drawing form. Translating that familiar architectural language into a physical, hands-on format felt natural.

The refinement, however, took time. We experimented with different sizes, proportions, edge treatments and packaging formats. Finding the right balance between usability, durability and aesthetic clarity became its own design journey. We also wanted the experience to feel playful and inspiring – something that encouraged people to explore.

The packaging, in particular, went through several iterations, as it needed to be both practical and considered enough to live comfortably on a shelf or coffee table. It wasn’t difficult so much as meticulous. The final product is the result of countless small decisions that all had to feel just right.

W*: Why is it in the specific material?

P: Being Swedish architects, wood is part of our design DNA. It’s a material we work with constantly, and it carries a warmth, tactility and sense of craft that felt essential for Planora.

Because the product is entirely hands-on, the material had to feel good to touch. Wood slows you down in a way that screens can’t – it invites focus. Many customers describe the experience as calming or even meditative – like a puzzle game or a refined, grown-up take on Lego.

We also wanted Planora to be more than a practical tool. It should be beautiful on the table, giftable, display-worthy – something that belongs in a design-led home. Choosing wood allowed us to achieve that blend of functionality, craft and aesthetic presence.

W*: What kind of feedback have you received for it, perhaps from a user or client?

P: We hear from customers every day, and certain themes surface again and again: how tactile and intuitive the system feels; how therapeutic it is to plan without screens; how surprising it is to feel proportions rather than simply see them; how valuable it becomes during a renovation or new-build process

The most common criticism tends to come from people who question the analogue nature of the product – why not just use an app? Our answer is that we’re not trying to replace digital tools; we’re offering a different mode of thinking. A tactile, slowed-down way of working that many of us have lost along the way. And increasingly, people are seeking exactly that – less screen time, more physical engagement, more clarity.

Some also mention that it could be improved with magnetism. We are addressing exactly this for next year.

W*: Are there plans for future products within the family?

P: Absolutely. We refine the products continuously, both in terms of usability and the overall experience. Some upcoming updates focus on making the kits even more intuitive and fluid to work with. We also listen closely to our community. Many people reach out with highly specific needs – restaurant layouts, office environments, niche furniture pieces. While not every idea can become a standalone product, these suggestions help us understand how different groups want to use Planora, and they inform our long-term direction. We’ve already introduced add-ons such as extra furniture, building elements and people in response to this feedback.

A central red thread for us is building a coherent system of tools – planners that work beautifully on their own, but even better together. This modular approach allows people to expand their toolkit depending on the project they’re working on, rather than being tied to a single fixed format. We're also working on introducing a full metric-based system alongside the current format, giving users even more flexibility depending on their region and design habits.

In parallel, we have a couple of potential collaborations in development – including one exploring how Planora can support learning environments. It’s early days, but we’re excited about how analogue spatial tools can be used in education. Beyond these ongoing improvements, we have a major evolution of the collection planned for 2026. It represents a significant step forward in how the system functions and how users can personalise and build upon it – something we’re very excited to share in due course.

The full range of room planners is available at planorashop.com

There is something about miniature room sets that awakens childlike wonder in even the most serious of us – the simple pleasure of peering into tiny, self-contained worlds. So if you also happen to be a fan of midcentury design and Swedish interiors, then new exhibition 'Svenskt Tenn on a Small Scale' at the brand's Stockholm flagship is unmissable, charting 101 years of its exhibition history through nine exquisitely detailed dioramas.

First created for Svenskt Tenn's 2024 retrospective at Liljevalchs gallery in Stockholm, the models have been brought back together for a second showing, celebrating the company’s 101-year legacy of interior design and exhibition-making. Crafted by Stockholm-based Ray Atelier, a specialist in precision model-making, the nine miniature rooms reproduce pivotal moments from Svenskt Tenn’s past – from early international showings in Paris and San Francisco to in-store installations on Strandvägen 5.

'Just as the original exhibitions were carefully staged to present new ideas in furniture, textiles and interiors, it was important that these miniatures carried the same level of craftsmanship,' Tora Grape, head of marketing at Svenskt Tenn, told Wallpaper*. 'Last year’s retrospective reaffirmed the significance of Svenskt Tenn’s exhibitions in shaping not only the company's history but also Swedish and international design at large,' she adds. 'Bringing the models back together allows us to highlight that legacy in a new way – on a smaller scale – offering visitors a concise overview of the brand’s aesthetic trajectory over more than 100 years. Many of the patterns and furniture designs that first appeared in these exhibitions remain in our assortment today, so this presentation underscores both continuity and innovation.'

Each interior set – in scales of 1:5 and 1:8 – includes faithfully reproduced scaled-down fabrics and wallpapers to preserve the atmosphere and integrity of the original exhibitions. Among the scenes are the 1934 Liljevalchs exhibition announcing Svenskt Tenn founder Estrid Ericson’s collaboration with architect Josef Frank; the 1937 Paris World’s Fair terrace furnishings; the 1939 Golden Gate Exposition in San Francisco; and, more recently, the 1998 ‘White Exhibition’, the 2017 ‘Black Exhibition’, and India Mahdavi’s exuberant ‘Frankly Yours’ installation of 2022.

Running alongside the models, Svenskt Tenn's Interior Design Studio has created two contemporary room settings in the store, showing how Ericson and Frank’s humanist approach to interiors remains as relevant to modern homes as it was a century ago.

The exhibition is on view at Svenskt Tenn, Strandvägen 5, Stockholm, until 19 October 2025, svenskttenn.com

Stockholm is known for its urban beauty – built on 14 islands, connected by bridges, the city is surrounded by its stunning archipelago. It’s also on the map for design, culture and, not least, dishing up an abundance of pickled fish and meatballs. But a surfing destination? The Swedish capital is definitely not on any surfer’s wave-riding bucket list. In fact, the largest wave you could probably find would be the wake from passing boats.

For water sports lover Alex Lind, this lack of swell is what inspired him to launch Lind Canvas, a new electric surfboard. The board, not to be mistaken for an e-foil, is the first of its kind, ushering in a new era of surfing. Wallpaper* was invited to the Swedish archipelago to take to the water and try it out.

We try out Lind Canvas, the new all-electric surfboard

For the most part, surfing is a laidback, welcoming sport, allowing people to enjoy being in and on the water. However, it is also layered with unwritten codes and practices which, if not followed, can lead to newcomers being greeted with hostility. Adapting a traditional surfboard and adding a 27 horsepower jet on the back is one of those things that might not be well received on any local scene. Lind was certainly aware of this, and assured us that the board is not designed for regular wave riding. ‘We didn’t design this board to compete with traditional surfing,’ he said. ‘Lind Canvas is designed to bring the feeling of surfing to people who don’t have access to waves.’

Founded in 2021, Lind has an office in the Swedish capital that overlooks the water, a natural playground to try out its prototypes. The aim was to ‘insert the power of a wave into a board’. Of course, this was easier said than done. The initial design started with a battery and jet, with the board then fitted around them. ‘It became more like a boat than a board,’ laughed Lind. ‘It had to feel like a sporting device, and not another high-tech toy.’

Along with his co-founders – CEO Anders Dellson and CTO/COO Mattias Soderhielm – Lind began to piece together a ‘dream’ team that balanced high-tech engineering with functional and beautiful design. They brought on two engineers, Benjamin Vedder and Jeff Friessen, who previously worked on Nasa’s Mars robots, to take on the engineering challenge of creating a board that is lightweight and manageable, yet packed with power.

Together with the wider team, and thanks to a $9 million investment, they got the battery weight down to 17kg and split the board into three parts; a battery, a jet, and a board. The 27-horsepower surfboard can reach a speed of 37mph, with a typical speed of 20mph. It has an energy density twice that of a Tesla Model S

After trying it out in the Maldives and writing up a business plan, within a year they had a first prototype.

The beauty of the product is rooted in its design, which was led by Marcus Ivarsson, head of product and branding. ‘The foundations of the design are based on a traditional shortboard, as we wanted to compress everything as much as possible,’ said Ivarsson. ‘The board itself is constructed exactly like a regular surfboard, with the same structure, made from epoxy, with an oak stringer and tailblock.

‘Working with such intelligent people in their sectors, it was hard to be the guy that wanted to keep things simple, and rein in the tech enthusiasm. But the simplicity is where the beauty lies. We wanted to create a surfboard that looks and feels like one,’ said Ivarsson, while gesturing to the office TV, which plays the cult surf film Endless Summer on a continuous loop. ‘I like to call the board design “hide-tech” not “high-tech”, as we want users to feel as connected to their surroundings as possible.’

The board alone takes 40 man-hours to make, with manufacturers in Thailand and Vietnam, followed by eight hours of polishing for the finish. The battery is made in Poland (by the same robots that Tesla uses) to avoid any human error.

Transporting the board to the water was seamless. With the battery slotted into a nude-colour backpack, and the board tucked under your arm, the transportation is heavy, but manageable. Battery, jet and board each slot into each other easily. The battery sits on the underside of the five-inch surfboard, and is cooled down via the cold water passing over it to prevent cells from ageing and degrading. Inside the battery, there are heat and moisture sensors that alert users, and take steps to protect the battery in response

You wax the surfboard like you would a conventional one. Then, to use it, you control velocity with a wireless, hand-held remote, with levels from 1 to 15. Speed is your friend, allowing for more stability to stand up and glide across the water seamlessly. Turns are completed in the same way as conventional surfing, and getting to grips with the product is fairly easy for beginners, even those without a background in water sports. Each use lasts 45 minutes before the board needs to be charged again.

It is easy to imagine Lind Canvas becoming a sport of its own, whether it be speed racing in large bodies of water or big-wave surfing (where it would negate the need to be towed into the swell by a jet-ski). The board itself is undoubtedly impressive and stays rooted in the minimalist design codes seen in traditional board design, effortlessly extending surf beyond the wave. It will be exciting to see what sporting developments – whether a new X-Games or Red Bull competitions – lie ahead for Lind in the future.

The Lind Canvas board retails at $24,950, with bespoke options available.

Across the long bridge from its hip international neighbour Copenhagen, and 600km south of the buzzing Swedish capital of Stockholm, Malmö may not be the obvious choice for a design festival. Each May, however, the city – Sweden’s third largest – hosts Southern Sweden Design Days, a regional celebration of creativity (which this year ran 22-25 May). The four-day event activates both a festival hub in a former train workshop on the city outskirts, and a constellation of shops, studios, galleries and more across Malmö.

The design community in Malmö is nascent, even though it includes well-established names. There is no design school here, but there is the Form/Design Center, a non-profit institution located in the city’s historic district that organises the festival, which began in 2021.

Instead of taking its cues from the big events put on by Stockholm (see our report from Stockholm Design Week 2025) and Copenhagen, Southern Sweden Design Days instead looks to more bottom-up, DIY, student-inclusive festivals such as Dutch Design Week in Eindhoven. The atmosphere is certainly noticeable: in Malmö you won’t get the scale and the polish of something like Copenhagen’s 3 Days of Design, but what is offered is a more gentle approach to a design festival, and an opportunity to discover new talent.

The designers in Malmö are focused on collaboration, and often seem to be friends with one another – such is the way in a smaller city. The event is inclusive, but would perhaps benefit from more curation and refinement, as well as to grow. The potential is certainly there – and Malmö seems primed to catalyse it.

Malmö: Southern Sweden Design Days 2025 highlights

Going Pro

In the cavernous and industrial festival hub venue, Lokstallarna, ‘Going Pro’ showcased the work of ten designers from Form/Design Center’s business development programme. It was a diverse and buzzy mix, from fashion and furniture to textile design and lighting. Particular standouts included My Comét, whose furniture and homeware features intricately decorative metal pieces; Daniela Doe, whose hand-tufted ‘Fruit Sticker Rug’ felt poppy and clever; and Eva Ericsson, whose screen-printed textile was striking for its sumptuous pattern that seemed to reinterpret folk art through a colourful contemporary lens.

Jenny Nordberg

One of Sweden’s most exciting contemporary designers, Nordberg opened up her new Malmö studio for Southern Sweden Design Days. It was a chance to see her stunning work up close: a cube covered in melted pewter; an oversized candle holder made from Murano glass bricks; a mirror made using liquid silver; a cushion with a playful sad face in pewter. She also hosted events in the space, including a sound bath and communal meals.

Weave!

A converted 1950s petrol station – now a tiny standalone building in a car park – has become one of Malmö’s newest exhibition spaces, Tanken. Run by designer Karin Mailänder, the bright modernist space played host to ‘Weave!’ during Southern Sweden Design Days, a show bringing together tapestry work from Mailänder and four others, all of whom are part of the local weaving cooperative MalmöVÄV. From Linn Karlsson's experimental work with straw and Storm Philippa Clarén's ‘woven’ porcelain pieces, as well as Mailänder's own colour-drenched twill pieces, the micro show hit a perfectly curated note.

BISe x SSDD

One of Malmo’s many design-forward restaurants, BISe invited a range of designers to display objects in its colourful, plant-filled space. Above several tables, spherical pendant lamps were decorated with stickers by design agency Bill Studio stating ‘You are here’. On the wall, Amanda Monceau’s soft toy-like morning star was covered with smiling faces. Olof Janson’s delicate vases and Patrizia Intiso’s stoneware candle holders dotted the tables while Emily Thornton's colourful, painterly tufted wall hanging of a face brought dynamism to the restaurant entrance.

Väntrum

Curated by designers My Comét and Stina Henriksson, whose work also features in the show, ‘Väntrum’ (translating to ‘Waiting Room’) was perhaps the pinnacle of the programme: a small but mighty exhibition of brilliant collectible furniture and decor from 31 contemporary designers, inviting visitors to sit and interact. Particular delight came from Better Weather Design Studio, a Copenhagen duo making playful interior objects, Ebba Lindgren, who showcased a mesmerising ruched-fabric light, and August Bällgren, whose intricately engraved plywood chair stole the show for many. Saying that, we would have happily taken home everything.

Eagerly Awaiting the Storm by Nåme

A playful yet practical meditation on the issue of stormwater flooding in public space, Nåme’s project combines a system of rainwater collection with a public design installation. Colourful basins, designed for a public square, feature sculptural objects attached by chains, which represent memory-laden personal belongings at risk of flood damage. When heavy rain falls, the basins fill with water, becoming puddles on top of which the objects float. In Nåme’s proposed design, the rainwater drains through holes in the basin, instead of flooding the public space – findings its way down to cisterns, where it is filtered and reused to become drinking water.

Hook Me Up

Inviting multiple designers to produce pieces on a shared theme seems to always yield deeply satisfying results, and this show, ‘Hook Me Up’, was no different. Ebba Lindgren and Pia Högman – as part of newly established creative space Streck Office – asked 30 designers to produce a hook in any form they wanted (Mariah Nielson did something similar for Blunk Space in 2023 – ‘100 Hooks’). Contributions included Kajsa Willner’s ear-shaped tin hook, Yang Yong Kang’s mirrored wooden cabinet of hooks, and a 3D-printed piece by Sofie Håwi inspired by a hook her grandfather once carved.

But another dimension to the show gave new meaning to its title. Accompanying the hooks was a participatory noticeboard, where anyone could write who they were and what they were looking for, professionally – a designer seeking a stonemason or an artist needing a photographer, for example. Lindgren and Högman busily shared the notices on Instagram to connect the dots and ‘hook’ people up. It was a joyful reflection of Malmö’s truly collaborative spirit.

From the Japanese Genmaicha dotted with popped brown rice to the time-consuming but deliciously foamy West African Ataya, the world of tea is truly full of wonders. And it’s certainly not stuck in time: today, a new generation is discovering the beauty of bright-green matcha and fragrant masala chai. For her latest book, 150 Tea Houses You Need to Visit Before You Die, writer and editor Léa Teuscher – a long-time Wallpaper* staffer – explores what’s brewing, whether it’s in a cool café in Istanbul, a historic tea plantation in Darjeeling, an elegant hotel in London or a beautiful Kyoto ochaya. Here she picks ten tea houses serving great drinks and homemade blends in elegant, often architect-designed spaces, around the world.

Ten contemporary tea houses to visit now

Basao Tea, Xiamen

Designed by Norm Architects, this beautiful minimalist space is the flagship tea room of Basao Tea, a brand established in 2011 in Xiamen, Fujian. It is named after a Japanese zen monk who once wrote: ‘Having learned the ways of silence, within the noise of urban life, I take life as it comes to me, and everywhere I am is true.’ Its pared-back space aims to help visitors enjoy quiet contemplation and the calming sounds of tea being prepared, poured and enjoyed. Sit at the large stone tea counter to take part in a Chinese gongfu tea ceremony, or learn about more contemporary ways of tea making, like Basao’s nitrogen-infused cold brews. The tea sommeliers can also guide you through the company’s collection, which ranges from hand-rolled Nepali tips to Hangzhou’s ‘dragon well’ tea. Basao also has branches in Shanghai and Hong Kong.

Basao Tea is located at 8 Jianye RdSi Ming Qu, Xia Men Shi, Fu Jian Sheng, China; @basaotea

Bellocq Tea Atelier, New York

Bellocq is known for its single-estate full-leaf teas and signature botanical blends, as well as its famous yellow tea caddies now found in the tea rooms of some of the world’s leading brands, from Tiffany & Co to Cartier. Designed by co-founder Heidi Johannsen Stewart, and her husband, architect Scott Stewart, its studio and tea room is located in a brick warehouse in Brooklyn’s Greenpoint, and celebrates the luxury of taking time to enjoy a fine cup of tea. Distilling inspiration from botanical traditions while embracing innovation, the brand focuses on sustainable production practices, sourcing teas from exceptional gardens that reflect the unique terroirs of China, Japan, Taiwan, Nepal, Sri Lanka, India and South Africa. Bellocq’s Earl Grey, for example, is made with an exceptional base leaf and, uniquely, the essence of Sicilian bergamot extracted from the entire fruit.

