“House 669” is an expression of the customers dream of getting their own house on a low budget and within a set fabrication process. The context is typical of many mid-sized Swedish towns contemporary development. The plot is prepared for fast and cost-effective construction of a catalogue house. Building your own home here normally comes down to the choice of a style. “House 669” lands in this context, neighbouring the neofunctional look and across the street a modern mansion sitting on a plot of 600 m2. It is a house built in collaboration with a local catalogue house manufacturer, but sustains the pursuit of living in an environment that supports the families everyday life, including work, play, social life and rest. The volume is archetypical, like a quick drawing of a house. 1 1/2 levels and open to the ridge, it provides a variety of spaces. By stripping away the standard materials (3-strip parquet, plasterboard ceilings, laminate window sills etc.) often found in catalogue houses, “House 669” achieve a more tactile material palette. Three coloured “islands” divide the ground floor which becomes the scene for social life, while structurally supporting the private rooms upstairs.
3XN has won the competition to design a new aquatic centre in the Swedish city of Linkoping. Named “Vågen”(The Wave) the scheme seeks to unite the urban with the water – both in form and in function. Located between the Tinnerbäck Lake and Linkoping, the new aquatic centre becomes a hybrid between the city and the lake.
With its proposal “Under one roof” White Arkitekter won the design competition for a new station and City Hall in the southern Swedish city of Växjö. As the motto suggests, the building gathers several functions in one volume and connects the city’s different parts. This new ‘living room’ is open, welcoming everyone from teenage girls and senior citizens to municipal employees and visitors. The building also creates a new silhouette in the city.
A new structure is towering up on an elevation in central Uppsala. Skandion Clinic is Scandinavia’s first cancer clinic for treatment with proton therapy. A patient hotel with 86 double rooms has been constructed adjacent to the clinic. Seven counties have collaborated with Akademiska Hus to realise this unique collaborative project. LINK won a parallel assignment in 2007 with a proposal where the plot’s buildable area was fully utilized and Uppsala was provided with a new signature building with a secure and high-tech interior. The clinic opened in 2015 and will treat approximately one thousand patients every year.
The independent branding agency Identity Works is housed in one of Stockholms most iconic commercial buildings from the Swedish Grace era, designed by Cyrillus Johansson. When expanding within the building Elding Oscarson were given the opportunity to thoroughly look into the agency’s workflow in relation to the disposition of spaces. Within a tight framework of standard requirements, a project tailored for the client regarding openness, transparency, communication, and creative flow, could be crafted. The envisioned creative atelier, however with the need of many enclosed rooms, resulted in a layout where enclosed spaces are arranged to form a series of interconnected open spaces. Like buildings, towards a square, these volumes have been given facades with large windows providing light and transparency. Their contrasting cladding of clear lacquered MDF shelving, highlights the spatial organization while functioning as an ever-changing mood board.
Höllviken south of Malmö is originally a seaside summer resort. A young couple wanted to build a house on a traditional summer house lot that had to be very modern, and at the same time suitable for a flexible family life.
The most economical solution considering the planning regulations of the area is the traditional 1,5- story house most common in the south of Sweden. This strategy would also enable us to save some of the trees and vegetation on the site.
White and Snøhetta’s Kasper Salin Prize-winning culture house, in Umeå, north Sweden, is a new concept in cultural buildings – one that symbolises the city’s ambition to entwine a whole series of disciplines within a cluster of flexible spaces.
250,000 people pass through Stockholm’s central station on a daily basis. If you were one of them, you would not have missed all the development that has been going on here between 2008-2014 – and a station that has been fully functional the entire time.
In 2008, we were asked by Jernhusen to modernize and develop large parts of Stockholm’s Central station – one of Sweden’s most important crossroads – and make it possible for the station to manage the challenges of both today and tomorrow. Not least the constantly increasing number of travellers. Due to the requirement for many separate improvements, we were given the opportunity to develop a thorough concept for the development.
”Our vision was to improve the experience of the visitors through modernization and design that exceeded their expectations and at the same time preserve and highlight the fine qualities of the old building”, says Mark Humphreys, chief architect.
Helsingborg C, Knutpunkten has a new entrance, Södra entrén. The South entrance is far more than just a shortcut to the tracks, though. As well as a new passenger flow and a cycle hub, the new entrance is also a landmark and a destination that strengthens the city’s commercial ties.
The Municipality of Helsingborg has witnessed a sharp increase in traffic to and from the city. Looking forward to 2020, it is estimated that daily visitors will increase from the current figure of 22,000 to 32,000. This is a pressure that Knutpunkten – which was designed by Ivar Krepp in 1984–1991 – could not handle in its current state, which is why the decision was made to create a new exit and approach at the root of the track’s southern extension. Furthermore, the southern entrances were in a worse condition than the northern ones, which affected the flow of pedestrian traffic. Knutpunkten is currently undergoing a transformation and renovation, yet another task that fell on us.
I designed Villa Astrid in the summer of 2002 and Karin completed the details and made improvements throughout the autumn. The site was tucked between two houses and consisted mainly of rugged and fairly steep rock. The detailed plans specified eaves of maximum 3.5 metres high and a roof slope of 14 to 27 degrees. My client had a construction programme for a two-storey building. The answer was to sink the upper floor. That sounds easy, but it took several weeks to design.
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