Beller’s Equal seating ensemble personifies minimalism, emphasizing a sense of delicate sensibility. The collection is a set of chairs and stools all made from retracting wood in a tight grip of a single, seamless piece of cast metal. The philosophy of the strength between the relationships between objects, and people, is the basis for material selection and composition. The ash wood and the cast aluminum stand as these opposites, united in the Equal chair. Norway-based Lars Beller Fjetland studied at the Bergen National Academy of the Arts focusing on furniture, interiors and lighting, and his Norwegian coastal roots are clearly overt in his work. It is typical of the beautiful Scandinavian tone of combined considered tradition, restrained form and impeccable and seamless detailing. Equal is the spawn of this fascination with detail and a timeless aesthetic. Photography courtesy of Magne Sandnes.
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Brasília is known far and wide for its unique urban planning by Lúcio Costa and, unsurprisingly, modernist architecture that comes along with it by Oscar Niemeyer. Taking into account the particularities of Niemeyer’s buildings, such as explicit concrete structures, geometric sharp angles, surprising curves and the sheer large scale and amplitude of each creation. The often-considered futuristic designs are no strangers to coffee table photography books, so it’s refreshing to see a masterful take of Brasília’s iconic buildings with a minimalist and night-time twist. Norway-based photographer Øystein Aspelund visited the modern capital of Brazil and managed to capture a fascinating collection of unlikely portraits of famous buildings with great expertise in shadow play; whilst making very clear how grand the scale is, towering over the lone human figures. The variety and eclecticism of textures and forms is exquisite, all the while achieving a clear minimalist visual composition. Øystein showcases Brasília’s modernism with a night shade that covers the surrounding areas to expose the expressive and very authentic elements from each building. This is a great introduction for newcomers and an unusual take for locals and enthusiasts to behold. To simplify and reduce successfully is not an easy task at all...
Filippo Protasoni’s Platone wall light perfectly combines illumination void of distraction. The piece is comprised of a thermoplastic moulded shell which is painted and then attached with aluminium metal wall supports. The slow arcing bend of the mould seems to create a sweeping affect, while indirectly lighting the vertical surface. Protasoni, having studied in both Italy and Norway, and now based on Milan, Italy, has a background in a combination of product and interior design. He has exhibited and won appraise in a number of international design forums, and continues to develop his strong design philosophy. The Platone is a curated piece of form and function intertwining effortlessly. The resulting addition it adds to the space, is secondary, leaving room, space and noise for the life to occur. Photography courtesy of Filippo Protasoni.
Norway based designer and artist, Daniel Rybakken, has an outstanding portfolio of work that spreads installation, lighting and illumination creations. His latest — Compendium — a lamp family designed for Italian lighting company, Luceplan. Rybakken asked the question: How would you best illuminate a room with only one light source? To begin with, you would need a very strong light source, and secondly you would like to have it to come from the side, in the same manner as a window with natural light coming into the space. Thirdly, since you have this strong light source, you need to avoid glare, so you should try to diffuse and soften the light. These three aspects were the primary focus of the Compendium project. The lamp, made from extruded anodised aluminium, features a very strong LED light source directed towards the wall, and by doing this, a soft light reflects into the open space, creating a beautifully balanced illumination. The compendium family consists of a floor version with a freely rotatable stem and a suspended version, mountable either as an up or downward light. Photography by Kalle Sanner & Daniel Rybakken.
Chunk by Andreas Engesvik for Menu, is a simple and beautiful vessel for illumination. Designed specifically for Menu, this piece is available in both a marble and raw concrete finish. Both incredible. They are finished with either metal or copper insets to house the candle, and can be purchased in three differing sizes. Designed so that as the candle burns, the light reflects in the copper giving a beautiful glow; perfect for dinner tables and window sills; an industrial yet romantic look. Originating from Norway, Andreas Engesvik’s body of work has been highly acclaimed and diverse, but always consistent and minimal. This piece is no exception. Standing both 35mm, 55mm and 75mm high, all S,M,L have a diameter of 75mm. Available through Menu, Chunk are sure to become timeless classics. Photography courtesy of Menu.