Bellocq Tea Atelier is located at 104 West St, Brooklyn, NY 11222, United States; bellocqtea.com

Cafe Svenskt Tenn, Stockholm

Leading Swedish interiors brand Svenskt Tenn was founded in 1924 by Estrid Ericson, an entrepreneur and a great tea lover who is said to have drunk five cups of tea every day. Fittingly, the brand’s beautiful shop in central Stockholm is also home to a café serving a wide range of teas, with everything from delicate, grassy Japanese green teas and Indian Darjeeling, to its own flavoured blend of Chinese keemun/Yunnan. The teas were selected by chef Petter Nilsson’s team at Petri, a fine dining restaurant that is known for its focus on tea pairings, so expect some pretty special drinks here, such as rare jungle teas from the Monsoon Tea Wat Ket in Thailand and Dongfang meiren (‘Oriental beauty’) from Nantou County in Taiwan. These can be accompanied by dishes such as smoked salmon on French toast, or rhubarb cheesecake, canelés and chestnut tartlets.

Café Svenskt Tenn is located at Strandvägen 5, 114 51 Stockholm, Sweden; svenskttenn.com

Casa de Chá, Brasilia

Designed between 1965 and 1966 by legendary architect Oscar Niemeyer, the Casa de Chá was conceived as a meeting point on the monumental Three Powers Plaza, the site of the three branches of the Brazilian government. It is a unique spot with floor-to-ceiling windows hiding under a long flat white roof, in the great modernist architecture tradition. Inside, you will find classic pieces such as Jean Gillon armchairs and a menu by local chef Gil Guimarães. Drinks include Itamaraty Chai (black tea with star anise, cloves and pepper), a house maté, and the Congresso infusion, with hibiscus, apple, clove and cinnamon. We’d recommend sampling these with a slice of corn cake or, if really hungry, a Niemeyer tartine with Parma ham and umbu jelly. Refurbished in 2019 by Bloco Arquitetos, the café is actually part of the local university and a training ground for its hospitality students.

Casa de Chá is located at Praça dos Três Poderes Três Praça dos Três Poderes - Brasilia, DF, 70802-140, Brazil; @casadecha.df.senac.br

Ksana matcha, Bangkok

Located in cosmopolitan Pathum Wan, this cave-like specialist matcha tea room offers a unique haven of tranquillity away from chaotic central Bangkok. Sourced from Japanese heritage farms in Uji and leading tea estates in Shizuoka, the powdered green tea is served here on simple wooden tables in a cocooning white cave designed by local practice JUTI architects. Ksana matcha uses the finest-quality tea leaves to create four teas, including Coastal Breeze, with umami flavours that evoke the fresh serenity of a coastal morning, and Smoky Peaks, a hōjicha with a hint of hickory. Also on the menu are traditional Japanese wagashi sweets, such as yuzu and yokan jelly. Ksana has just opened an equally slick new outpost in the nearby Central World mall.

Ksana Matcha is located at 2nd Floor, One City Centre, Unit R2-02, 548 Phloen Chit Rd, Lumphini, Pathum Wan, Bangkok 10330, Thailand; ksanamatcha.com

Osulloc Tea Museum, Jeju

Set on an organic tea farm on the island of Jeju in South Korea, this stylish tea room and museum designed by Seoul-based practice Mass Studies was set up by the South Korean brand Osulloc, which started growing tea here only in 1979, after painstakingly transforming the rocky land into tea fields. It has since won a string of prestigious prizes for its teas, including Illohyang, a first-flush green tea handpicked in early April, and Sejac, the brand’s signature green tea. You can try them at the museum’s teahouse, which also serves blended teas, such as Samdayeon Jeju Tangerine, and lots of pretty tea-flavoured treats, such as matcha tiramisu and Jeju green tea cheesecake. Osulloc also has teahouses in Seoul, including a flagship location in the Bukchon district.

Osulloc Tea Museum is located at 15 Sinhwayeoksa-ro, Andeok-myeon, Seogwipo-si, Jeju-do, South Korea; us.osulloc.com

Oxi Tea Room, Melbourne

Known for its exquisitely detailed themed afternoon teas, this serene tea room in downtown Melbourne celebrates the tea terroirs of Kenya and Taiwan, the home countries of owners Mehboob and Andy. From Kenya come teas such as Nandi Gold, a fruity black tea with hints of roasted hazelnuts, while from Taiwan are sourced crisp Alishan and delicate dong ding oolongs. The 30 premium whole-leaf teas are paired with meticulously crafted menus, and an interactive app guides diners through a culinary journey, revealing the stories behind each dish. Designed by local practice Alta Architecture, Oxi Tea Room is well known for its themed afternoon teas, with past inspirations ranging from local honeys to artists such as Yayoi Kusama. All feature pastry chef Johnny Ping’s eye-catching creations, including surprising bites such as cheesecake with plum, blueberry and tofu.

Oxi Tea Room is located at T4/158 Victoria St, Carlton VIC 3053, Australia; oxitea.com.au

Steep LA

Located in Los Angeles’ Chinatown, this teahouse, bar and eatery was co-founded by Samuel Wang and Lydia Lin, for whom tea is a family tradition. While Samuel grew up drinking oolong with his dad, Lydia’s favourite is pu-erh tea, which her family enjoys while eating dim sum. Their menu focuses on premium teas handpicked from China and Taiwan, which cover five out of six major Chinese tea categories: black, green, white, oolong and pu-erh – the latter including a refreshing Green Tangerine tea with notes of citrus and freshly cut grass. Come 5pm, Steep LA introduces its After Dark program, offering tea-infused cocktails such as Winter’s Whisper, with Jiaziyuan oolong tea. There is also a food menu with noodle bowls and snacks and a boutique selling pieces by local designers and craft makers.

Steep LA is located at 970 N Broadway #112, Los Angeles, CA 90012, United States; steepla.com

Théhuone, Helsinki

As you’d expect for a boutique and tea room located in the Design District, the décor at Théhuone is pure Scandinavian minimalism. Tea is served in sleek white porcelain cups and transparent teapots, which are perfect to watch flowering teas unfurl. There’s only a handful of tables and a seating area with floor cushions by the window from which to enjoy a selection of over 400 teas, carefully selected by sisters Nina and Nea, who founded the tea room in 2005. Flavoured teas such as classic Earl Grey and cherry-flavoured Sencha Sakura are particularly popular here, as are rare pu-erh varieties from Yunnan and the finest oolong teas from Taiwan. In keeping with the pared-back décor by local studio Pure Design, which lets the teas do the talking, there is no food menu – but drinks do come with little biscuits, mochis or a piece of green tea chocolate on the side.

Théhuone is located at Eerikinkatu 10, 00100 Helsinki, Finland; thehuone.com

To Tsai, Athens

Owned by specialist Ceylon tea importer Mlesna, To Tsai opened its doors in 1993. Inspired by Japanese architecture, the sleek space by Georges Batzios Architects is divided into a boutique and a tea room, where tea is served in a variety of teapots (porcelain, cast iron or clay) depending on its origin. It’s a real treasure trove of hard-to-find teas, such as an organic orange pekoe, grown near Etseri in the mountains of Georgia, and mastic tea, a tea flavoured with natural mastic oil (a key Greek ingredient), from Dimbula, Sri Lanka. Another local favourite is mountain tea, or Sideritis scardica, grown on an organic farm on Mount Olympus – a delicious infusion with notes of mint, chamomile and citrus.

To Tsai is located at Al. Soutsou 19, Athens 106 71, Greece; tea.gr

Set within a 19th-century farm complex, Kullabergs Vingård is an unusual sight in the Swedish countryside- and not because of its bold, deep red building. What's unusual is that up till the mid-1990s, wineries were not allowed here. Still, responding to a growing interest in winemaking in the country and set in the heritage-protected part of the northwest of Skåne country, this vineyard has been thriving.

Kullabergs Vingård: take the tour

As demand, and therefore, production, grew, the vineyard has now reached some 20 ha. This meant that more space was needed for its operation and in 2019, the owners applied for planning permission to expand, working with Stockholm-based Berglund Arkitekter. The recently completed result comprises the elegant, richly coloured, pitched roofed volumes of the new winery and its machine hall, a press hall, a tank hall, a room for bottling and packing and a cellar totalling approximately 2000 sq m.

Paulina Berglund, the project's architect and practice co-founder, explains: 'Historically there has been no wine production in Sweden. It was prohibited until 1995 when Sweden joined the EU. It is only in the last ten years that the production of wine has been commercialised. This also brought environmental awareness since we began with a ”carte blanche” and could therefore adapt to this from the beginning. The use of wood is one aspect of this, the design of a new building with a timeless approach another.'

Design considerations when conceiving the extension included massing and height - for example, local planning regulations dictated that the original barn structure should remain the tallest building on the Kullabergs campus. Berglund adds: 'It was also important to use as few materials as possible and to avoid interior surface treatment and instead use robust materials which maintain function over time and age beautifully.'

The commission was an exciting 'first' for the Berglund Arkitekter studio. The architect says: 'It is indeed so much fun to learn new things you never even given any thought to before. It is also a great experience to be one of a team that actually has put Sweden on the wine map. Now there are many ambitious new vineyards in the country and it is a very exciting journey to be part of.'

The new addition has joined the existing structures in the complex (which also contains a bar for wine tasting). This comes at a critical time for Swedish wine making, as from June this year, the country's wine producers are finally allowed to sell their wine within their farm. All you have to do is stop by for a taste.

Gustaf Westman, who recently told Wallpaper* about his favourite haunts in Stockholm, has partnered with the dating app Feeld for his first-ever bed design.

The Swedish designer is known for his playful, colourful projects that think outside the box, while Feeld is a platform for those interested in alternative relationship models and sexual preferences. Unsurprisingly, the fruit of their collaboration isn’t any old bed: it interrogates what furniture can be and mean, facilitating, Westman says, ‘an intimate experience of self-discovery’.

Firstly, the bed is built for three people, immediately redefining not only how we view a bed, but also relationships and connection. It also has a built-in TV, two adjustable mirrors, and free space on the bed frame ‘that allows for endless possibilities, letting you add gadgets and accessories to suit whatever you want to use the bed for’, says the designer. Westman has also released a limited-edition pyjama collection to accompany the bed; both have been unveiled at Simon House in Los Angeles, and Feeld members can view the space by appointment.

‘Play’ – in all its manifestations – underpins this collaboration, with Feeld CEO Ana Kirova describing the bed as a ‘physical symbol of exploration’.

‘This experience is so different from a typical bed that people will question whether it's even a bed at all. And that's sort of the point,’ Westman adds.

As well as capturing the romantic and sexual zeitgeist of 2025, the bed also reflects another cultural phenomenon: the concept of ‘bed rotting’ – languishing in bed – which has surpassed 130 million views on TikTok. Findings collected by Feeld revealed that 54 per cent of Gen Z emphasise self-care, which includes, occasionally, spending lengthy extra time in bed. Thus, Westman's design is not only a space for play, but also reflection and, in a way, rebellion – staying in bed becomes a sort of passive resistance to ‘grind’ culture.

A fun furniture experiment, the bed also throws into relief how design affects not only our physical space, but the way we perceive and move through the world around us.

gustafwestman.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.

Certain images have the power to nestle in our minds and ripen into a vision when the time is right. Fifteen years ago, Aminata Sambe spotted such an image in a hotel group newsletter that showed a brutalist structure surrounded by rustic cabins on the northern tip of Gotland, Sweden’s largest island. The Fabriken Furillen hotel stood facing the Baltic Sea within a stark landscape filled with Scots pine. ‘It looked so peaceful, like that one place where there’s nothing to do,’ says Sambe, who was then a project manager at Villa Eugénie, a creative agency founded by Etienne Russo in Brussels in 1997. Sambe began working there in 2000, together with Nadia Saksou, a former colleague from a previous job at an advertising agency.

Creative project managers Furu: the beginnings

‘When we started at Villa Eugénie, there were maybe five people. We were doing everything,’ says Sambe of the formative years during which the duo evolved into the multi-hyphenate creatives they are today. For two decades and counting, they’ve project-managed fashion shows, set up events and devised pop-up stores for fashion brands such as Chanel, Hermès, Lemaire and Dries Van Noten, supervising 83 fashion shows for the Belgian designer, who presented his final collection last year.

‘It’s like being a chef d’orchestre,’ says Sambe of the feeling she gets when pulling together the many elements of a creative project. ‘From finding the location to sourcing the materials and gathering the team, what I really love is the excitement and challenge of it.’

Saksou adds: ‘I like to be a link between people. You’re never bored and always discover new things.’

Over the years, both women have cemented a solid reputation in a fast-paced industry. But they also developed a yearning for calm and quiet. To get away, Saksou keeps a charming old house in La Drôme, France. And in 2018, Sambe began looking for a destination far from the fashion crowd, too. ‘I wanted to go on holiday alone, to a place where I’d remain all alone,’ she says – and so she sought out the striking Gotland retreat, which had always stuck with her.

‘It’s magical,’ says Sambe. ‘When you arrive, something happens that you can’t really explain. It fills you with energy.’ The hotel’s owner Johan Hellström offered her a plot adjacent to Fabriken Furillen that could be subdivided. ‘I just couldn’t resist,’ she says. In 2020, when the pandemic shut down the event sector, Sambe and Saksou decided to ‘join forces and reinvent ourselves’, so they set up project management studio Furu, naming it after the Swedish word for ‘pine tree’. Says Sambe of the tree, ‘It grows on rocky soil yet can become huge and strong.’

Adds Saksou, ‘In Japanese, the word means “to fall from above” in the context of rain or snow. We liked the symbolism. It represents our capacity to grow, whatever the circumstance.’

Their next phase of growth is taking shape on two of the Gotland plots, where Furu has completed a summer home for a family and a house for Sambe, who spends about half the year there. ‘For both the client and my house, Furu prepared the mood board. Then we briefed the architect, Andreas Lyckefors, and Studio Volca, which designed the interiors,’ says Sambe. ‘In my house, each time you go up a flight of stairs, you view a different cardinal point. The client’s house is a family home, so it’s more about them receiving guests, it’s more inward-looking.’

The houses are next to each other in the middle of a natural reserve – ‘close to solitude, but with a neighbour’, remarks Lyckefors. ‘We wanted to preserve the privacy, and tried to solve that by creating small courtyards with deep sightlines to the landscape.’

The courtyards contain gardens designed by Anna Lundell, founder of local floral artist studio Kullshagebruk, and both structures are made mostly of natural materials: they have pine façades, hemp insulation and made-to-measure wooden furniture. In Sambe’s house, a sofa by Josef Pentenrieder for Hans Kaufeld and a vintage desk lamp by Louis Kalff for Philips stand out.

The two co-founders are no strangers to building sets or overseeing store renovations, but the Gotland homes show evidence of a desire to move from the ephemeral towards the more permanent.

For Lemaire’s S/S 2025 ready-to-wear show, they installed a set at the brand’s Place des Vosges HQ in which models walked a raised circular runway that led into the building’s courtyard as if heading out to Paris’ cityscape. ‘It’s the opposite of a set as temporary because [the brand] want to build on that structure in coming seasons,’ says Sambe. ‘They wanted people to feel at home as if they were guests at their offices, but also with an eye on sustainability.’ Furu reused the entire set for Lemaire’s A/W show (during Paris Fashion Week Men's A/W 2025). ‘We threw nothing away,’ she says.

Sambe and Saksou are currently working on an apartment renovation in Stockholm, as well as supporting supplier and client relationships for the construction of a Glenn Sestig-designed home in Antwerp. It’s all in the spirit of being that link between people, but also between people and their environment. ‘I think, for human beings, it’s important to relate to something bigger and keep dreaming,’ says Saksou. And these creative gestures will weather whatever falls from the skies.

furuprojectmanagement.com

With Stockholm Design Week 2025 (3-9 February) in full swing – and the city a worthy destination for design fans year round – Wallpaper* speaks to local designer Gustaf Westman (labelled ‘one to watch’ in our highlights of Stockholm Design Week 2024) to share an insider’s perspective on the city. In line with his light-hearted approach to design, which enhances and brightens everyday objects, Westman's guide to Stockholm features unfussy tips that capture the essence of the Swedish capital.

What to see and do in Stockholm, Sweden

Where to eat and drink

Le Passepartout

‘I would say this tiny French restaurant is the definition of a hidden gem. It’s intimate, and the food is exquisite. It feels like going to Paris.’

Le Passepartout is located at Wargentinsgatan 5A, 112 29 Stockholm, Sweden

Restaurang Prinsen

‘A classic, old-fashioned restaurant in Stockholm. This is where I go whenever I’m craving meatballs.’

Restaurang Prinsen is located at Mäster Samuelsgatan 4, 111 44 Stockholm, Sweden

Svedjan Bageri

‘Probably a basic tip but this is the best bakery in town! The bread is so good and the pastries are unreal.’

Svedjan Bageri is located at Brännkyrkagatan 93, 117 26 Stockholm, Sweden

Thongwiset

‘The best Thai food in town! My friend Robin told me to order Kana Moo Grob (a traditional dish with crispy pork belly and mixed vegetables), and now I never want to eat anything other than that!’

Thongwiset is located at Hornsgatan 85, 117 26 Stockholm, Sweden

Zinkens Krog

‘My favourite bar for a beer! Or two.’

Zinkens Krog is located at Ringvägen 14, 117 26 Stockholm, Sweden

What to do

Bio Rio

‘Bio Rio is my favourite cinema in Stockholm. It’s a very sweet art-house cinema that screens all of the best films from around the world. It also has a great restaurant and a fun concept called “Breakfast Cinema”, where they serve breakfast during Sunday morning screenings.’

Bio Rio is located at Hornstulls strand 3, 117 39 Stockholm, Sweden

Medelhavsmuseet

‘There are a lot of great museums in Stockholm, but this [the Museum of Mediterranean and Near Eastern Antiquities] is a fun and unexpected one that I love. They also have a great café!’

Medelhavsmuseet is located at Fredsgatan 2, 111 52 Stockholm, Sweden

Skogskyrkogården

‘A Unesco World Heritage Site, Skogskyrkogården is a cemetery created between 1917 and 1920 by Swedish architects Gunnar Asplund and Sigurd Lewerentz. It’s just so beautiful – the chapels that are scattered around and the nature! Go here before they start renovation later in 2025.’

skogskyrkogarden.stockholm/en/

Södermalm

‘I run around Södermalm island several times a week, and I highly recommend it if you’re into running. It’s a perfect mix of nature and city. Just follow the water around the island!’

