Each year Forum, Scandinavia’s leading trade magazine devoted to interior architecture, celebrates Sweden’s best interior design. On February 5 at the Stockholm Furniture Fair the results following were announced. Published on the same day was a special issue of Forum treating exclusively the results of the contest. This issue — which includes a summary in English — is available at www.scandinaviandesign.com/forum.

Arlanda VIP lounge

Interior design: Jonas Bohlin
Co-designers: Koncept
Commissioned by: Luftfartsverket (the Swedish Board of Civil Aviation)
Area: 925 sq m
Completed: May 2002
Address: Stockholm-Arlanda Airport, Pier F

Jury motivation: The VIP lounge breaks boundaries and already deserves to be regarded as a classic. Details and the overall treatment combine to create a Swedish image which physically and poetically seems to abolish the limitations imposed by the space. Bohlin strikes a blow at the Nordic design stereotype as being purely functional and blond. Instead he places the visitor – whether he be statesman or member of a rock group – in touch with a rich seam of memories and experiences from the Swedish landscape.

Pier F with the VIP lounge main entrance at ground-floor level.
Photo: Johan Fowelin

One of two identical corridors leading to and from the gates. The pedestal at the back is a mobile workstation. Right picture: The assembly-model cherry tree by the American artist Steven Bachelder, with its delicate cloth flowers, dominates the central area of the VIP lounge. Exhibition cupboards are concealed behind the ashwood panels. Limestone from Gotland island provides the flooring.

One of four VIP rooms. The rooms are dominated by furniture of Jonas Bohlin’s own design. Carpet from Kasthall. All the artworks are loaned from the Stockholm Konstkansli. Here a work by Clay Ketter.

The VIP room nearest to the entrance. Two of the four waiting-rooms can be converted into a single large room by means of swing doors. Right picture: One of two waiting-rooms adjoining the gates. Here guests wait to board their aircraft.

A niche by the entrance with space for a mobile reception counter and metal detectors. Right picture: twilight in "Cherry Vale".

Baltic Centre for Contemporary Art
Interior design: Åke Axelsson
Commissioned by: Gateshead Council in collaboration with the Arts Council of England
Area: 12,000 sq m
Completed: July 2002
Address: South Shore Road, Gateshead

Jury motivation: On paper Axelsson’s interior design is spartan and discriminating with just a few building blocks, in essence merely a table, chair and shelf. But no other interior design this year has proved so daring and successful at making its impact on a building by such limited means. Axelsson pushes the limits of interior design, reduces them to their barest essence, and does so in a building which ought in fact to be altogether too large and complex for the kind of simplicity he applies to it.

The fifties mill has been complemented with a lower entrance building housing bookshop and café.

Rooftop restaurant. The aluminium armchairs with plastic seats strike a link to the red and black colour scheme which permeates the Baltic’s graphic profile. Åke Axelsson’s intention was that the wood floor, now given a grey glaze, should instead have been in black steel. Right picture: the café on the ground floor with chairs and tables of fairly simple design. The bar and the bar stools are also by Axelsson.

Staff workroom on level three. The solid pine tables with tubular steel legs are a variant on the tables in the restaurant and café. Even the book-case’s simple design allows for very varied presentation. Right picture: with a conscious allusion to the port area around the museum Axelsson has stretched green tarpaulin over the floors of Swedish pine in the boardroom, in Nordgren’s workroom and the staff common room. Here a detail with maritime associations.

Boardroom (left). The limited furnishing consists of the chair Bello which, satellite-wise, circles the chairman’s round table at the centre of the room. In Sune Nordgren’s workroom the chair Vinga has been paired with a black glazed Baltic table (right).

Axelsson’s controlled design expression works well alongside artworks of a more expressive character, as with this installation by the Portuguese artist Pedro Cabrita Reis. Right picture: the staff common room with a view down the River Tyne. The chair specially designed. Tarpaulin on the floor. On the walls framed covers from the museum’s ambitious newsletter.

Moderna Museet c/o
Interior design: Arkitektkontoret Fråne Hederus Malmström
Commissioned by: Moderna Museet and Statens fastighetsverk (the National [Swedish] Property Board)
Area: 7,000 sq m, of which 1,900 sq m in public areas
Completed: June 2002
Address: Klarabergsviadukten 61, Stockholm

Jury motivation: The interior design by Arkitektkontoret Fråne Hederus Malmström has succeeded in transforming not just a single building but a whole city block. This is an achievement matched by no other design during 2002. Structural factors are a major part of the secret behind this success. To a large extent FHM have turned Rafael Moneo’s museum on Skeppsholmen – now ravaged by mildew – on its head. A spacious but desolate entrance hall has been replaced by a foyer full of happening and information, thanks to the positioning of the restaurant and bookshop immediately inside the front door. A sloping, long wall tempts the visitor into the exhibition galleries at the heart of the temporary locales.

Moderna Museet has temporarily taken over the former post office terminal building at the Klaraberg viaduct. Right picture: There is a clear link between the interior design and advertising campaigns produced by the Storåker advertising bureau. Posters decorate one wall at the museum.

Arkitektkontoret Fråne Hederus Malmström has created a welcoming entrance section with restaurant and shop immediately inside the front door. The green wall guides the visitor into the exhibition gallery.

Illuminated walls in corrugated plastic serve both for lighting and orientation at the heart of the locale. The bench is one of the few items brought from Moneo’s mildewed Skeppsholm museum, painted in white here so as better to suit the more modern Moderna Museet c/o. Right picture: the lounge is next to the museum’s information centre and library. Inexpensive materials stress the temporary nature of the present museum: armchairs, designed by Claesson Koivisto Rune for Skandiform, are upholstered in PVC fabric and the floor covered by nylon weave carpeting.

Academian Restaurang & Bar
Interior design: Thomas Eriksson Arkitektkontor
Co-designers: Scheiwiller Svensson Arkitektkontor
Commissioned by: SAS Flight Academy via Carl-Gustaf Lundberg
Area: 350 sq m
Completed: September 2002
Address: SAS Flight Academy, Stockholm-Arlanda Airport

Jury motivation: This staff restaurant displays a level of design usually found only in city-centre locales with exclusive menus. This is not to suggest that it attempts to be more than a working staff restaurant but rather that it presents a brave updating or new interpretation of the concept of the staff restaurant. The Academian Restaurang & Bar manifests confidence in its clients. The freedom to express your choice – an obvious requirement of a staff restaurant but one seldom provided – is here always present. One of the best examples of this approach greets you as soon as you arrive – you pay first and are then free to select the food of your choice from two laden tables.

SAS Flight Academy from 1988, designed by Bergströms Arkitektkontor, later Scheiwiller Svensson. Right picture: specially designed plate heaters project from the sky-blue Peran flooring. In the buffet counter behind, made of Corian, plates have been elegantly integrated.

The à la carte restaurant (left), called the slow-food section, is separated by curtains from the rest of the restaurant. The leaf decoration in the mirrors appears to make the room larger. The tables were specially designed and have been complemented by chairs from Crassevig. In the fast-food section (right) the warm SAS red tone dominates.

The fast-food section. The bar stools were originally designed by Eriksson for the SAS lounges; here they have been fitted out with red leather seats.

Built-in wall benches with plant decoration in the larger normal-food section.


Articel from the swedish magazine FORUM


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