To inspire their audience with new ideas and materials, Menu collaborated with some of the worlds most talented designers. The Gridy Me mirror was designed by the Oslo based design studio Gridy by Lars Olav Dybdal and Wilhelm Grieg Teisner. Two parts. Easily assembled. One can position the mirror in portrait or landscape mode and then choose between a ‘normal’ mirror reflection glass or the opposite side in nostalgic, warm, copper tone. Whatever you decide, the lines of the smoked colour oak base will draw a unique landscape on each mirror. The dimensions make the Gridy Me mirror for a vanity mirror or as a decorative element in your bathroom or living area. The Norwegian designers, Dybdal and Grieg Teisner met during their study and together they aim to create streamlined design with a strong sense of personality and function. “Gridy” is a combination of their surnames.
Thin lines and effortless functionality are but two mere elements of Daniel Rybakken’s Ascent table lamp designed for Luceplan. Presented at Euroluce, in Milan 2013, this piece is made from a combination of aluminium and technopolymer and is available in two alternate versions, with or without a standing base. In the base-less option, there exists an anchor bolt. In both options, the lamp is designed to be suitable for larger public spaces as well as domestic use. Disassembled, the elements that comprise the Ascent table lamp are traditionally recognisable. However, its Rybakken’s reinterpretation of its reassembly that is impressive. Mounted on a slender vertical stem, by moving the head along the stem the light intensity goes from being turned off at the bottom position, to gradually ascending to the full light output at the top. This ease of use, and variation in customisation, affords the user the ability to control the light intensity, but also the spread of the light. Daniel Rybakken, based on Norway, has a growing portfolio of work that spreads installation, lighting and illumination experimentations. With a background in Fine Arts and Design, his work spans across both disciplines, pushing boundaries through innovation on both accounts. The...
The Button side table is a creation of Norway born Switzerland based designer Fredrik Wærnes. He developed this elegant and minimal piece with the purpose to provide versatility in the living space. The tabletop can be removed and used as a serving tray. The grooves in the middle of the wooden base keep the tray tightly and securely in place. I like the opening in the center. Aside from being a visual feature, making the tabletop resemble a button (hence the name), it creates handle and makes the piece easier to move.
Norwegian Reiulf Ramstad Arkitekter recently finished a National Tourist Route Rv 889 in Havoysund, Norway. The objective was to magnify visitors’ experience of walking from the roadside down to the seaside. The winding concrete ramp does not only allow universal accessibility but becomes an integral part of the journey. It slows down visitors in a measured, restrained approach and brings out the awareness of one’s surroundings within the remoteness of a place. Located in the extreme north of Norway, in a landscape almost lunar in its barren and inhospitable beauty, the facility should ideally be completely self-sustainable in terms of power input and waste output. The general notion was to create a human detail in the vastness of the landscape that is as timeless as the landscape itself and that brings attention to the relationship between the duration of experiences and the hugeness of the spatial circumstances. I would love to walk that path in slow, measured and restrained steps as the architects intended, wouldn’t you?
This beautifully subtle lighting object, called Colour, is a collaborative effort of two of Norway’s most acclaimed design stars Daniel Rybakken and Andreas Engesvik, produced by French furniture firm Ligne Roset. The piece is comprised of a series of diffusers, placed in front of a light source. Free standing and fully adjustable, these screens create different light and colour effects. Daniel Rybakken explains: Using sheets of coloured glass placed freely in front of a light source, Colour invites the user to mix various hues. I was also intrigued here by the exploded concept of a lamp, formed not only of multiple components, but by multiple objects too. This power to co-create, given to the user, opens up many possibilities. Diffusers may vary in shape and transparency, creating even more unique combinations.
Sunlight has an important role in sustaining life on earth and has shown a positive affect on the mood. Born in Oslo – Norway and currently based Gothenburg – Sweden designer Daniel Rybakken made an installation – Daylight entrance – to “replicate the positive sensation of sunlight” in both the entrance and staircase of an office building in central Stockholm. Using the technical princples of one of his previous projects Rybakken used over 6000 LED lights over 3 stories to give the visitor or employee the suggestion of multiple windows somewhere in the staircase. Photography by Kalle Sanner.
This is not a stool. This is N° 019: a chair disguised as a stool. The chair is completely flat, until someone sits in it. N° 019 is designed by Andreas Aas, a designer and architect who lives and works between Paris, France and Fredrikstad, Norway. Here’s what he says about the concept: When not in use, the chair occupies minimal space – both physically and mentally. It is only when used that the chair takes on the more strenuous shape of the human body. With this in mind, the N° 019 must be the ultimate chair for Über-minimalist interiors.