Where to shop

Svenskt Tenn

‘In short, this is the only store I would recommend for Swedish design in Stockholm.’

Svenskt Tenn is located at Strandvägen 5, 114 51 Stockholm, Sweden

Could a modern city be built in timber? At Stockholm Wood City, a new urban district in Sweden to be created entirely in wood architecture, the answer is a resounding 'yes'. Local developer Atrium Ljungberg aimed high when it kick-started this project, which is currently in construction and comprises a striking, approximate 250,000 sq m of office, residential and commercial space that encompasses some 25 blocks and 30 buildings. It is designed to accommodate 7,000 office workers and 2,000 residents and occupies an area as large as the historic city centre of Stockholm. Through this scheme, its authors not only hope to create an entire new chunk of sustainable urban space (the first residential buildings are set to be completed by 2026) but also to provide a platform for innovation in the exploration of technology, materials and energy systems.

We spoke to Marianne Perslow, the project's head of communication, to find out more about 'the world's largest urban wooden construction project'.

Stockholm Wood City: what, where, why and how

Wallpaper*: Where is Stockholm Wood City, and what is it?

Marianne Perslow: Stockholm Wood City is currently being built in the district of Sickla, Stockholm, Sweden. Construction started in 2024 and the first buildings are currently being completed.

It is the world’s largest urban development project built in wood and will become a mixed-use community that integrates office spaces, residential housing, and retail areas, all while prioritising sustainability and biophilic design principles.

W*: Why Stockholm, and importantly, why wood?

MP: Using wood in construction can reduce carbon emissions by up to 60 per cent compared to traditional methods, as wood is lighter and quicker to work with than concrete. Research from Aalto University and the Finnish Environment Institute in 2020 also highlights that wood stores carbon rather than emitting it, since trees absorb CO2 as they grow. Additionally, if a wooden building is no longer needed, it can be more easily disassembled than concrete, and the wood can be reused or recycled, further extending its lifecycle.

In addition to the timber construction in Stockholm Wood City, there are several other sustainability initiatives in Sickla. For example, climate impact is also minimised with the help of self-produced, stored, and shared energy. Heat and cold are planned to be stored in a large geothermal store in the mountain connected to thermal networks that interconnect the buildings. Sickla's extensive solar panel installation is continuously being expanded for energy storage. In the district, there are currently world-leading companies that are all at the forefront of innovation and sustainability, such as Atlas Copco, Epiroc, Stora Enso, Envac, Cubegreens, among others.

Several research studies show that wooden buildings provide better air quality, reduce stress, increase productivity, and store carbon dioxide throughout their use. This also has significance for the working environment. Building with wood means quieter construction sites and reduces the [amount] of heavy transport during the construction period, which is important for us building in a dense city.

W*: What are the project's unique challenges?

MP: Since building with wood on a large scale is relatively new, we must constantly work closely with all stakeholders such as architects, technical consultants, material suppliers, and contractors. You could say that each project is a pilot project. We test, evaluate, and adjust progressively between the blocks.

W*: What excites you about the scheme?

MP: We are very proud that we had the courage to undertake this project on such a large scale, truly making a real difference. We have ambitious sustainability goals, and to achieve them, bold steps must be taken; it's not enough to make marginal changes. With this, we also hope to be a role model and inspire others in the industry to follow the same path.

W*: What surprised you, as you developed this unique urban project so far?

MP: It is very gratifying to see the pride Stockholm Wood City instils in both the craftsmen and other employees in the company. We have received enormous attention from all corners of the world and note how many partners want to join this sustainable innovation journey.

Upon entering the construction site, the atmosphere feels noticeably different from a conventional one. It's remarkably quiet and calm, highlighting how the wellbeing benefits of wooden construction projects begin even during the building process.

W*: Please give us a timeline for what's coming up for Stockholm Wood City

MP: The first residential block is currently under construction, the first residential units have just gone on sale, with occupancy expected in early 2026. The first office building is expected to start construction in 2027.

In parallel with the residential building, on Nobelberget, we are expanding Campus Sickla, which is also a building with a wooden frame and wooden façade. We are proud to have started both of these projects a little ahead of schedule. This demonstrates our execution capability.

W*: Who are the architects involved? Why did you choose them?

MP: Initially, White Arkitekter and Henning Larsen were commissioned to visualise Stockholm Wood City. White Arkitekter was then hired for the first wooden block in Nobelberget, and Liljewall Architects for Campus Sickla. The idea is to work with different architects to create variety in the area.

al.se

Polestar gets back to its Nordic roots with a trio of one-off Arctic Circle models, inspired by cold climates, rallying and performance heritage and robust, contemporary design. Building on the first Polestar 2 Arctic Circle model, shown back in 2022, the company has now added a Polestar 3 and Polestar 4 variant, all of which demonstrate a number of upgrades and enhancements to better suit speedy motoring in snowy conditions.

Michael Lohscheller, the company’s new CEO, describes the Arctic Circle collection as an illustration of Polestar’s performance DNA, ‘rooted in motorsport and combined with Scandinavian design’. The three cars are going to make their public debut at the Austrian 2025 FAT Ice Race in Zell am See, where they will be put through their paces. There’s also a short film online about the creation of the cars and showing them in action.

‘At the FAT Ice Race we will showcase that on ice there is nothing better than a Polestar,’ Lohscheller continues. ‘We are really excited to be part of this special event with the full Polestar model line-up, where it’s all about car culture and the performance experience.’

Polestar has always kept a weather eye on the importance of performance, with a dedicated head of Driving Dynamics, Joakim Rydholm, overseeing the driving characteristics of all its models. Like many manufacturers, Polestar hones its cars within the Arctic Circle in northern Sweden, where there’s a significant industry dedicated to automotive testing. Rydholm, an accomplished rally driver in Sweden, ensures that every Polestar gets its own distinctive dynamic character.

‘The Polestar 2 Arctic Circle was something truly special,’ Rydholm says. ‘To now apply that formula to our two new SUVs has been a fun and challenging task. We have worked closely with our leading technology partners to bring bespoke engineering solutions to these cars that emphasise our performance DNA – and make them incredibly fun to drive.’

The Swedish-built Arctic Circle collection incorporates the premium Long range Dual motor set-up for each of the three cars, with the addition of raised ride height and studded Pirelli tyres, riding on OZ Racing wheels and three-way adjustable Öhlins dampers. At the front there are Quad Evo front spotlights from Stedi and Recaro bucket seats add to the rally feel, as do the rally-inspired mud flaps and tow hook (finished in Polestar’s signature ‘Swedish Gold’).

The Polestar 3 Arctic Circle gets a Stedi ST4K roof light bar and the 2 and 3 both get Thule WingBar Edge roof rails. On the roof of the Polestar 4 you’ll find custom ski fixings. Onboard there’s additional storage and specialist recovery equipment. The winter months have seen a relative blizzard of snow-capable concepts, from the recent Audi Q6 e-tron offroad concept to the wild Genesis GV60 Mountain Intervention Vehicle Concept.

Polestar launched the 3 and 4 models last year. 2025 should see the arrival of the Polestar 5, a four-door GT. Last week the company also announced the arrival of another model, Polestar 7, a compact SUV. Sadly, there are no plans to produce the Arctic Circle collection.

Polestar.com, @Polestarcars.com

Bar el Guiri is as straightforward and unfussy as its mission. ‘Our vision is to offer Gothenburg the immersive experience of lively and easy Mediterranean culture,’ its founder, Peter Segerdahl, tells Wallpaper*. ‘It’s a place to connect over food and drink in many ways, open every day from morning until late.’

Bar el Guiri, Gothenburg

Segerdahl’s attention to detail (he lived in Spain for over a decade) is clear to see. Bar El Guiri’s experience unfolds seamlessly through four areas: a pintxo bar for casual bites, a central dining area with an open kitchen, a refreshing ‘heladería’ (ice cream parlour), and an upstairs courtyard with shuffleboard and boules courts. The interiors, co-designed by Copenhagen-based architect Ludvig Holtenäs and Segerdahl’s daughter, Olivia, evoke the earthy elegance of Spain’s Basque region, with a restrained palette and wooden accents that lend warmth to the space.

A nod to Spanish Gothic architecture, the ceiling in the main dining area emerges as a sculptural form that cascades downward, blending into shelves behind the wine-stacked bar. The menu, like the space, was designed with simplicity in mind, featuring an all-day selection of tapas, cocas (Mallorca’s take on pizza with a delicate shortcrust base), and larger main dishes. Plates are best shared, while crowd-pleasers include croquettes, seafood paella, and churros con chocolate for a sweet finish. Spanish beers, sangria on tap and cava are, naturally, the order of the day.

Bar el Guiri is located at Kungsportsplatsen 1, 411 10 Gothenburg, Sweden, barelguiri.se

This article appears in the January 2025 issue of Wallpaper*, available in print on international newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

A dramatic and sculptural wave-shaped water tower that rises above the Swedish city of Varberg is White Arkitekter’s latest project in Våga.

Concrete has an enduring afterlife, whether we like it or not. Just like the buildings, bunkers, and memorials that have been bestowed monument status by their monolithic solidity, the Våga Water Tower – Vattentornet Våga – is intended to have a long life. ’Our ambition has been to design an object that will stand for hundreds of years, never diminishing in beauty,’ says White Arkitekter’s Agnes Orstadius.

Explore Våga Water Tower by White Arkitekter

Intended to increase capacity for this fast-expanding city, the project began with a design competition in 2017. White Arkitekter’s winning response eschews the usual solitary tower form in favour of a 187m-long structure that marches across the landscape on nine slender pillars. The brief called for a functional structure that was also a ‘new landmark symbolising the power and sanctity of water, as well as its profound significance to the city.’

Despite its length, Våga is just 9m wide, with each concave concrete segment forming a wave shape that makes the entire structure ripple across the landscape. Set atop the small hill of Bastekullen in Träslöv, the new tower contains five times as much water as the old one. Built by Scandinavian construction company Veidekke, the tower can be accessed from a stair and elevator embedded in the large central pillar.

‘Våga makes a powerful impression at a distance, but the tower will also be experienced up close,’ says Orstadius, and the concrete pillars have been carefully integrated into the existing landscape, emphasising the sculptural form. New wildflowers have been planted and the service road turned back into a gravel path.

‘All these elements – the elongated shape, the wave motif, the concave facade, and the interplay of light and shadow – mean the tower is perceived differently depending on your vantage point and the time of day,’ says Per Hultcrantz, who worked as the lead architect on the project after Mattias Lind. ‘This creates a dynamic quality that ensures the tower never ceases to surprise,’ he concludes.

The landscaping also encourages visitors to come to the base of the structure, from where the sea, the Kattegat, can be seen. The water company, Vivab, wanted the new tower to be both landmark and recreation space, as well as a long-lasting piece of community infrastructure.

White Arkitekter

In fashion today, there’s a hunger for designs that elicit excitement, challenge the status quo or embody a sense of play. Even perversion. A pair of lace underwear tacked onto a pencil skirt, for example, a bouquet of roses encased inside a tulle gown, or outsized outerwear that turns the wearer into a real-life paper doll. This ethos is embodied in the work of Ann-Sofie Back, one of Sweden’s most influential fashion designers, who’s known for exploring status, class, shame and beauty standards through subversive design. She was ahead of her time, and as such her collections are as relevant today as they were ten to 20 years ago. Luckily, the public can now dive into her rich archive through a new book and exhibition called ‘Go As You Please – Ann-Sofie Back 1998-2018’, on view at Liljevalchs in Stockholm.

Back was always fascinated with fashion as a tool of self-expression; particularly, its ability to project certain characteristics about oneself to the world. In the sleepy Stockholm suburb of Stenhamra, her parents paid this no mind, which only piqued her interest further. ‘I discovered at a very early age that the main reason my parents were not accepted socially was because of their dress, their complete disregard for how others perceived them and the way this really made life harder for them,’ Back wrote in reference to her A/W 2005 collection ‘Dress for Success!’. ‘It mortified me and made me ashamed of them. I think this experience is what made me become a designer. Fashion and shame have always been linked for me.’

‘Go As You Please - Ann-Sofie Back 1998-2018’ at Liljevalchs, Stockholm

Back studied fashion design at Beckmans College of Design, then pursued a master’s degree at London’s Central Saint Martins. After graduating in 1998, she worked as a stylist for a few years, customising and deconstructing clothes that she sold in London, Paris and Tokyo. ‘This might seem like nothing today with everyone upcycling left, right and centre,’ she says of her methods, ‘but that was quite revolutionary then. I thought about sustainability, but no one else was bothered by it.’

Her first ready-to-wear collection – S/S 2002’s ‘Accidental Embarrassment’, shown in Paris – set the scene. Back explored her uneasiness with conventional glamour and perfection, creating sequin tops and T-shirt dresses with built-in bra details, styling them with silver belts and heels, but appearances can be deceiving. While the designer’s chosen fabrics looked good from a distance, up close you could see that the embellishments were glued on, skirts were stuck to knickers and the accessories were, in fact, covered with tin foil. Anne-Sofie Back the label and its defining ‘failed glamour’ aesthetic, whose ripples can be felt today from independent designers like Vaquera to Demna’s Balenciaga, was born.

Over the years, Back cultivated a design language of stereotypically unsexy silhouettes, strangely placed cutouts, mismatched layers – placing a mesh top over a knit, for example, and presenting underwear as outerwear. Her infamous A/W 2008 collection, titled ‘Celebrity Obsession’, took on the misogynistic UK tabloid press that hounded, shamed and ridiculed women in the 2000s by attempting to expose their knickers. Back created a slip dress out of bralettes and garter belts; she made spaghetti straps from thongs. The label operated from 2001-2018, alongside diffusion line BACK from 2005, exploring major contemporary issues from plastic surgery to ‘the pornification of society’, before the business shut down.

The publisher Art & Theory approached the designer four years ago and they began work on a book that chronicles her seminal two decades in fashion. In its final stages, Back decided to turn it into an exhibition in partnership with stylist and frequent collaborator Nicole Walker. ‘We knew from the start that we didn't want to make a traditional retrospective – mixing up all the different seasons, and producing new looks was important,’ Back explains to Wallpaper* of the show’s concept, which sees garments reimagined into new, contemporary iterations. ‘I have a constant need to surprise myself when I work, so this was essential. It was also thought of as my farewell to fashion,’ so it was envisioned with a funeral/burial theme.

The pair started by unpacking the massive archive, which took a total two weeks, even with three assistants. It was a very emotional experience: ‘I felt completely blocked and overwhelmed,’ Back shares. ‘So Nicole started and made a perfect look. It had that kind of surrealist, sad glamour that I like, so that set the tone.’

‘I call her “car ring body lady”,’ Walker adds. ‘She is stuffed with foam and wears a tight little skirt that’s now styled as a dress, a belt wrapped around her breasts, a sequin cardigan top and a wig.’

The styling played a major role in the exhibition, as it did in Back’s original shows; the themes were as relevant now – if not more so – than they were then. ‘We played a lot with female stereotypes and I really don’t know how much freedom women will have in the future the way the world is evolving at the moment,’ Walker says. ‘With that said, it felt highly liberating being able to explore and play with different ideas of what it means to be a woman.’

The mannequins are standing throughout the space, but also on top of tables and emerging from coffins. One look incorporates a painting of Jesus that Back’s mother made in her teens, while another wears an outfit consisting of a puffer jacket, a feather skirt, stockings that belonged to Back’s grandmother, and a pair of transparent stripper heels. Glued onto the mannequin's face are the designer’s baby teeth, shaped into a smile.

While she was working on the project, Back was diagnosed with breast cancer and lost many of her family members. ‘Death was very real to me,’ she says. ‘I also felt like I died when I had to put my business into liquidation. It was a total loss of my identity.’ The invitations for the opening featured a cross on the front and were inspired by traditional Swedish death announcements. ‘Go As You Please’ is the name of a funeral home, but it’s also the dress code. ‘The theme comes from a very personal place, but it can also be read as the current state of the fashion industry,’ Back says.

‘Go As You Please - Ann-Sofie Back 1998-2018’ runs until 23 February 2025 at Liljevalchs, Stockholm.

liljevalchs.se

Aimai. This Japanese word – meaning ambiguous, in-between, unclear – captures a range of concepts, from subtly indirect communication to the softly blurred boundaries of spaces. It’s one of many only-in-Japan perspectives that resonates strongly with Claesson Koivisto Rune, a Swedish design and architecture office that has balanced a deeply influential creative path in Scandinavia with inspirations from around the world for more than three decades.

And for Claesson Koivisto Rune, Japan is ‘an endless source’ of such inspiration. Its Japan journey began in the early 1990s, when co-founders – Mårten Claesson, Eero Koivisto and Ola Rune – visited separately on student scholarships, each spending a month exploring architecture across the country. Their first encounter with Japan – its aesthetics, philosophies, appreciation of beauty, craftsmanship, natural materials – left a rich creative imprint. Today, Claesson Koivisto Rune cites Japan as a signature influence in a jigsaw puzzle of inspirations, alongside other elemental ingredients such as Italian modernism and American minimalist abstract art.

The studio also has an ever-growing spectrum of Japan projects – retail flagships, furniture, exhibitions, cultural spaces – with more underway (from a hotel structure with an eye-shaped footprint to a major urban redevelopment project in the northern city of Hakodate). On the team's latest trip to Japan, they launched a series of angular faceted paper lanterns inspired by spinning tops, with longtime Japanese collaborators Time & Style, in addition to celebrating the pending launch of their new book Claesson Koivisto Rune: In Transit.

The comprehensive new monograph, published by Rizzoli on 15 November 2024, traces a journey through a curation of Claesson Koivisto Rune’s work in 26 countries, from Belgium to Botswana, exploring projects, creative encounters and design methodologies in the words of the founders. And it all starts with Japan. Here, over coffees at K5 – a Tokyo hotel designed by the studio in a former 1920s bank with flowing aimai-inspired interiors – Claesson, Koivisto and Rune talk to Wallpaper* about their ongoing Japanese journey.

