Beneath the Volcano

Eon architects have raised a tribute to Hekla on the lava plains of Iceland
The main entrance of Heklahof has been nestled into the folded facade fronting the approach to the building. This facade, almost six metres tall, is made of lava and concrete. Previous spread: Gunnar Bergmann Stefánsson and Hledis Sveinsdottír. Opening spread: window niches appeare as natural cracks in the lava facing. In the background Hekla.

Entrance hall with space for reception and café. The concrete raftered ceiling is supported by a century old beam of drift-wood.

The combined conference and restaurant section faces Hekla. Following spread: the lava covered roofing to the conference/restaurant area.

A »fault-fissure« leads to the rear entrance.

The tower is clad in Jatoba wood, the only non-native building material present.

The Wandering Worm of Wanås

When barely twenty she designed and drove to completion the Vietnam monument in Washington. Maya Lin, architect and artist, has now realised her largest creation – in a cow pasture in Skåne, southern Sweden.

Maya Lin’s 11 Minute Line. The name derives from the time it takes to walk from one end to the other of this nearly 500 metre long snake-
like creation.

Lin on the Line.

The 11 Minute Line (clockwise from left): Lin’s original sketch; the Line follows a track defined with the aid of GPS; Lin’s first model was shaped out of gravel; the line follows in part the natural lie of the land, with the two circles located in the meadow’s two dips.

(clockwise from left): the Vietnam Veterans Memorial, Washington D.C. (1982); Library for the Children’s Defence Fund (CDF), Tennessee (1999); Wave Field, University of Michigan (1993–95); pavilion, Manhattanville College (ongoing); chapel for CDF, Tennessee (2004).


Once upon a time Denmark led the world in design and architecture. Seven youthful firms now intend to retrieve lost ground.

Clockwise from below: the classics which provide the starting point for the exhibition; Bruce Mau; with the help of T-shirts the SRL architects explain how coastal housing areas can be created on a couple of artificial islands; Kontrapunkt’s proposal for a new child care system; in Arkitema’s view, buildings should be mass produced and transported round the world by airship (two illustrations). Previous spread: HySociety, by Plot, a housing area self-sufficient in electricity, heating and water.

Clockwise from below: by cultivating medicine instead of food Danish agriculture can again become competitive according to Nord (two illustrations); the economic problems facing Greenland can be solved by taking advantage of melted snow and ice, is the suggestion from Bruce Mau; Plot’s HySociety housing area; HySociety is based on a nation-wide statistical survey which has been shrunk to fill a housing estate of 100,000 square metres; Plot’s other project, Superharbour, presents a central port serving Denmark and surroundings.

Woodwork with a Vengeance

Spruce, pine, birch, aspen wood, oak – timber in plenty has been called on to construct Finland’s largest wooden building.

Sarlotta Narjus and Antti-Matti Siikala.

The inner courtyard and main entrance. Previous spread: the short sides are clad in planks sawn from century-old trunks. Sloping slats on the long sides conceal windows.

The entrance hall, with its massive laminated wood pillar, also serves as staff restaurant. Opposite page: central stairs up to the office floor. Following spread: the conference hall is panelled in tarred aspen wood (left).

White glazed pine slats have been formed to match the conference hall’s oval shape. Both the copper fittings and the solid pine writing unit are from designs by the architects. The chairs from Nikari were designed by Kari Virtanen and specially crafted for Metla in the full range of Finnish timber.

Modern Talking

Norway Says, and promises too.

Andreas Engesvik; the newspaper rack Papermaster (Swedese); module sofa Ugo (L.K.Hjelle) covered in Odal (Gudbrandsdalens Uldvarefabrik). Opposite page: Torbjørn Anderssen. Previous spread: Anderssen, Engesvik and Espen Voll at the office; Break (L.K.Hjelle), winner of Forum’s +1-diploma 2004; the chair Dock (Globe furniture).

The Norway Says shop, sells the trio’s own products and a selection of others’. The carpets – designed by the trio – are from the Primær collection (Lone Tepper), Opposite page: Voll in his Pancras chair (Iform).

The Belly of an Architect

Grand Hotel’s recipe for success: take a world-renowned kitchen designer and stir in 130 million Swedish crowns and 900 square metres.
(p 107) Clearing table for room service orders. Corner protection and edging are specially designed, filled with mortar and rubber to cushion knocks and noises. Previous spread: the pride of the kitchen, the Molteni stove.
(p 109) The walls of the cold buffet are lined with motorised counters for serving large groups. Opposite page: kitchen for hot dishes. The former bulky extractor hoods have been replaced by a ventilated inner ceiling.


Brisac Gonzalez are razing frontiers at Göteborg’s new museum of global culture.

(p 113) When Brisac Gonzalez won the contest for Göteborg’s new Världskulturmuseum (museum of global culture) in May 1999, their design proposal resembled a heap of ice cubes. A cube of glass projecting towards Södra vägen. Previous spread: the atrium with its impressive staircase, also serving as podium.

(p 115) The atrium. The entrance one floor up leads out to Korsvägen and the city centre. Opposite page: the exhibition gallery on the ground floor.

(p 116) Living as they preach: Cécile Brisac from France and the Cuban-American Edgar Gonzalez have an office in London (below); one of the ground floor seminar rooms (bottom).

(p 119) The seating accommodation in pink lea-ther was specially designed. Opposite page: the entrance to the shop is an eye-catching swing-door in stainless steel (above); the auditorium.

(p 121) The projecting library. Opposite page: staircase leading from the underground exhibition gallery to the museum entrance.
(p 122) Old models. Opposite page: the museum’s steel framework is lifted into place during a night shift (above). Below: the Världskulturmuseum is in two parts, one enclosed area facing Södra vägen and an open space fronting the Liseberg park at the rear. The main entrance is seen at street level.