ArkDes, the Swedish Centre for Architecture and Design, will participate in Freespace – the central exhibition of the 2018 Biennale.
Sculpture and furniture in equal parts, where the aesthetic is sprung from organic objects of art in relation to square podiums. Mammut gives the feeling of being embraced. At the same time, the chair can itself be embraced. The tactile perception of both the shape and materials makes Mammut an object to interact with. This is the result of a collaboration where upholstery student and design student have come together in joint design. An intertwined process together with our different backgrounds has enabled an exchange of skills where we have learnt from each other and together. Construction: Frame of wood. padding of foam. Upholstered in wool fabric and deer suede. From conception to finished prototype, the project took us just over two months.
With the help of colour and composition, I make flat surfaces threedimensional, and vice versa. I seek to distort a space and give the viewer an illusion of what it really is. With the use of colour, I want to rub out the boundaries between flat surfaces and three-dimensional objects. I want to make the viewer curious – come closer and experience my spatiality!
Villa Idun-Lee is a project where experimental lust is combined with pragmatism. The villa project was a collaboration with Axel von Friesen & Marika Vaccino Andersson, and is the result of a long sketching process based on the interactions of family life. The act of not hiding everyday life became a dominant theme, while another was to not conceal the building’s structure and materials. Everything from the facade, construction and insulation to solid floors, kitchen, doors and built-in furniture explores the versatility of wood. In the middle is a brick volume that creates an inner world, which people move around and through. Various functions are built into the brick walls depending on where they play a role – shoe shelf and key cabinet by the door, fireplace with heat ducts in the library, glazing to the kitchen and baths, recessed lights, sliding doors, and so on.
Our desire to change and improve the way we consume clothing grows stronger with every day. I want the viewer to see the possibilities of creating and interacting with garments of materials that are considered used, and that can be given dynamic and interesting expressions through various techniques. I felt a strong urge to challenge myself and my creative process, to examine whether sustainable choices and decisions would facilitate or complicate my creative process. Within the framework of sustainability and my vision for the collection, I chose to work with sustainable cutting and draping techniques, recycled materials like wool and polyester, scrap materials, old tapestries, and I also tried to work sustainable hours during the course of my project.
Earth’s Crust – Material Rules is a collection that studies knitting as a technique, while pushing its limits and challenging it. The starting point was the earth’s crust: its form, changeability, processes, materials and relationships there between. Shown here are parts of the collection. A hand-knitted jacket in wool, where the round shape of the garment is determined in the technique – the size of the stitch grows with each length. A machine-knitted dress in polyamide and polypropylene that has been melted for stability and volume. A coat in machine-knitted cashmere/viscose/ polyester/nylon, laminated with rubber and held together by heat. In my business of knitting design, the development of new materials and techniques is key. I work partly from my knitting lab in Malmö, and partly as an external designer for fashion houses in Sweden and internationally.