Mårten Claesson, Eero Koivisto, and Ola Rune tell us why they’re big on Japan

Wallpaper*: What role does Japan play in the new book In Transit?

Mårten Claesson: We’ve been working on the book for about three years – and on all these projects for about 30 years. It’s a round-the-world journey. Each country has a chapter – and Japan is one of the longest chapters. The countries where we’ve had the most projects are Sweden, Italy and then Japan.

W*: What’s the seed of your interest in Japan?

Eero Koivisto: All three of us have always been fascinated with Japan. This is not unusual in Scandinavia as there are many similarities between the two places. We first visited Japan in the early 1990s on scholarships when we were at university. We each came at various times for a month and travelled around looking at architecture.

W*: Had Claesson Koivisto Rune come to life at that point?

MC: We hadn’t yet formed the studio but we were friends. We were on the same course and became friends really quickly. A couple of years into our programme we did some school projects together and long story short, we were recognised somehow, even before graduating which led to our first commission – a big Swedish corporation asked us to make their office in Spain. It was fantastic. We were flown business class – we were students and had never heard of such a thing before.

Ola Rune: We were very well taken care of, the best clients.

MC: The manager of the big company in Sweden then said to us, how am I supposed to pay your fees? You need a company. How do you do that? Well you register one. So we registered the company when we were still at school. When we graduated in 1994, it was the worst recession in half a century with a very high unemployment rate among architects. But we had a company so thought, let’s give it a go on our own.

W*: How did that first Japan exposure impact you?

EK: It was a super strong experience.

MC: It impacted us philosophically and aesthetically.

EK: At that time, if was very unusual for Westerners to come to Japan.

OR: We had to find addresses from books and magazines, there was no Google Maps. People were very friendly and would walk us to the sites.

MC: But you couldn’t really find people speaking English in Tokyo – definitely not outside Tokyo.

EK: You couldn’t get a fork and knife outside Tokyo – impossible.

W*: What is the creative appeal of Japan?

MC: I don’t want to use the word minimalism – but there is an essentialism here, where you strip things down to the essence. There’s very little decoration. This is very similar to the Scandinavian idea of how good design should be, even if it’s for other cultural reasons.

EK: The Scandinavian style came mainly because we were very poor. Secondly, we imported kings from France – that became the Gustavian style – so we had this beautiful baroque style but without the decorations because we couldn’t afford it. We had wood floors instead of stone floors and things like that. That style fed into Swedish modernism.

MC: I think it’s also about functionalism in Sweden, which is very clearly form follows function. In Japan, there is a more philosophical, Zen idea about stripping away necessities.

EK: Also, all those gods – god of the wood, god of the windows, god of the coffee.

OR: Lots of gods. I recently went to Izumo Taisha shrine. It’s where all the gods travel across Japan to gather for a holiday in November every year.

W*: How did you start working in Japan?

EK: One of our first important commissions was the Sfera building in Kyoto.

OR: It came about due to our graduation project from university, which was inspired by our visits to Japan. We wanted to make an urban villa. We built it ourselves completely by hand and put it in the centre of Stockholm and called it Villa Wabi. It was a crazy project.

EK: At that time, there was a lot of talk about information stress. We wanted to build a haven for an imaginary family to live in the most disturbing and chaotic urban setting we could find. We put it in the central square of Stockholm. It’s not quite Roppongi Crossing but it was as close as we could get in central Stockholm. That’s the Japanese inspiration.

OR: If you stay in a ryokan inn, the space is used with so much reduction and simplicity. The shoji screens open and close the spaces. We were doing something similar but in a more Western way. In the whole house, every room was connected to the next spatially. There were no closed rooms. And the project was published quite widely.

W*: How did this lead you to Japan?

MC: Shigeo Mashiro – a modern cultural kingpin in Kyoto – wanted a non-Japanese to build a modern house in the middle of Gion, the historical district. He spoke to a Kyoto university professor who had read about our graduation project house in a Spanish interiors magazine and gave it to him.

EK: The house we built for him around 2001 had a cherry leaf façade of titanium. It’s like a veil, so it appears to be closed but in reality it’s not. At night, you can clearly see the structure behind it. It’s our interpretation of the traditional Japanese screen. It's a culture house with two restaurants, a shop, a gallery. This got into the Venice Biennale in both the international and Swedish sections. Because of this, we were published more widely – and then things really started.

MC: We designed a lot of furniture pieces for the house – and one of the guys making the furniture was a young Ryutaro Yoshida, founder of Time & Style.

W*: What was it like working in Japan for the first time?

OR: We learnt that you need to have patience. When you work on a project, everyone is involved and makes decisions together. So it takes a lot of time in the beginning – but then, when the project is underway, everything goes smoothly because everyone agrees.

MC: Following the construction of a project in Japan is unlike anywhere else. In other places, your efforts are focused on guarding the quality of your intentions. Here, you don’t have to do that because everyone performs at their very best. I don’t have to check that floor tiles are in line because I just know they will be. It’s wonderful in that sense to work in Japan.

W*: What key ingredients from Japan influence your designs?

EK: The philosophy, the beauty of emptiness, the way of doing things properly.

OR: How the spaces interlock.

EK: Yes, the aimai element.

W*: You have a particular affinity with the word aimai?

MC: We’d been visiting Japan for 20 years before someone taught us that word. But we had experienced it many times. That whole lost in translation concept that everyone discovers when they come for the first time is very much about aimai. There is a beauty in the vagueness – it’s not straight-lined, logical and direct like in the West. So it can be frustrating until you embrace it. Then it’s like a way of life.

OR: This hotel, K5, is an interpretation of aimai. We’re now sitting here in a café, but just over there is a wine bar and just beyond a restaurant – spatially it’s all the same, they’re not clearly divided.

EK: Our work doesn’t look totally Japanese as we’re also interested in contrasts and weird mixes. It’s like making soup, with different elements combined to form a picture.

W*: Any other examples of key Japan projects?

EK: We designed a flagship for a company specialising in Polish ceramics in Matsumoto. It’s also aimai in a way – there is a café, a children’s book corner. So it’s a Swedish architecture office making an interior in Japan for a company selling ceramics from Poland – and we got a prize in Germany for it.

W* How does Japanese craftsmanship align with your values?

MC: Now, there is a search for appreciation of craftsmanship in the West. But in Japan it’s always been here and is more sophisticated in any imaginable craft. Wood is an obvious example. We made tables for Tokyo Craft Room at Hamacho Hotel with master craftsman Sasimonokagu Takahashi. This is a big table, with two perpendicular legs slotted into a tiny 5mm slot. To this day, I have no idea how he does it. We designed it but he solved it.

EK: He doesn’t sand surfaces – everything is concave, made using a planer. It takes about four months to make one table.

W*: Nature is another defining element in both Japan and Scandinavia – how does this influence you?

MC: It feels different. In Sweden, we love wild nature – to walk straight into a forest and hope that no one has ever walked there before. That’s our romantic idea of nature. Of course, it’s a bit the same here, but in my understanding, in Japan, the idea of Japan is more about cultivating it. If you look at the beautiful gardens of Katsuura in Kyoto, everything is meticulously trimmed with nail scissors to appear like a natural landscape. That feels like a big difference between Scandinavia and Japan.

OR: When you talk about Japan to someone who has not been here, they often think of cities. But when I travel around, often it’s only forest and mountains.

EK: Many Japanese family names come from nature. It’s the same in Finland – my name is derived from nature: it means Small Island in a Lake where Birch Trees Grow.

MC: Japan is three-quarters the size of Sweden by land – but there is a big difference in population density. We have an abundance of empty nature in Sweden which you cannot have here.

W*: Any final thoughts on Japan?

EK: I just find Japan the most civilised place on Earth. It’s not just the architecture or the design scene – it’s everything. It’s funny, Mårten has only been here since yesterday but how he speaks here is different.

MC: I can feel it affecting my behaviour in a positive way. I become more civilised just by coming here. We take inspiration from anywhere we go – we still have another 25 chapters of the book to talk about. But no other place has inspired us more than Japan.

Claesson Koivisto Rune - In Transit is $85, available to purchase via Rizzoli.com and Amazon

Swedish summer house Horsö is positioned between a natural reserve and the Kalmarsund coastline, offering the perfect setting to appreciate the surrounding landscape. Designed by Stockholm-based architecture firm Atelier Alba, this example of humble elegance and playful minimalism was crafted to stand the test of time and envisioned as a place to host a growing family.

Horsö is a Swedish summer house to experience and explore

Drawing from the natural environment, materials such as wood, stone, and untreated timber ensure the house will age gracefully and endure. The simplicity of the design is balanced by meticulous detailing, with consistent features throughout the exterior and interior. Elevated to anticipate potential rises in water levels, the structure is designed to minimize its impact on the terrain, seamlessly integrating into the natural landscape.

The playful yet subtle character of Atelier Alba’s design is most evident in the interior. Smooth concrete floors and warm wooden surfaces create a harmonious sense of minimalism and elegance.

Large glass openings are set back into the façade, connecting the interior to a sheltered outdoor area and offering a gentle dialogue with the surrounding environment.

The emerging Stockholm studio, headed by Pelle and Sofia Bross and Nick Flygt, spans architecture and interior work, including product and furniture, which speaks to their practice's rigorous attention to detail. Several of the built and freestanding items in this project too were created by the firm - either bespoke or as part of their ongoing design explorations.

The Horsö summer house is a testament to Atelier Alba’s commitment to craftsmanship, material integrity, and timeless design. It evokes a sense of belonging—a place where one can reconnect with memories and feel inherently at home.

atelieralba.se

Think of Paris and more cream-coloured limestone than wood architecture comes to mind. But a new 50m-tall apartment building might just start a trend. Named 'Wood Up', it's one of the first wood towers to grace a European skyline. The project was designed by French architectural firm LAN (Lan Architecture Network), headed up by Benoît Jallon and Umberto Napolitano, and developed by REI Habitat, which specialises in wood.

Wood architecture sets a trend in Paris

Wood Up sits next to the Seine between Paris and the suburb of Ivry, in a far-flung yet quickly developing corner of the 13th arrondissement. A boxy structure with big windows criss-crossed by sand-coloured wood columns and beams, it stands out in a landscape where neighbours include the city's busy ring road, an incinerator, and Jean Nouvel's off-kilter Tours Duo.

Tour LAN's Wood Up timber tower

This is a mass timber building, meaning that wood layers are bonded using either a glued laminated timber (glulam) or cross-laminated timber (CLT) process, giving it the structural strength of concrete. All the wood came from French forests, and was transported via the Seine. The external columns are Douglas fir, for its moisture resistance; the interior columns are beech, for its compressive strength; and the beams are spruce, for its bending resistance. LAN used the leftover wood scraps to make furniture.

Napolitano says the architects conceived the building to be not only pioneering and ecological, but highly attractive –even 'iconic', as its riverside location makes it visible from all around. Transparency was a priority, from the generous windows to external staircases connecting the floors. 'The idea was that people would feel the infrastructure in their daily lives,' he notes.

LAN succeeded in making Wood Up tempting enough for people to move to the city's edge – every one of the 132 apartments, from studio to three-bedroom, has been rented. Each apartment features floor-to-ceiling windows and private terraces. Some units have double-height living areas. The overall layout is modular, with small apartments above larger ones, so they can one day be combined (the apartments might be sold at a future date).

Rather than air conditioning, the building benefits from a sophisticated thermal management system. Deep exterior columns filter sunlight coming through the windows. The glass is treated with a solar coating, the curtains have a reflective silver layer, and there is plenty of natural ventilation.

A sense of community is built into the structure, too, with 500 sq m of shared terrace, including a huge, partly covered space on the eighth floor, where hundreds of residents can come together to practice yoga, watch a show, or throw a party. Vegetables and herbs will grow in a communal garden on the roof.

One side of the building offers an expansive view of Paris, from the Pantheon to the Eiffel Tower to La Défense. The other looks out at the smokestacks and towers of Ivry, with its own kind of gritty urban charm, 'like looking at a German city', says Napolitano. The Seine is visible snaking past both sides.

Wood Up is the long-awaited result of a 2017 competition, sponsored by the city of Paris and spurred by the commitments of COP21. It exemplifies how wood construction is experiencing a renaissance as cities seek ways to mitigate climate change. Among the many labels that Wood Up has earned are BBCA (low carbon) and Bois Français (French wood), the latter created specifically for it.

'Wood is an extremely interesting material in terms of carbon emissions,' explains Napolitano, 'since trees capture carbon in their lifetime, and continue to sequester it throughout their life cycle. And you don't have to manufacture the material, you simply transform it.' The forests used to build Wood Up are managed sustainably – for every tree that is cut down, another is planted nearby. Napolitano estimates that the building will emit 80 per cent less carbon than a comparable concrete structure over a 50-year life cycle, once you account for actions such as transporting the wood by river and recycling the wood scraps.

But wood presents challenges, too. One of these hit home when fire tore through the wooden roof beams of Notre-Dame Cathedral in 2019. Napolitano recalls: 'After that, there was a great deal of reflection around timber construction, which had not been specifically regulated in France.' The different woods used for Wood Up were tested repeatedly to prove they could withstand fire for at least eight hours. The building's external columns consist of a wood core and an outer layer, with a non-combustible panel between them. Details such as metal ridges at every level are meant to stop a fire from travelling up the façade.

Wood is also more expensive than other materials; the architect says this building cost €2,700 per square metre, compared to €2,500 for concrete. But he has no doubt the material is worth the investment, and that beautiful wood towers will inspire others. 'Fundamentally, the ecological question has to be reframed as a question of aesthetics,' he says. 'Something that's not punishing, but positive.'

lan-paris.com

Explore more wood architecture examples

Stockholm Wood City, Sweden

Sweden has daringly embarked on the world's largest timber construction – an entire urban section made out of wood architecture in its capital. Stockholm Wood City's first residential buildings are set to be completed by 2026 – a record time for a project of its scale, thanks to, its authors explain, the prefabrication elements and swift logistical features building with timber can offer. The scheme is set to create some 7,000 new workplaces and 2,000 new homes. Local developers Atrium Ljungberg are behind it, and its CEO, Annica Ånäs, says: 'We want to lead the way for the next generation of urban development projects, placing human well-being at the centre. This requires climate, social, and economic sustainability. We are now turning that vision into reality.'

Residential timber tower by Moreau Kusunoki, Paris, France

One of Moreau Kusunoki's recent works in Paris includes this residential timber tower. Set in a newly established residential centre at the southeastern end of Paris, it forms part of an emerging landscape of towers, and spans some 50m high and includes more than 70 homes. Its volumes, in clean, orthogonal, minimalist architecture, are defined by a strict grid, which gives the whole an element of monumentality and lifts the eye upwards. So far, so normal. Yet upon closer inspection, this grid is not made of concrete, nor clad in stone, as is often the case in similar works. This is a high-rise made entirely out of wood.

The Black & White Building by Waugh Thistleton, London, UK

When it opened in 2023, The Black & White Building was the tallest mass-timber office building in central London, as well as the first office development that workspace provider TOG had built entirely from scratch, and its most impressive yet in terms of sustainable architecture. Its architects, Waugh Thistleton Architects, are an industry leader in designing with timber, with projects such as the award-winning Bushey Cemetery in north London and Leamington Spa’s Vitsœ factory under their belt. The client-and-architect team set out to create a truly innovative, sustainable piece of workspace architecture within the relatively narrow but long site, landing at a volume seven storeys high (if you also count the accessible, planted roof) and 44m deep.

A cascading, private Stockholm house by the waterside is the latest residential offering by UK-based practice Ström Architects. Let by Swedish-born architect Magnus Ström, the studio is a deft hand when it comes to private commissions with immaculately minimalist and modernist architecture-influenced past examples spanning the Isle of Wight's Island Rest and a Gloucestershire house inspired by the 20th century's Case Study programme in California. The newest scheme is no exception, displaying a contemporary, pared-down aesthetic, blended here with lush Swedish nature.

Step inside this Stockholm house by Ström Architects

The home of a large local family after a quiet haven and retreat for privacy and calm, the house was largely also inspired by its green surroundings. Tall trees, ragged coastal rocks and water views come together in a design that emerges from its setting – albeit unmistakably human-made.

As you step in from the street side, a double-height hallway leads to a dramatic flowing living space of serene, long sea vistas. Forming an 'L' shape, this interior creates a 'hug' where an outdoor terrace is located for the owners to enjoy the warm summer days and nights al fresco.

'The board-marked concrete walls spanning two storeys, along with the cantilevered staircase, contribute to the dramatic visual impact and textural richness of the hallway,' says Ström.

The private rooms and sleeping quarters are located upstairs, making the most of the open views too through large, triple-glazed openings. Timber sliding screens provide privacy and solar shading to avoid overheating. This goal is also supported by the home's meticulous insulation, while a ground-source heat pump caters for heating when needed.

'This project allowed us to push the boundaries of innovative design and showcase our dedication to creating homes that harmonise with their environment,' concludes Ström.

stromarchitects.com

The very mention of a safari invariably conjures images of the African continent with its vast savannahs bristling with the entire cast of The Lion King. Savvy insiders, though, have long known that equally compelling vistas and fauna are to be found in Scandinavia, with the 925-hectare Eriksberg Hotel & Nature Reserve in south-east Sweden’s Blekinge seizing the high ground with the Nordic region’s largest safari park.

The Ark at Eriksberg Hotel & Nature Reserve, Trensum

The recent addition of a 23-room hotel, Arken – appropriately, the Ark, in English – just in time for the start of the summer season will be welcomed by safari enthusiasts wanting to stay on property after the day-trippers have left. Here, local architect Oskar Årevall has lifted over the land a cantilevered, three-storey building sheathed in low-maintenance timber and polished steel, and capped with a reed roof, a metaphor for a boat intentionally marooned on land. The reflective properties of the cladding also ‘create the illusion of a dissolving house which disappears in nature.’

Inside, interior designers Bernadotte & Kylberg have followed their brief – bringing guests as close to nature as possible, inside – with admirable fidelity. In particular, the three suites, located on different floors of Arken, are themed after a primeral mountain, forest and sky, with the interior design gently tweaked to match, whether a rough-hewn rock that doubles as a stool, rugs inspired by clouds and moss, or water-lily wallpaper designed by pattern designer Martin Bergström to reflect the flora on the property’s Lake Färsksjön.

One of the suites even features a ceiling light made of a massive, two-metre-wide tree root alongside a glass panel in the floor, the better to spot grazing wildlife below from the comfort of the sofa. Chances are, though, that most guests will drawn out onto their south-facing terraces, which open to a panoramic sweep of the savannah and oak woodlands – the better to catch passing wisents, or European bison, Père David’s deer, wild boar and sea eagles.

Eriksberg Hotel & Nature Reserve is located at Guöviksvägen 353, 374 96 Trensum, Sweden, eriksberg.se

A visit to Wanås Konst, in the forests of Skåne in southern Sweden, is not something you can rush. The sculpture park, nestled beside a medieval castle and lake, rewards time spent amongst its tree-lined pathways, where visitors can commune with nature and art.

Wanås is the home of the Wachtmeister family, who began to invite artists to create works for the estate in 1987. Over the years, Marika and Charles Wachtmeister enticed an astonishing array of artists to rural Sweden, from Yoko Ono and Jenny Holzer to William Forsythe and Ann Hamilton. Today, there are some 70 site-specific artworks embedded in the landscape.

‘The Ocean in the Forest’ at Wanås Konst

The Wanås Foundation was established in 1995 and led by Marika until 2011, followed by Elisabeth Millqvist and Matthias Givell, before American-Danish curator Milena Høgsberg took over in 2022. 

Høgsberg lives and breathes the energy of Wanås, where artists are encouraged to stay and get to know the place, even living with the curator if the gorgeous hotel on site is fully booked. It’s this slightly unconventional, open-door attitude that defines Wanås.

Høgsberg’s programme takes its lead from the ethos of Wanås and its natural surroundings. As she explains over coffee, ‘a forest is not a set shape. It’s a living organism that was here before we arrived and will be here after we leave’. Høgsberg notes that ‘we have very little contact with ourselves and our bodies, and our connection to nature. I want to offer a more intuitive approach.’

The theme of this year’s two-part exhibition, ‘The Ocean in the Forest’, stems from a dream. It alludes to the apocalyptic flood, which we know took place by the residue of petrified forests and the fossilised sap of extinct trees. ‘We were born from the water and emerged from this primordial soup – we were a drop in the ocean in a sense,’ Høgsberg says. ‘The Ocean in the Forest’ is also a fantastical image, filled with possibility for magical thinking.

Argentine artist Eduardo Navarro had his own dream of swimming so deep into the ocean that he came to the forest before arriving at the ocean again, in a loop that reflects the two habitats’ innate connection. At Wanås, Navarro has enveloped an oak tree with a jellyfish sculpture (I Found a Forest at The Bottom of the Ocean, 2024), adorned with chimes that can be played by visitors or the wind. For Navarro, the jellyfish is an ancient creature with its own language.

Sound also plays a prominent role in Lebanese artist Youmna Chlala’s installation This Feeling, Oceanic (2024). Memories of the Mediterranean Sea and reflections on the power of water are spoken by Chlala, rooted in her experience of life as an immigrant in the United States. The personal, universal and poetic flow into one another as Chlala invites visitors to take a seat on a blue deckchair and listen, staring out to the horizon between treetops and sky.

Elsewhere, Nigerian artist Evan Ifekoya has reimagined a pavilion where the Wachtmeister family once took tea (Apo Ifa for the High Heart and Warrior Spirit, 2024). Ifekoya brings new intention to the space for physical and spiritual transformation, encased by vibrant Plexiglas walls, and whose title refers to the bag of a Yoruba diviner.

Inside one of the barns is the textile The Ark (2019) by Indian artist Lavanya Mani. A cluster of animals complain to a raven about the conduct of man in a playful version of Noah’s Ark and a 17th-century Mughal court painting. The kalamkari technique – which involves soaking cotton in buffalo milk, drying and washing, before applying natural dyes using homemade tools – and the subject of rising seas are drenched in reference to colonialism and the trade of goods across the Indian Ocean.

In contrast to the bustle of modern life, Wanås Konst is something of an antidote. Pilgrims are reminded of their connection to body, ocean and forest. As Høgsberg says, ‘everyone has some sort of relationship with nature’.

wanaskonst.se

Landet Stay nods to the cabin culture that is fast becoming a modern trope of Nordic living, especially on the southern tip of the Stockholm archipelago, where forest pines, woodland trails and pockets of water are only a stone’s throw away from the Swedish capital. This latest hospitality concept to frequent the area is a climate-smart and natural retreat in the comfort of a luxury cabin.

Landet Stay: a designer cabin concept on the Stockholm archipelago

For founders Umberto Garabello and Ted Wachtmeister, Landet Stay emerges from their mutual appreciation for Scandinavian living, as well as their intention to increase its accessibility for tourists and expats. Seclusion and attainability were, therefore, integral watchwords when sourcing the location. True to its name, translating to ‘countryside’ in Swedish, the hospitality complex is situated across a 400-hectare nature reserve, offering an idyllic escape from urban living.

Swedish architect Andreas Martin-Löf and Tobias Vernon, interior designer and co-founder of London design studio 8 Holland Street, were enlisted for the build. ‘The Landet cabins are small, but the project has a big ambition. The floor plans allow two-to-four people to get out into nature in a new way,’ explains Martin-Löf. The design language is primarily Scandinavian, fusing woods mixed with minimalist lines and airy open space to encourage momentary detachment from the digital world to find solace in nature.

Indoors, an earthly palette of colour greets the eye, including oak wall panelling, soft ivory furnishings, and rich mahogany tiles. Natural hues and textiles take over high ceilings and an open-plan living area, allowing the space to exude a calm and cohesive ambience. Metal fixtures add a jolt of visual contrast, notably in the kitchen and bathroom, and around the expansive windows.

The facade, framed with dark oak linear panels and floor-to-ceiling windows, presents a contemporary reinterpretation of the traditional cabin, which thoughtfully complements the peninsula in texture and colour, and creates a season-driven reflective appearance. The large wooden terrace embraces nature, allowing time to embed into the material. Meanwhile, brushed metal accents add a modern finish.

Sustainable architecture principles are central to Landet, with construction methods chosen accordingly. The eco-friendly cabins stand atop simple plinth foundations to ensure minimal disruption to the natural surroundings. The desire to effortlessly return the site to how it once was, should the cabins ever face deconstruction, was also central to the design process. To that end, similarly, inside fixtures are easily movable.

Beyond the cabin aesthetic and its transfixing views, Landet offers an elevated hospitality experience for guests, starting with a sauna and communal outdoor fireplace for tranquil evenings under starry skies. Personal food boxes packed with fresh local ingredients are available for delivery upon request, as well as yoga classes, meditation sessions and massages.

With six additional cabins on the horizon, Landet’s portfolio is quickly growing. ‘We have many plans for how we want to grow, develop the concept and let as many people as possible experience the best of the countryside, in Sweden and abroad,’ Garabello explains.

landetstay.com

When we visited Stockholm Design Week 2024 (on until 11 February), designers from around the world were exploring what happens when the old is combined with the new. 

South Korean design brand Wekino asked seven talented Korean designers to create objects that explored the juxtaposition between the country’s hyper-modern present and rich historical traditions. Formafantasma, the fair’s Guests of Honour, encouraged visitors to stop and think about how past environmental decisions will shape the future of design. Heritage Finnish brand IIttala debuted its revamped creative identity at a riotous opening event. Meanwhile, Svenskt Tenn celebrated its 100th anniversary with a reimagining of a classic pattern. 

Amongst these designers and the hundreds of others on display in the city, there was a sense that the most innovative design of today is always, in some way, a response to what came before it; and that designers should celebrate that lineage rather than hide it. As Svenskt Tenn, designer Josef Frank said nearly 100 years ago, ‘there’s nothing wrong with mixing old and new, with combining different furniture styles, colours and patterns. Things that you like will automatically fuse to form a relaxing entity.’ 

Stockholm Design Week 2024 highlights

Stockholm Furniture Fair Guest of Honour: Formafantasma

Formafantasma won the Guest of Honour title at this year’s Stockholm Furniture Fair. To celebrate, the Italian design duo created a bubblegum pink Reading Room in the fair’s main entrance hall. ‘We are a strange practice because we have a commercial practice but we are also a research studio and we play a lot in this ambiguity,’ said Andrea Trimarchi during a discussion inside his curtained construction. 

For the Reading Room, the studio played with that ambiguity by inviting fair-goers to take a break from the commerce of the stalls by thinking about the intellectual issues that underlie all good design. Books on ecology and design theory ran along Artek tables, while a video from the studio’s past Serpentine exhibition played on a screen. 

stockholmfurniturefair.se
formafantasma.com

Wekino

One of the most exciting debuts at this year’s fair was Wekino, a South Korean design and lifestyle brand that aims to establish Korea as a global design powerhouse. Its first showcase outside of its home country, curated by Swedish design studio Note, suggests it’s not far off from achieving that goal. 

The collection features objects from seven Korean designers, spanning lounge chairs and tables, to bookcases, rugs, mirrors, and coat hangers. Each of the designers was asked to create an object that responded to the idea of ‘juxtaposition,’ specifically the juxtaposition between Korea’s fast-paced, vibrant urbanism and refined traditional craft heritage.

All of the results are notable, especially the ‘Billow Lounge Chair’ by Wekino and Note, which blends curvaceous upholstery, evocative of a floating woodprint cloud with a modern, angular oak base. There is also the colourful, amorphous ‘Chroma’ mirrors by Studio-Chacha which transform the everyday-looking glass into a kaleidoscopic portal that will no doubt spawn thousands of mirror selfies.

‘A lot of super talented designers [in Korea] just needed this opportunity,’ said Note product designer Joong Han Lee during a brand presentation. ‘Our role was to bring that opportunity to these brands, and to establish them within Korea and outside it.’

wekino.co.kr

Svenskt Tenn

Perhaps no other brand epitomises Swedish design better than Svenskt Tenn; and so the fact that the Stockholm-based house is marking its 100th anniversary this year just further proves the nation’s enduring design legacy. 

To celebrate, Svenskt Tenn debuted a revamp of a classic Josef Frank fabric entitled ‘Stockholm.’ The new fabric, named ‘Svenskt Tenn Est. 1924’ adds new depth to the original's red, green and blue map motif with the help of 3D visualisation technology. It’s a subtly modernised version of a classic pattern that was, and still is, bold, colourful and undeniably Svenskt Tenn. 

At the flagship in town, the brand also displayed a selection of classics from the archive, including the Liljevalchs armchair (pictured above), one of Josef Frank’s first designs for the brand, and a limited edition Stockholm cabinet decorated with a vintage map of the city. 

svenskttenn.com

Iittala

The cocktail evening for IIttala the night before the fair opened was a bold and brilliant event that introduced the design world to the brand’s new creative director, Janni Vepsäläinen, and hinted that she might just be one of its most exciting new talents.

Prior to joining IIttala, Vepsäläinen had a successful career in fashion as a designer for JW Anderson and The Row. Her appointment to IIttala – a Finnish glass house dating back to 1883 – came as a surprise, and to some a potential risk, but her debut on Monday night (5 February) left the crowd buzzing with excitement.

The performance took place in a former nuclear weapon lab, with guests descending hundreds of feet below ground to sip champagne among graffitied walls and suspended sandbags leaking into giant sinkholes. Experimental multi-instrumentalist Damsel Elysium ‘played’ the brand’s bulbous glassware as a ghoulish soundtrack ricocheted through the cavernous space. Alongside the glass pieces, the brand also debuted a range of tableware, tea towels and other accessories titled ‘Play’. 

To find out more about Vepsäläinen’s groundbreaking new vision, you can read our exclusive interview with her here.

iittala.com

Wästberg

Swedish lighting brand Wästberg is known for collaborating with some of the world’s most renowned architects and designers to create lighting that can enhance any environment. At Stockholm Design Week 2024, the brand displayed the ‘w241Faro’ (pictured), designed in collaboration with David Chipperfield and inspired by the shape of lighthouses. The cordless lamp, which has batteries that last up to 20 hours, can be adjusted for focused illumination or more moody, diffused light. 

Also on display was its classic ‘Dalston’ hanging lamp by Industrial Facility, with its sleek and subtle design inspired by the lamps in industrial workshops but reimagined for a contemporary office space.

wastberg.com

Gustaf Westman

Gustaf Westman is a young designer to watch. The Stockholm-based upstart is best known for his playful designs like ‘Chunky Cup and Saucer’, made to decrease spillage for cocktail parties in the evening and coffee in bed the morning after; as well as his instagram-famous ‘Curvy Mirror’. 

These designs epitomise the general ethos of Westman’s aesthetic, which is fun-loving and made for social occasions. His booth at the fair was a riotous collection of colourful stools, vases, plates, tables and more, while he also welcomed a few guests for cocktails at his office-turned-temporary showroom in Stockholm’s hip Södermalm neighbourhood. 

gustafwestman.com

Massproductions

Crowd favourite Massproductions unveiled its new ‘Patch Sofa System’ at this year’s fair. ‘An homage to duffel bags, moc toe boots and a string of sausages,’ ‘Patch’ is a modular system adaptable for any space and proves to be as enjoyable to sit in as it is to look at. 

‘A massive sofa system isn’t the type of product that a young company would launch,’ says creative director Magnus Eleback, ‘we are almost out of our teenage years now, and in the context of our collection Patch just seems to fill a space and fit.’ 

massproductions.se

Primitive Arrangements by Nick Ross

The minimalist work of Sweden’ Nick Ross has always had a philosophical bent. Ross’ contribution to this year’s fair is no different, with stools, chairs, shelves and candlesticks that draw inspiration from some of the first objects designed by humans, specifically Scandinavian Bronze Age boats, Viking jewellery and standing stones. Ross investigates the essence of good design. How much, he asks, does it take to make an object that is both functional and beautiful? 

These days, we tend to be drawn to bold and colourful objects that translate well into photographs. Ross’s ‘Primitive Arrangements’ series suggests that objects pared back to their simplest elements can be just as, if not more, impressive. ‘These objects are simple,’ he says, ‘showcasing my design philosophy in its purest form: material and volume in context.’ 

nickross.studio

Vaarnii

Finnish design brand Vaarnii presented Ronan Bourollec’s ‘Maasto’ chair (pictured) and another by Faye Toogood. Defined by Vaarnii's distinctive use of pine, the chairs encapsulate the designers' unique approach to furniture with the brand's material-focused language. 'Working with Vaarnii is like working in a bakery,' said Bouroullec.  'The baker uses flour to produce something simple and good; here we use pine to produce something good, durable, the grace of simplicity.'

vaarnii.com

Stockholm Design Week 2024 runs until 11 February, stockholmdesignweek.com

Cabin Kiladalen takes architectural reuse to a new level. Håkon Matre Aasarød, founder of Norway based Vardehaugen, the home's designer, offers some background on the Swedish lake house retreat: 'The two pavilions were originally an indoor design exhibition in Norway,' he says.

Cabin Kiladalen: a building's second life

The architect continues: 'The pavilions were initially designed as part of the indoor exhibition “Rethink – Sustainable Design”, at the annual Oslo Design Fair in 2019. While the traditional exhibition design expires as soon as the fair is over, Vardehaugen designed a sustainable exhibition built to last. As soon as the fair was over, the pavilions were dismantled, flat-packed, transported from Norway and re-erected as recycled cabins in Sweden.'

Inspired by the 'classic modern pavilion', the team worked with the low volumes and their horizontality, flipping one to place it on its narrow side, and perpendicularly against the other. This way, one is lower, focusing on views of the lake, and the serene waters ahead; the other becomes a little lookout tower and offers vistas of trees and the region's lush, green foliage. 

Everywhere, wood prevails. It features in the structure's CLT frame, the interior wall cladding and much of the furniture inside – linking through the material use to the natural context beyond. 

The compact retreat contains a flowing living space and bedroom on one side, and a mini contemplation family room in the tall volume. 

The clients write: 'The cabin is sheltered by the forest, almost like it’s hiding. It is quiet to stay here, calm and very relaxing. But simultaneously things happen: the great panorama catches the ever-changing view. When the fjord freezes to ice in winter, the ice fishermen are in place, and ice skaters whiz by. In autumn we gather mushrooms and berries. We swim, paddle, fish, and have family and guests over for dinner on the terrace.'

vardehaugen.no 

For a contemporary skiing experience, look no further than Vemdalen Villas. The project, a complex of holiday homes in the small village in central Sweden's mountainous region of Jämtland County, has been designed by London- and Oslo-based architecture studio Hesselbrand, bringing together traditional architecture elements, swathes of warm timber, and the studio's modern, minimalist architecture sensibility. 

Vemdalen Villas: a contemporary minimalist timber retreat

The scheme comprises 38 semi-detached holiday homes set on a sloped, wooded site. Each plot luxuriously accommodates a main house and a guest house, as well as direct access to the skiing slopes. 

Hesselbrand adhered to strict local planning regulations, while infusing its designs with a sense of generosity – tall ceilings, large picture-frame openings – and a pared-down interior approach that allows for the natural context to take centre stage. 

'The priority in the design of Vemdalen Villas was to create a community feeling reminiscent of a village rather than just a series of individual buildings,' the team said. 'This was achieved through the careful placement of each house to form smaller, intimate outdoor spaces and walking paths. The focus was also on maximising the scenic beauty of the location, with large windows in the main façade offering views of the valley, and the layout designed to balance private and social spaces effectively. The relationship between the buildings, attention to private and communal spaces, and the integration of the houses into the natural landscape were key factors guiding the design decisions.'

The homes are made of a prefabricated timber frame which is then clad in a pine façade. The structures are topped by an overhanging metal roof. Hesselbrand's Magnus Casselbrant and Jesper Henriksson explain: 'Timber was chosen for its natural durability, beauty and sustainability; it has given the project the ability to blend seamlessly into the mountainous, wooded terrain of Vemdalen. Pine, a locally sourced material, not only makes sense from a sustainability perspective but also provides a traditional, warm, and inviting atmosphere both inside and outside the villas. The metal roofs are used for their durability, resistance to heavy snowfall, and ease of maintenance, which are essential in a mountainous region.'

Inside, two levels contain a large, flowing living space, with bedrooms and other private areas dotted around them – all cocooned in timber panelling that transports the outside's forest experience inside. 

Vemdalen Villas offers privacy and seclusion, but also a sense of community, within the coherent, design-led setting. Casselbrant and Henriksson said: 'The architectural design promotes a village-like ambiance that's rare in holiday home developments. Its direct access to the slopes, breathtaking valley views, and trekking paths provide an immersive natural experience. The thoughtful interior design, where the exterior timber panels extend into the interiors, creates a seamless connection between inside and outside, enhancing the mountain getaway experience. This unity with nature, combined with modern, comfortable spaces, makes Vemdalen Villas an exciting destination for those seeking a blend of outdoor adventure and cosy, upscale living.'

hesselbrand.com 

Nordic minimalism rules in Hallen, a new-build house by the Baltic Sea in Southern Sweden. Designed by architect Åsa Hjort for herself and her family, the home – a simple, white, L-shaped footprint structure – has been tailored for the family’s lifestyle using a restrained material palette and minimalist architecture principles. 

Hallen: architectural simplicity within the Swedish countryside

Hjort, a Swedish architect based in London, explains: 'We bought the plot in 2010 and initially thought we could renovate the original house but due to different factors it was deemed unsuitable, and we started to discuss a new-build house. The area has strict planning regulations, [with] both shoreline and landscape protection, which meant that the size and location of the new house had to be similar to the original house. The area, in the outskirts of Kivik, has houses from a mix of different time periods with a varied architecture, which gave me freedom during the design process.'

The structure is made out of five interlocking volumes, with its openings framing either the wooded area right outside, or the sea in the distance. Restoring the landscape to a meadow surrounding the home was also an important element of the project, embedding it into its context. 

'After living many years in the original house, I had a clear idea of how I wanted the house to work and how we wanted our life to be there. Qualities from the existing house were reinterpreted, such as the size and position of the window above the kitchen counter, which gives a beautiful, framed view of the tree trunks in the forest. The width of the house is similar to the original, which creates an open space that gives views towards both the forest and the ocean,' Hjort says. 

Inside, a mix of bedrooms, an office, and an expansive living area ensure life in the house is comfortable and connects to the outdoors through carefully placed windows. Light grey plaster and natural-coloured timber offset the crisper, white exterior, making for a warm, welcoming home. 

asahjortarchitects.com 

This Transparent Turntable is the latest offering from Swedish audio brand Transparent, a company that has capably combined striking aesthetics with sonic brilliance, and has now been announced as one of our Wallpaper* Design Awards 2024 winners, showcased in the February issue.

Inspired by the seemingly unstoppable rise of the vinyl revival, Transparent has applied its meticulous industrial design approach to create a record player that’s fit to grace the finest contemporary interior. The turntable adheres to the company ethos of simplicity and repairability, with a modular design that allows for components to be replaced and upgraded as needed, just like the company’s speakers. 

The Stockholm-based company was founded by Per Brickstad, Martin Willers and Magnus Wiberg with circularity as a core principle. Its Turntable is made from solid aluminium, and a high-end Ortofon OM 5e MM cartridge is included. Apart from that, everything else is bespoke and custom-made. 

The mechanism is contained in a compact unit beneath the glass base, which itself sits on four pillars. These also form the supports for the glass dust cover, which is attached via special dampened hinges that keep it at whichever angle you desire. ‘For the first time there is now a dust cover that you will actually want to use in your Turntable,’ Brickstad says.

.Transparent notes that this product ‘marks a transformative moment in our journey,’ a way of ‘bridging the gap between analogue music and modern audio technology.’

Modular turntable, available in black or white, with pre-mounted Ortofon cartridge,

£1,100, by Transparent, Transpa.rent 

A version of this article appears in the February 2024 issue of Wallpaper* – dedicated to the Wallpaper* Design Awards 2024 – available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Studio He, a young architecture practice in Sweden, has joined the Wallpaper* Architects’ Directory 2023, our annual round-up of exciting emerging architecture studios. The firm is founded by Xiao He, who recently completed this impressive timber dwelling Nabben in rural Sweden – the architect's own private retreat. 

Who: Studio He

Architect Xiao He was born in Wuhan, China, before her family moved to Sweden, where she has been residing since the age of four. Her studio was founded in 2019, following studies in Sweden and Hong Kong, as well as professional experience at established firms. 'In my earlier years, I was only driven by an unwavering quest for pioneering design approaches, constantly seeking to break new ground,' He says. 

'As my career progressed, I experienced a shift. I embraced and celebrated my Chinese heritage and seamlessly blended it with the Nordic design philosophy imprinted upon me during my upbringing, finding inspiration in its rich design elements. Additionally, with age, I have developed a deep interest in nature and sustainable materials. While acknowledging the complexity of achieving 100 per cent sustainability without compromising design aesthetics, I strive to incorporate sustainable principles as a vital aspect of my projects.'

It is this blend of cultural heritage, her inherent dynamism and aspirations, and desire for architectural experimentation that make He stand out. Working for her clients with the same passion she would apply to her own family projects, the architect seeks to create work that embodies a client's needs, brief and way of life. The powerful work of established female architects past and present has influenced her work – she lists Zaha Hadid, Lina Bo Bardi, Eileen Gray and Elizabeth Diller as examples. And when it comes to form, 'the architectural luminaries Alvar Aalto and Mies van der Rohe hold sway over my design ethos to the extent that I named my own son Mies as an homage', she points out. 

What: Nabben

The summer escape of He and her family, Nabben is a wooden structure that sits lightly on the ground of its picturesque site, in the lush archipelago south of Stockholm. The project brings together modernist architecture's Case Study Houses, 'old Norse feeling, and a touch of Chinese temples'. Lifted from the ground on small concrete plinths, the project uses stacked jackstraws of glulam beams. This lends the home a strong sense of horizontality, but also makes it feel entirely at home in its surrounding birch tree forest. 

'The house is made entirely of wood with seven different types of pine in its framework,' He explains. 'The supporting glulam beams are made of pine, the exterior walls consist of pine rules, insulation of wood fiber, windshield in pine plywood and a thermo-pine façade panel. The window frames are in solid pine treated with a teak glaze and the wooden deck is in heart-pine.' 

With timber dominating inside and out, residents remain connected with nature at all times – this is accentuated by the large openings and raised terrace (which was designed to accommodate existing trees growing through it).

Why: Wallpaper* Architects’ Directory 2023

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 23rd edition. Join us as we launch this year’s survey – 20 young studios from Australia, Brazil, Canada, Congo, Ecuador, Greece, Hong Kong, India, Italy, Japan, Lebanon, Mozambique, Pakistan, Senegal, Spain, Sweden, Switzerland, the UAE, the UK, the USA and Vietnam, with plenty of promise, ideas and exciting architecture. 

studiohe.se 

The island of Dalarö, in the Stockholm archipelago, has long been associated with escape. Its picturesque streets are dotted with the holiday homes of well-heeled Stockholm residents, and its prevailing historical architecture even includes a one-time retreat of Swedish writer and painter Johan August Strindberg. Close by, a new, contemporary architecture story unfolds: welcome to Dalarö House, the latest residential project by Seattle- and New York-based architecture studio Olson Kundig, and the practice’s first completion in Sweden. 

Conceived as a summer retreat for an American couple who travel frequently to Sweden, Dalarö House sits on sloped terrain, strategically placed to act as a viewpoint to nature. It draws on its place, contemporary yet crafted to connect with the land, docks and water beyond. ‘The site had a lot of exposed stone, and we wanted the home to feel nestled into it and quiet to the surrounding landscape,’ says Tom Kundig, co-founder and the principal in charge of  this particular project. ‘The nearby Strindberg cottage is known and valued in the community, and was kept and restored as a guest house [by the clients, who own it], so the new home needed to be in dialogue with that historic structure. The traditional red colour of the cottage, known as falun red, is used all over this region, and we also used that colour at the home’s entry to help tie the two buildings together.

Dalarö House by Olson Kundig

 As a result, the house’s entrance echoes the local vernacular, connecting it with the region’s style and history, and acting as a transition between the traditional Dalarö context and the 21st-century home. Beyond the entrance lies the main living space, comprising a lounge, kitchen and dining area, with glazed walls and clerestory windows effortlessly bringing soft light and the outside in. The clients had specifically asked for a space that could accommodate both entertaining and quiet contemplation, and where inside and outside life could blend organically. Having seen a past Olson Kundig project, The Pierre on Washington’s San Juan Islands – which, like Dalarö House, nestles within existing rocks on the site – they knew the studio was the ideal candidate to translate their vision. ‘A driving agenda in my work
is to uncover what makes a place uniquely itself, and how architecture can reveal something about that truth,’ Kundig stresses.  

The home displays Olson Kundig’s expert balance of textured rawness and warm polish, bringing together exposed concrete, oak floors, and bespoke metalwork and joinery. As the villa was to be used mainly as a holiday home, the architects adjusted their material and colour approach accordingly. ‘The house was intended for use primarily in summer, so we moved away from the lighter palettes that are traditional to Scandinavian architecture, and instead used darker materials to create
a refuge from the light,’ explains Kundig. 

The living area is flanked by two smaller wings containing bedrooms and bathrooms – two sets in total. These also open up to the water through floor-to-ceiling windows, and everything comes together to craft the impression of living in a ‘weathered beach house’. Careful construction and detailing were crucial in achieving this, as were the interiors, created by local studio Liljencrantz. ‘They were excellent partners and brought a lot of creativity to the project,’ says Kundig, who also worked closely with the local architect and contractor, ‘who were instrumental in the project’s delivery’. 

‘The defining feature of this home is its relationship to the larger, natural landscape.  We wanted to maintain that sensitivity to this special place and create a home that
is quiet and deferential to the context,’ concludes Kundig. ‘A major feature of the architecture is a thick concrete wall that extends outdoors on two sides. It integrates fireplaces, both inside and outside, as well as an outdoor shower. Inside, it also acts as a separator between the entertaining spaces and the more private areas.’ Pine siding in a traditional Scandinavian finish and a green roof complete the home’s masterful immersion in its locale.   

olsonkundig.com 

A version of this story appears in the July 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

Svenskt Tenn have unveiled a summer takeover of their Stockholm Gallery, handing over the space to Margherita Maccapani Missoni who created a colourful summer pop up. 'A postcard from Italy' (on view until 27 August 2023) is an imaginary garden within the gallery, where a series of picnic settings mix Missoni's 'italianness' and Josef Frank's classics. 

'I've been an avid Svenskt Tenn customer for a long time and enjoy decorating my home with Josef Frank's furniture and patterns,' says Maccapani Missoni. 'My aim is to create a lesser seen version of the Svenskt Tenn universe, by incorporating the characteristic Italian philosophy of being outside in conviviality.

'A postcard from Italy' at Svenskt Tenn

The shoppable exhibition features a series of informal table settings referencing the picnic theme with combinations of iconic Josef Frank patterns including Italian Dinner, Catleya, Stripes, Posions, and Vegetable Tree across table linen, upholstered furniture, and parasols (which have been custom-made for the occasion).

Maccapani Missoni has also collaborated with the Swedish brand on a series of special edition products featuring Josef Frank motifs such as heart-shaped pillows, postcard-like trays and wallpaper as well as porcelain pieces made in Italy for Svenskt Tenn. A further curated selection of objects and tableware from small Italian artisans was put together by Maccapani Missoni as part of the installation, and will be available from the gallery. 

'I've found many affinities with Svenskt Tenn founder Estrid Ericson,' says Maccapani Missoni, whose exhibition is a tribute to the woman behind the brand and her creativity. 'To me, she was an avantgarde woman and inspiring entrepreneur who early on thought outside the box and did things in her own way, with high integrity.'

Postcard from Italy is on view until 27 August 2023

Svenskt Tenn
Strandvägen 5
Stockholm

svenskttenn.com

A former movie theatre in the heart of Stockholm’s design district has been reborn as the first physical space of Nordic Knots, the Swedish rug label that’s redefining what Scandinavian design is expected to be. Since it was launched in 2016, Nordic Knots’ marriage of traditional craftsmanship and a sensuality rarely associated with Swedish design today had set it apart from the crowd. Rooted in functionality while still embracing a minimalist ethos, its rugs each exhibit a texture, warmth and individuality that makes a memorable impression.

Nordic Knots Stockholm showroom: design, heritage and quality

Nordic Knots’ new showroom space was perfect for specific reasons. Dating back to early 1900, the Eriksbergsteatern cinema screened its first film in 1918 and its last in 1986. From 1973 to its last day of operation, the cinema was romantically named Woodstock.

‘We wanted to find a space that was special and not just another classic Stockholm store front,’ recall Fabian Berglund and Liza Laserow, the husband-and-wife duo who co-founded the company with Fabian’s brother Felix Berglund. ‘Not that there's anything wrong with that, but we wanted something that had a story and a character beyond just being a beautiful space. We were actually just looking for a new office at first but then this space popped up and from a tiny thumbnail in an online listing, we could see that this was something special. It was more space than we needed, with a storefront that we were not really looking for, and it needed quite a bit of work; it had the bones that we just had to have.’

‘When we first stepped into the space, we felt that [its] history and energy were great. It's been an important meeting place for a lot of people, throughout the years it existed, which spoke to us and we liked the challenge as well as the opportunity to be able to restore and again make it a destination for people to come and see. We knew it could be our home.’

To make the space inhabitable, the Berglunds called upon the New York-based architect and interior designer Giancarlo Valle, whom they met on a recent trip to the Big Apple, where the couple had lived and conceived of Nordic Knots years before. A shared appreciation for each other’s work as well as timeless, refined and unexpected design led them to collaborate on overhauling the showroom space in Stockholm, as well a collection of rugs inspired by Valle’s Latin American heritage and Sweden’s rich folklore. 

From preserving the interior’s mottled green marble, sprawling terrazzo floor and dramatic Grand Carrara marble staircase to creating a dynamic, rotating installation display of the company’s wares – under lighting created by the Mexican designer Carlos H Matos – and a coffee bar (an essential in Sweden), the new flagship space puts Nordic Knots’ collections, heritage and quality front and centre.

‘Giancarlo really understood how to use the great original details that were already there and then complement these with a contemporary playful design,’ say the couple. ‘It gives a modern feel and yet [the space is] timeless and classic at the same time. Studio Giancarlo Valle nailed balancing the different materials and how to scale the furniture perfectly in the space. They also understood the needs and practical aspects of the store and translated that into something beautiful and lovely to look at. There is also a real shared love for quality, both in construction and materials, that we think makes a huge difference.’

Valle adds, ‘When Fab and Liza asked us to explore this project, it was an easy sell. Sweden, to me, represents one of the richest and most sophisticated design cultures in the world; it has a deep history of decorative arts and always manages to move itself forward in new and original ways without losing its roots. I saw this partnership as an opportunity to continue this great legacy, but through an outsider’s lens. Swedish attention to craft, detail, material, and proportion is something we wanted to respect, but at the same time, we wove it together in our own way.’

Birger Jarlsgatan, 58 Stockholm

nordicknots.com

For the first time since its founding in 1951, the Stockholm Furniture Fair has launched a platform dedicated to collectible design. Called Älvsjö Gård – after the 16th-century manor house where it debuted earlier in February 2023 –  the exhibition saw the onetime farmstead play host to experimental designers, independent galleries and innovative collectives from across Scandinavia. Älvsjö Gård 2023 included Tableau gallery from Copenhagen, Bergen’s interdisciplinary space Kiosken, Oslo-based Pyton, Stockholmmodern gallery, and design collective Navet.

The Älvsjö Gård villa’s prim setting – complete with toile de jouy curtains, floral frescos, wooden marquetry floors and Dutch master-style paintings on the walls – may have provided an imposing contrast to the often otherworldly objects on display, but the draw of the exhibition was certainly not its patrician setting. 

Instead, the curation and breadth of talent spoke for themselves. Indeed, the show may have skewed towards the experimental, but the practices of many of the designers were centred firmly in craft, spanning a broad range of materials and mediums. Take, for instance, Fredrik Nielson’s ‘Mixed Emotions’ collection, which resembles fallen meteorites in varying shades of chromed, clear and coloured glass. Or Kajsa Melchior’s stalactite-like furniture made of sand and alabaster, its forms largely determined by natural forces such as wind and water.

This being Scandinavia, there was no shortage of excellent works in wood, like designer and cabinet maker Axel Wannberg’s burl wood ‘Mappa’ table lamp, desk and seating, which featured pared-back forms that highlighted the wood’s natural grain. While Veermakers, the recently launched brand from Louise Liljencrantz and KFK Cabinet Makers, showed a beautifully crafted collection of angular tables, hand-carved stools and minimal seating in polished mahogany, walnut, oak and cherry wood.

However, timber wasn’t the only material local Swedish designers excelled in. Stockholm and Milan-based Navet showed its melted candy-like ‘Jelly’ collection of mirrors, which were made in collaboration with a local Stockholm glassworks. Meanwhile glassmaker Simon Klenell showed the latest iteration of his hand-blown lamps, which look as if a deflated balloon had been cast in silver.

This year’s edition marks the first time the fair has been held since 2020 and it seems the time spent away has allowed organisers to reflect and reset. 'Being able to offer a platform with experimental work and highly crafted furniture right next to our traditional furniture fair is an important part of our strategy moving forward,' explains Hanna Nova Beatrice, project manager for Stockholm Furniture Fair and Stockholm Design Week. 'We want to mirror what’s happening in the design industry.'

stockholmfurniturefair.se

For Stockholm Design Week 2023, Swedish designer Alexander Lervik launches his latest collection, ‘Hemvist’, with historic wooden stair manufacturer Drömtrappor at his newly opened design gallery, Unikat.

The ‘Hemvist’ collection originates from the recent collaboration between the designer and the brand, which was launched simultaneously in the gallery and at the Stockholm Furniture Fair. Using leftover wood from stair manufacturing, Lervik created a limited-edition series of tables, benches and chairs. Though it’s not only the materials the two projects have in common. 

The furniture was produced by employing the same technique of mortise and tenon joints – which allow the user to easily replace individual steps when they wear out – as are used for the stairs, creating what he describes as a 'pegs and wedges' system that connects the various elements. For example, in the chair, the rounded peg is slotted into the side of the backrest and visibly supports the blocky armrest. As part of the table, meanwhile, the peg sits recessed in the wooden leg. Lervik then stained the wood in shades of red, yellow, and black or left the wood's natural grain.

Founded in the village of Norsjö in northern Sweden in 1923, Drömtrappor has been producing wooden staircases ever since. 'I remember the first time I visited the factory; it is the only time in my 25 years in the furniture industry that I got goosebumps from seeing how the production is done,' recalls Lervik of his first encounter with the brand. 'In front of me, furniture craftsmen worked with materials that mostly come from the nearby forests. It couldn’t be more sustainable.'

Though trained as a cabinetmaker, Lervik’s recent projects have explored a more conceptual approach to materials. His ‘Fragile’ collection, for instance, paired roughly hewn granite blocks with transparent coloured glass. However, this collection with Drömtrappor allowed the designer to fully embrace sustainability and craft.

With the Unikat gallery, which opened in December 2022 in Stockholm’s Södermalm district, Lervik wanted to 'create a smaller platform to investigate the borderland between art and design', he says. 'To show more experimental objects and develop as a designer, but also to approach the industry as I think it will look in the future.'

unikatgallery.com

On a rocky bluff just west of Gothenburg, the king of Swedish industry built his castle. Pehr G Gyllenhammar, CEO of Volvo from 1970 to 1994, chose this prime spot for the ultimate in 1980s-era executive suites, a blend of Scandinavian style, brutalist materials, neoclassical planning and highly crafted finishes.

When it was completed in early 1984, Gyllenhammar could stand on the semi-circular balcony that opened off his corner office suite and gaze west over Volvo’s Torslanda factory complex, beyond which lie the islands of the archipelago of Gothenburg. 

Designed by Romaldo Giurgola of Mitchell/Giurgola Architects with local architect Owe V Svärd, the building has shades of Gunnar Asplund’s stripped neo-classicism, complete with colonnades, courtyards, and curving stair towers and balconies. The executive suite is flanked by two wings, creating a temple-like arrangement of volumes.

Like many grand projects shaped by a strong and singular personality, the HQ didn’t tick everyone else’s boxes. Fifteen years after it was completed, the building was taken over by the company’s commercial division, Aktiebolaget Volvo, or AB Volvo, after Ford acquired Volvo in 1999. The truckers added another wing in the 1990s, including a massive display hall for their heavy-duty haulers, and the corner office was occupied by a new CEO. 

In 2010, Volvo was acquired by the Chinese manufacturer Geely, setting the company on a new path and leading directly to the birth of Polestar as a standalone brand in 2018. 

Thomas Ingenlath is Polestar’s CEO. Former head of design at Volvo Cars, Ingenlath has been outspoken in his desire to transform the industry for the better, from design and manufacturing, all the way through to supply and purchasing (more of which later).

CEO Thomas Ingenlath on new Polestar design studio

As Polestar expanded, it rapidly outgrew its allotted space in Volvo’s Gothenburg design studios. A new location was needed – albeit only for a few years – and Ingenlath turned to the now abandoned HQ. Ingenlath recalls visiting the site back when he first joined Volvo. ‘It is up on the hill, detached from reality,’ he says. ‘It reminded me of the two Mies van der Rohe villas in Krefeld, where I grew up, the Haus Lange and Haus Esters, with this high quality but very reduced use of stone and wood.’ Empty and unused since the truck division moved out in around 2016, the site had recently been bought back by Volvo Cars. It seemed to be a natural fit for Polestar.

A careful restoration, working with plans drawn up by Polestar’s own design team and Volvo’s in-house architects, has brought this graceful period piece back to life. The former truck showroom is now a generous hall in the design studio, with space for building clay models and presenting new cars. Interior and exterior design teams, along with a presentation room, materials library and meeting spaces, are all slotted into one wing of the complex; the other half will eventually be used by Volvo’s Swedish office.

‘Something magical happened when we put the Polestar identity into the building,’ says Ingenlath. ‘It became a little bit like a gallery, giving us a cultural feeling that goes beyond our commercial needs.’ 

In just five years, Polestar has gone from a niche division of a well-known parent company to a major player in its own right. Polestars 1 and 2 were widely acclaimed; the Polestar 3 SUV is about to launch, closely followed by the Polestar 4. Models 5 and 6, based on the Precept Concept and 02 Concept respectively. They’ll arrive in 2024 and 2026.

‘The brand has developed its own style,’ says Ingenlath, adding that the company’s corporate identity is not too controlling or strict. ‘It’s about intelligent design, led by people who have the capability to get into a dialogue,’ he says, pointing out that this applies just as much to the Polestar line-up as it does to its use of the former HQ building. 

More than anything else, Polestar is raising awareness of the environmental cost of doing business. ‘This is not a new building,’ Ingenlath stresses. ‘It was a run-down concrete structure that no one wanted to buy into. To some extent, it’s about the long-term value of something.’ 

When it comes to the debate around EVs and the environment, Ingenlath is rare in his straightforward dissection of what it means to be sustainable. ‘EVs are looked at very naively,’ he explains. ‘You have to be a bit more thorough.’ He decries the dominance of ‘things like greenwashing and CO2 trading and sustainability teams’, stressing that every facet of the Polestar vision is guided by sustainability.

Polestar recently launched the ‘Polestar 0 project', its ‘moonshot project’ to ‘create truly climate-neutral production car by 2030’. This is a big long-term commitment, one that ties into Polestar’s regular statements on the auto industry’s climate impact. The Polestar 0 project’s research phase is very much underway, focusing on materials, suppliers, and processes, with design work not scheduled to start until 2027.

Head of design Maximilian Missoni: ‘It’s good architecture’

For now, Polestar’s designers are working on productionising the forthcoming 5 and 6. Led by Austrian head of design Maximilian Missoni, another Volvo alumni, the 65-strong team are adapting to the spatial upgrade of the new studio. The son of two architects, it was Missoni who began the process of drawing up plans for the new studio that didn’t interfere with the existing structure.

From the heavy, copper-finished entrance doors onwards, it’s clear this building is in a different league to an off-the-shelf business park shed. Gyllenhammar demanded the best materials and excellent detailing, evident in the bronze gear patterns set into the stone floor of the entrance hall, or the circular light fittings recessed in inverted ziggurat ceiling niches. Light fittings and sockets are heavy-duty brass, corridors and stairs are broad and generous, filled with light from the large windows.

Eccentric details abound, like the Japanese water sculpture given pride of place in the design studio’s internal courtyard, a gift from Mitsubishi following an engineering collaboration with Volvo in the 1990s. This has been left alone, as has the scale and scope of the largest rooms; the only concession to the design studio’s requirements is a series of new non-structural walls, stopping just short of the existing tall ceilings, to provide crucial screening from the outside world.

‘It’s good architecture,’ says Missoni. ‘We just worked around it.’ The detailing is certainly spectacular, with a vast ceramic mural by the Danish designer Lin Utzon, daughter of Jørn Utzon, stretching the length of the corridor facing the executive courtyard. The idiosyncrasies born of a headstrong client and a generous budget are all preserved and add essential character. ‘Funnily enough, that’s something we try and do with the cars,’ Missoni notes. 

Other elements of the building sadly won’t end up in the Polestar orbit, including Gyllenhammar’s palatial office (complete with sauna, sitting room, fireplaces and wine cellar). There’s also a remarkable boardroom, shaped by an acoustician to deflect corporate paranoia; the domed ceiling ensures that even a whispered aside on the other side of the circular table could be heard by everyone else in the room.

Like Ingenlath, the designer had also hankered after occupying this once forlorn structure. ‘It was a perfect opportunity for us,’ Missoni says. ‘I really pushed for it. As designers, you cannot help soaking up and absorbing (your environment). The spirit of this building is about generous, high-quality space.’ The gallery-like ambiance is reinforced by the long vistas and abstract renderings of Polestar designs on the walls. 

In the presentation suite, we’re given a VR tour of the Polestar 3, ‘walking’ around a precisely rendered model of the new SUV. In the main room, the Precept Concept and Polestar 3 sit in pristine isolation (any top-secret work has been cleared away for the cameras), beneath bright lights and lofty ceilings. 

The company has plenty of experience of repurposing architecture – the company’s Cube building was originally a nondescript Volvo service structure before it was transformed into its glassy new HQ. Architecture and interiors are a key spoke in the Polestar strategy, from the Polestar Spaces that serve as brand showrooms around the world, to pop-up projects like the recent Snow Space showroom and the Koja Treehouse project, both in Finland, helping bring the company’s design ethos into physical form. The new design studio is very much a continuation of this. 

Polestar is now unashamedly premium, with the current Polestar 2 described as the ‘lower bookend’ of where the company sits in the market. The forthcoming 4, 5 and 6 will target cars like the Porsche Taycan and Audi e-tron. Although Ingenlath has been one of the auto industry’s rare voices of conscience when it comes to the challenges of climate change and pollution, he’s still very much a car guy. In his opinion, mobility works best with the continued existence of cars. 

Missoni agrees, naturally. ‘For quite a while there’s been a big promise of future technologies like autonomy,’ he says. ‘It will happen, but as an industry, we were slightly off on the timeline. It’s super complex.’ His team is also wrestling with the challenges and opportunities posed by the new era of generative AI. ‘Creating future visions used to take geniuses like Syd Mead weeks and weeks,’ he says. ‘Now you just write a little story, and you have instant results. But I’m already getting a bit tired of it.’ 

Reassuring us that Polestar’s work is ‘100 per cent human created’, Missoni stresses the integral role design plays in the auto industry. ‘High-quality only starts when you’re solving problems in collaborations with engineers,’ he explains. ‘The ability to creatively solve problems – that’s design. And it's everywhere in this company.’

The Polestar 0 project adds another, fundamental, ingredient to the mix. Missoni says that two key suppliers are now on board, SSAB, the Swedish steel company, and Hydro, the Norwegian aluminium company (supporter of Wallpaper’s Re-Made collaboration with Polestar, Cake, and Konstantin Grcic). To date, Polestar has benefited from a relatively clean slate (although the Polestar 1 and 2 were essentially productionised Volvo concepts). ‘We talk a lot about whether history is a burden or a benefit,’ says Missoni, ‘and what the advantages are of being first [with new technology]. The risk is still very high.’

Future plans: towards zero environmental impact

At time of writing, the Polestar 4 has yet to be unveiled. All that’s known is that it has a fastback silhouette, unlike the Polestar 3’s more conventional SUV profile. ‘They are different animals,’ Missoni says, explaining that the two new cars won’t necessarily appeal to the same buyer. The 4 ‘plays more to the efficiency rulebook’, in terms of aerodynamics, and it’ll take the brand further upmarket. The 5 and 6 will be even more sophisticated – ‘They’re on another level,’ the designer says.

All this activity will be nothing if no one comes along for the ride. For all the sophistication and desirability of Polestar’s products, the bottom line is that Ingenlath, Missoni and their team believe there is a viable way of building cars with zero environmental impact. Issues like micro-mobility are peripheral, but not irrelevant, to this mission. Collaborations with Cake and Allebike spread the Polestar way into more modest means of transport. Notably, Polestar hasn’t come out with its own dedicated home charger or public network, preferring to offer a simplified payment system that gives access to many different suppliers. Simplicity is the path of least resistance.

Nevertheless, there is also an urgency; the company recently teamed up with American manufacturer Rivian to highlight the car industry’s woeful track record on decarbonisation. EVs alone are not enough. Without reducing emissions in the supply chain and increasing the use of renewable energy, key targets will not be met. The company will continue to ask these big questions, whether they’re concerned with the economic aspects of building EVs and infrastructure – ‘we’re not doing this purely to save the world’ – or the shifting psychology behind range anxiety, not to mention the looming challenges of battery recycling or repurposing, or the weighty issue of cars getting bigger (‘if you use more C02 to make a lighter car, it makes no sense,’ Ingenlath notes).

Perched high above a landscape shaped by the manufacture, distribution and total reliance on the automobile, Polestar’s new design HQ will be ground zero for a fresh approach. ‘I’m a little jealous of Max’s kingdom up there,’ Ingenlath laughs, although he is too modest to admit the company he ushered into existence is steering the industry in a vital new direction, regardless of its centre of power. 

Polestar.com

‘Pleated for Frank’ is an homage to the classic plissé lampshades that Svenskt Tenn has been producing since the 1930s – in patterns pulled straight from the archive of early 20th-century designer Josef Frank. A longtime collaborator of the brand, Frank was known for his brightly rendered abstract and botanical prints and modernism-influenced furniture and objects. 

The new exhibition (on view until 19 May 2023) is a collaboration between Anna Holmquist and Chandra Ahlsell of Stockholm-based design studio Folkform – who won designer of the year at the  Scandinavian Design Awards 2023 during Stockholm Design Week – and historic interiors shop Svenskt Tenn, founded in 1924. 

Svenskt Tenn and Folkform: Pleated for Frank

In designing the lighting collection, which originates from Folkform’s 2020 exhibition 'L’Art Plissé', made in tandem with the artist Roland Hjort, Holmquist and Ahlsell paired Frank’s colourful screen-printed patterns with their own material-first approach to design. 

‘Our fixtures are different from many other pleated lamps because the base of the lamp is a pleated shape as well,’ explains Holmquist of the tall, cylindrically shaped shade, which is composed of stiff woven linen and can be paired with multiple bases, including several floor-sized and wall lamp models in brass and a rotund ceramic tabletop version in addition to the fully fabric option. 'We have even updated the traditional pleating technique by hiding the entire lamp structure on the inside without any visible holes or cords.’

Taking over the shop’s waterfront gallery overlooking the Stockholm harbour, Folkform and Svenskt Tenn have washed the space from floor to ceiling in a mossy shade of dark green, a signature colour for Frank. 'We worked together with Folkform to create a monochrome space where everything from walls and ceiling to furniture and floor is showcased in different shades of green,' explains Karin Södergren, head curator at Svenskt Tenn. ‘This places the lamps in focus, creating spots of light around the green room.’

The collection marks the third collaboration between Folkform and Svenskt Tenn – previous projects included a rotating wooden bookcase and cabinets made from repurposed Masonite – continuing a fruitful alliance with Stockholm’s contemporary design scene and one of its most beloved historic institutions.

‘Pleated for Frank’ is on view until 19 May 2023

Svenskt Tenn
Strandvägen 5
Stockholm

svenskttenn.com
folkform.se

This modest pared-down house encapsulates the diverse and thoughtful approach of Swedish studio Claesson Koivisto Rune. Internationally renowned, the multidisciplinary office has worked on everything from hotels to galleries, as well as producing a portfolio of refined furniture and product design for the likes of Arflex, Asplund, Boffi, Cappellini, Fontana Arte, and Muuto, amongst many others.

Simonsson House: a pared-down house in northern Sweden

Mårten Claesson, Eero Koivisto and Ola Rune began as architects, and it’s small projects like this, the Simonsson House, that best showcase the award-winning firm’s ethos. The Simonsson House is a study in restraint, not just in terms of the simple, stripped-back forms, but also in response to strict planning guidelines and the harsh climate of the location.

The house is located in Boden, a town in the far north of Sweden, just 50km south of the Arctic Circle. Set on the edge of town, looking across the shallow valley formed by the broad Lule River, the house ticks all the boxes demanded by local building regulations.

These include a requirement for a maximum building height (4.2m) and a red-tiled roof in order to fit in with the vernacular tradition of the region. The height restriction made it hard to have two storeys, so the architects went for a mono-pitch design, relegating secondary bedrooms to the ground floor and placing the living room and main bedroom on the first floor, together with a sauna and a roof terrace overlooking the river.

The latter elements are housed in a smaller, secondary volume and sit above the garage and utility room. Each trapezoid-shaped element faces in a different direction, so that the twin mono-pitch roofs create a striking silhouette.

In addition to three bedrooms, the ground floor also houses the kitchen/diner, along with a utility room that doubles up as a boot room – a crucial space in a region of climactic extremes. 

At the heart of the plan is a monumental timber staircase, meticulously crafted with vertical balustrades that reach up to the timber-clad sloping ceiling and double up as the balustrade for the top-floor living room.

This is a generous space, off which one accesses the sauna and roof terrace, with a rising roofline and large windows looking across the Lule River. The main bedroom is also accessed off this living space, with a large walk-in wardrobe tucked beneath the slope of the roof and its own separate bathroom.

The architects chose to paint the entire structure red, with the vertical wooden cladding interspersed with a carefully considered arrangement of windows, creating an abstract composition of squares and rectangles. The 220 sq m house was nominated for the Rödfärg Prize in 2022, named for the Falu Rödfärg paint colour that is so central to the Nordic architectural aesthetic.

claessonkoivistorune.se 

Studio Nichetto, the eponymous design studio founded by renowned Italian designer Luca Nichetto, has recently opened the doors of its new headquarters in Stockholm, Sweden. Dubbed the ‘Pink Villa’, this charming bubble-gum pink house from the 1930s is nestled in the heart of nature, just a seven-minute stroll from the waterfront and a stone's throw from the nearest green space. The house was acquired in 2021 and underwent a complete renovation, which saw the old floorplan discarded in favour of a new spatial concept.

Luca Nichetto's new HQ: between a showroom and a home

The decision to create a headquarters that seamlessly blends the ideas of a showroom and a home was not solely influenced by the Covid-19 pandemic but rather by a growing trend among designers and firms to prioritise comfort and a sense of home in the workplace. 

Nichetto explains, 'Even if the decision of having a studio that combines the ideas of a showroom and the one of a home was not taken because of the lockdown, for sure there is a thought of combining home comfort with a workplace. It’s what more and more companies are doing, and I didn’t want to be left behind, of course!'

Nichetto's vision for the Pink Villa was to create an environment that welcomes and comforts everyone who enters, from his team to guests and even his family. He hopes the Pink Villa will be a safe zone where ideas, opinions, and doubts can be expressed freely. 'I wanted to create an environment where my team, my guests and my family (on the weekend) could feel welcomed and relaxed. I want everyone to feel in a safe zone where it’s possible to express ideas, opinions, doubts with freedom, without feeling any sort of pressure.'

The Pink Villa is a reflection of Nichetto's design philosophy, which emphasises the importance of creating spaces that are not only aesthetically pleasing but also functional and welcoming, these are relevant points for him. It stands as a testament to his passion for design and his commitment to creating interiors that inspire and uplift. The Pink Villa is more than just a headquarters; it's a home away from home for everyone at Studio Nichetto, where the pink walls echo its inspiration and creativity, and at the same time are able to pass a sense of calm and a positive mood.

nichettostudio.com

The Big Branzino floating sauna is not just your regular platform for Nordic wellness, combining hot temperatures with the refreshing waters of the Stockholm archipelago; it is also a vessel designed to travel, taking guests on a journey to enjoy even more views and nature, while partaking in their beloved daily ritual. The timber structure was created by Thomas Sandell and Johan Strandlund at local architecture practice Sandellsandberg, and built using bespoke millwork and carpentry that celebrates the country's rich tradition in working with wood. 

Big Branzino by Sandellsandberg

'The design revolves around its distinct shape, where the bow shape is the central theme throughout,' the architects explain. 'The lowest point of the arch creates warmth and closeness to the glow of the fire, and as the arch rises to the sides it allows the stars of the night sky to be admired from the inside.' This distinctive shape both adds character to the floating sauna, but also keeps the overall effect clean and functional. 

Its pragmatic, sturdy interiors feature open-plan spaces and large openings that embrace the vistas. The structure was hand-built by master carpenter Leif Persson at Kungsör Shipyard in Sweden. He used rugged pine for the exterior, drawing on the local species and ensuring Big Branzino blends well with the natural surroundings. Interiors and furniture are made out of western red cedar – a typical material to use for outdoor and sauna design, due to its hard-wearing nature. Meanwhile, a catamaran-style steel hull helps it float and navigate the waters. 

Big Branzino's minimalist architecture is supported by clever design that hides all the steering and navigation equipment. Custom made sections allow for this, while bespoke ironmongery also delivered the handmade brass steering wheel. It highlights the level of attention to detail undertaken by Sandellsandberg and its collaborators in order to deliver this modern floating sauna, that is a joy to experience in all weathers, and all hours of the day. 

The result? 'When night comes, the lights are sequenced with brass icons showing the overall shape and what part is lit up from each button. The roof terrace is subtly lit by a concealed LED light along the wall top, allowing uninterrupted views of the night sky and the great views of the surrounding archipelago,' the architects write.

sandellsandberg.se 

The Hat House, Tina Bergman Architects' latest residential project, is an idyllic forest retreat seemingly coming straight out of the land of fairy tales, and tucked away in the woods near Tänndalen in west Sweden. The London-based, Sweden-born architect conceived this compact piece of cabin architecture for a family of five, their dog, and their many occasional guests. 

The Hat House by Tina Bergman Architects

The project had to follow local planning regulations, which stipulated that nothing above 100 sq m can be built in the region – therefore, it was doubly important for the team to find the perfect spot to place the cabin, in order to maximise views, sense of space inside, and minimise its impact to the environment. 'I travelled to the site with my clients on an unusually warm weekend at the end of May: met with that intense green of newly sprung birch leaves and a near complete silence, our aim was to find a spot to place the building,' Bergman writes. 'We found it soon: a naturally formed clearing, withdrawn from the forest road, with views to the mountains and a lake to the south and west, and with yellow orchids growing in the east.'

Made out of timber, the retreat resembles in form the home from a Swedish fairy tale about three children living in a hat – lending the house its name. At the same time, the structure takes its material cues from its natural environment, featuring a spruce floor, beautifully weathered Kebony pine heart cladding, with a glulam and softwood overall framework construction. Large windows further perfect this synergy between land and architecture. 'It is a house intensely following the seasons of the year; the blue faint light of midwinter, the bursting green of new summer, the misty yellows of the autumn mountains,' said Bergman. 

tinabergman.com 

‘A House’ is idyllically placed among the wooded expanses of Lilla Kilskäret, an island of the Swedish archipelago outside the capital of Stockholm. This small architectural cabin, a piece of Nordic minimalist architecture, is the work of emerging practice studio nāv, and it was especially conceived as a summer home for a young couple.

‘A House’ by studio nāv

Building in such a pristine, natural location sounds like an architect's – and client’s – dream, but it didn't come without its issues. 'Due to a challenging site and local building regulations, the house needed to have a small footprint and blend in with the landscape,' the team, led by studio founders Carl Fransson and Thomas Paltiel, explain. 

As a result, the interior is a clever, flexible, open-plan space. A single, open room, wrapped in swathes of glass that make it at one with its green environment, contains the pared-down living space and bedroom area. Glulam framework ensures the construction was fast and easy, while its timber nature, alongside similar interior surfaces, defines the architects' overall organic material approach that matches the verdant surroundings. 

The home has three glass sides with openings that can be drawn back to unite interior and exterior, and one opaque one. However, the architects made sure residents can, at the same time, feel comfortable and protected inside their minimalist cabin. 'To provide privacy, a large drapery was added to the interior. This drapery runs the length of three façades and can completely seal the building off. In addition, a black detachable mesh was mounted on the exterior, making the house less visible from the water,' the team write. 

studio-nav.com 

Magnus Wästberg founded lighting brand Wästberg in 2008, keen to explore mankind’s relationship with light through history. His aim was to create a ‘good, holistic lighting solution that truly provides wellbeing on both a physical and emotional level’, and he did so in collaboration with some of the world’s most notable creatives, including Ilse Crawford, Claesson Koivisto Rune, Nendo and Inga Sempé.

He outlined the company’s founding principles in a manifesto titled ‘Lamps for Neanderthal Man’. ‘I explored the idea that humans lived with fire as our only artificial light source for about a million years, and electric light has been around for little more than a century: a blink of an eye in comparison,’ he says. So in 2017, as the company was about to turn ten, he decided to commission the ‘Holocene’ collection of oil lamps and candleholders, as a celebration of fire and its role as a bringer of light.

Wästberg ‘Holocene’: new designs by Ilse Crawford, David Chipperfield and Ingegerd Råman

Now, Wästberg is extending the ‘Holocene’ collection with new designs by Ilse Crawford and David Chipperfield (both contributed to the original collection), and a piece by Swedish glass designer Ingegerd Råman.

For his piece, Chipperfield played with reflections, creating a steel candleholder coated in a deep shade of red oxide. While suited to the tabletop, the piece also comes with a wall bracket, so it can be hung in front of a high-polish mirror to create a striking reflection. Crawford returned to the concept of her previous ‘Holocene’ design (an oil lamp shaped like a solid brass disc), equipped with a spike to hold a candle, and defined by a high-gloss inside finish and a brushed exterior finish. Råman was inspired by her habit of keeping a flower on her bedside table, so her design doubles as a vase for a single stem, the graceful glass tube held in place by a steel base and top.

Although conceptually different from the brand’s technology-driven lighting designs, the ‘Holocene’ pieces are crafted with the same precision, careful approach to materials and ingenuity.

‘To me both the technology-driven and the “Holocene” parts of our collection are important,’ continues Wästberg. ‘I strongly believe that many of the lighting environments that we currently spend our time in, such as our homes, benefit immensely on an emotional level from an “atmospheric accent” in the form of a candle or an oil lamp. As Paul Klee elegantly put it: “One eye sees, the other feels”.’

‘Holocene No. 5’: David Chipperfield from Wästberg, starting from £78 excl. VAT
‘Holocene No. 6’: Ilse Crawford from Wästberg, £205 excl. VAT
‘Holocene No. 7’: Ingegerd Råman from Wästberg, £240 excl. VAT

wastberg.com

Trakt Forest Hotel by Wingårdhs floats among the tree canopy in Sweden's Sällehägnad. Set among rich woods in the country's southern province of Småland, the project was composed with simplicity in mind. Engulfing the visitor in nature, offering straightforward, sustainable architecture, this is a hotel that places the forest experience at the heart of its identity. 

The project, led by studio founder Gert Wingårdh and architect Sara Helder, is composed of five suites set in cabins that have been raised on stilts, seemingly hovering above the forest floor. ‘By elevating the buildings, the suites get closer to the treetops and leave the ground untouched. It gives a feeling of being in between. Present,' the architects explain.

The timber volume of each cabin has been conceived to maximise the guests’ connection with the surrounding woods. Openings were carefully placed to frame various views – towards the leafy context, but also upwards, towards the sky that peeks through the foliage. ‘The one over the bed is the key to make you feel the soothing sensation of watching tall pine trees sway in the wind. That, together with an intimate and frugal inside décor in chlorophyll green, strengthens the experience of being invisible in the middle of a deep Swedish forest,' the architecture team adds. 

Leaning into their commitment to an eco-friendly approach, the architects constructed the cabins using locally sourced timber, covering the façade in gently cut, but still raw, pine wood. The dig was kept to an absolute minimum, ensuring a gentle footprint for this Swedish hotel, which hopes to leave its natural context as untouched as possible for both the guests' enjoyment and the local ecosystem's sake and future preservation.

wingardhs.se

traktforesthotel.com

Nordic architecture, as well as a spirit of sharing and candid creative exchanges sit at the heart of a new book by Artifice. Share: Conversations about Contemporary Architecture – The Nordic Countries, was co-authored by Canada-born Norway-based architect Todd Saunders, and architecture and design writer, and Wallpaper* editor Jonathan Bell.

The book, which hails the first in what the team says will become a series of publications, each focusing on a specific territory and featuring Saunders in conversation with some of each region’s most celebrated architects, is out this month. 

‘We are architects all the time, whether at the dinner table, in the queue at the grocery store, driving on the highway or lying in bed at night. By asking questions about what matters and why, I hope this book starts a conversation about the processes behind architecture, and how different outlooks translate into the work that we do and the way we achieve it,’ says Saunders, who embarked on the book with Bell to investigate the process of design and open up discussions across the profession. 

In this particular edition, the team talks to key players in the Nordic architecture field, such as Bjarke Ingels of BIG and Louis Becker of Henning Larsen. It spans projects, as well as questions about architecture – 99 of those, to be precise – visiting Finland, Norway, Denmark, Sweden and Iceland along the way.  

The book instantly draws the reader in through vivid, Q&A interview formats, alternated with striking photography and a wealth of projects that cover a range of typologies – from the region's much-loved cabin in the woods, to larger villas and townhouses, but also commercial and infrastructure projects.

The key here, is the dialogue that is the thread to unite all case studies, opening up the typically fairly insular world of architecture to a broader audience – making Share the perfect tool for professionals, aspiring architects and the wider public. 

This book reveals ‘architects’ hopes, fears and aspirations, as well as the real-world challenges of running a modern practice,' the team explains.

The Share series promises to come back with more territory-focused investigations – North America, Europe and the Far East are all on the list to explore and learn from.

Share: Conversations about Contemporary Architecture – The Nordic Countries is available by Artifice, £34.95

artificeonline.com

saunders.no

The studio of Swedish architect Måns Tham tends to produce work that displays an alluring balance between a textural celebration of materiality and structural practicality, and its latest residential project is no different. Located in Edsåsdalen in Sweden, a small, friendly village just south of the Åre alpine ski resort, within a lush expanse of spruce and pine, is this A-frame house. Conceived as a ski lodge and inspired by the irregular beauty of the mountain range it faces, the structure is a twist on the traditional A-frame that slots modern luxuries into the timeless design and craftsmanship of the genre. 

Heat-treated pine slats clad the north-western and south-eastern façades of the house, punctuated by angular windows. Granite-coloured folded aluminium sheets were moulded by hand to fit the unique curves of the roof. ‘The triangular shape makes the house into a little mountain top in itself,' Tham explains. ‘As snow piles up in winter the edge between ground and house gets blurred.'

An A-frame house and ski lodge

The A-frame house is split between two levels, and was partially constructed using prefabricated A-frame trusses. A sequence of curved dormer windows was added to increase the height of the upper floor and ensure spaciousness in areas which would have felt otherwise limited. Long sightlines are revealed through sliding doors and frameless windows. The openings are large enough to flood all rooms with natural sunlight, even during the boreal winter.

The ski lodge is large enough to sleep 12, divided into three suites, each with its own bathroom and lounge. A lobby with storage space for ski equipment welcomes you upon arrival. The master bedroom is positioned just by this entrance area, featuring a window offering a view over the mountains to the south. 

An L-shaped sofa hugs nearly the full perimeter of the ground floor’s living room, with cushions matching the colour of the polished, poured concrete floor. The central fireplace is formed by a curved wall of locally sourced, dark glazed bricks, which appear almost pearlescent. 

Most fixed furnishings such as these, as well as the kitchen island, closets, and guest room beds are bespoke to fit perfectly the dimensions and features of the house. ‘It has a palette adjusted to the rest of the house – greys and [beiges], wood and stainless steel,' Tham says, ‘in order to be part of the whole.' Even the blinds in the gable bedrooms are custom fit to block the summer’s midnight sun. 

A haven of serenity and relaxation, the ground floor also boasts a jacuzzi, spa, and steam sauna room. Bathrooms are dark, tiled with forest green bricks and oiled wood. The fittings here are simple, unembellished, to ensure the guest's attention is directed towards the tranquillity of the skies and forest. 

Time is an oft-forgotten layer in architecture, but Tham is taking it into account here. The house’s interior reddish larch wood-panelled walls, ceilings, and upper floors, will weather to a deeper brown as they age. Lighting is another key feature of the ski lodge – from the silhouettes of lighting fixtures that echo the house’s triangular structure, to the gold brushed wall lights complementing the warm furnishings.

INFORMATION

manstham.com

When Massproductions’ design director Chris Martin presented the company’s new collection of domestic accessories, he dubbed the collection ‘the rules plus some magic’. The Swedish furniture brand is known for its neo-modernist furniture collections that blend well-considered design and attention to the manufacturing process. ‘The Little Things’, as the collection is called, includes smaller furniture pieces and accessories, objects ‘with the ability to gild everyday life’.

The Little Things includes mirrors made of polished aluminium, a candle holder, a rubber door wedge, a shelf, a wine rack and a vase and a small table. Cushions and wall hangers, launched by the brand over the past few years, complete the collection. 

‘I wanted to change the scale of the things I normally design,’ says Martin. ‘It turned out that it is a similar process as when I design furniture; it is the same struggle, even for smaller objects. But the reward is worth it, because as the saying goes, it’s the little things that make a big difference.’

Martin describes the creative process for the collection as a transition from the rational to the madness, creating a contrast between an object’s functionality and the design approach. The shape of the ‘Trippy’ glass vase, for example, is defined by ‘the mood and creativity of the glassblowers that day’, while the ‘Memory’ mirrors simply feature a folded piece of polished aluminium (a decision based on learning the environmental impact of glass mirror manufacturing).

The collection is presented at Massproductions’ store, which opened in February 2022 in an Art Nouveau building in Stockholm's Södermalm, originally designed in 1912 by architect Sam Kjellberg with new interiors by Massproductions’ creative director and CEO Magnus Elebäck in collaboration with Specific Generic. For the launch, multidisciplinary designer Paul Vaugoyeau created a foil-clad room at the back of the store.

‘Although all objects in The Little Things come from one and the same hand (Chris’ left hand), they have no obvious relationship,’ comments Elebäck. ‘But just like with our furniture collection, it is only when you look closer and live with the products that the common thread emerges. A thread that is spun by ingenuity, function, relevance and tactility.’

INFORMATION

massproductions.se

ADDRESS

Massproductions Works
Östgötagatan 29
Stockholm
Sweden

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During Stockholm Design Week 2022, designer India Mahdavi staged a takeover of Svenskt Tenn’s Stockholm gallery space. Located on the ground floor of the Strandvägen 5 store, the exhibition is titled ‘Frankly Yours’ and sees the Parisian designer experimenting with the legacy of the brand, using iconic prints and objects, as well as new pewter pieces designed for the occasion. 

The starting point for the space is Frank’s ‘Vegetable Tree’ print, a multicoloured composition of fruits and flowers on white textile cladding the room’s walls in their entirety. ‘The “Vegetable Tree” print brings us back to the root of life: nature in its purest form,’ comments Mahdavi.

‘I love the fact that vegetables grow on a tree here: it gives this fabric a poetic dimension. In the exhibition, I have put the “Vegetable Tree” all over the walls and the furniture. This allows us to perceive it in a different way and to highlight its beauty.’

Upon entering the room, visitors are immersed in a world of colour: as well as adorning the walls, the bold hues of the Josef Frank prints grace furniture and lighting pieces. Mahdavi injected the interior with still more energising colour, from the velvety purple carpet to the expressive pillows on the sofas.

‘Colours are the consequence of my memory, of my heritage: my Iranian and Egyptian origins, growing up in the United States in the 1960s and living in the south of France,’ says Mahdavi. ‘It is a language that I have come to use fluently. As I see it, colours have conversations. They argue and reconcile.’

For the exhibition, she has also designed a floor lamp based on Josef Frank’s ‘2326’ model, and new pieces in pewter (a material that is at the heart of Svenskt Tenn’s legacy). 

The pewter trays, Mahdavi explains, are a tribute to Svenskt Tenn’s founder, Estrid Ericson. ‘At the age of 30, back in 1924, she was already such an example for women: a strong and independent entrepreneur,’ says Mahdavi. ‘The whole project honours the history, the origins and the work made by Svenskt Tenn, Estrid Ericson and Josef Frank.’

INFORMATION

‘Frankly Yours’ is at Svenkst Tenn, Strandvägen 5, Stockholm, until 23 October 2022. All pieces available from Svenskt Tenn

svenskttenn.com

india-mahdavi.com