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The white plaster inside the home signals a continuation of the outdoor facade. The cave-like nook was inspired by the fireplace in Swedish architect Erik Gunnar Asplund's summer house.
The white plaster inside the home signals a continuation of the outdoor facade. The cave-like nook was inspired by the fireplace in Swedish architect Erik Gunnar Asplund's summer house.
Next stop: Asplund. There, the company's CEO, Thomas Asplund, said he asks himself one question only when selecting which pieces to carry in his eponymous shop: "would I have it in my own home?"
Next stop: Asplund. There, the company's CEO, Thomas Asplund, said he asks himself one question only when selecting which pieces to carry in his eponymous shop: "would I have it in my own home?"
Franson Wreland also designed the court-yard and a pair of 160-square-foot outbuildings—one is used as guest quarters and the other as storage space. While residents Julia and Fatima Olivero-Reinius chat outdoors, Chippie the dog approaches an Asplund desk and a chair by LucidiPevere.
Franson Wreland also designed the court-yard and a pair of 160-square-foot outbuildings—one is used as guest quarters and the other as storage space. While residents Julia and Fatima Olivero-Reinius chat outdoors, Chippie the dog approaches an Asplund desk and a chair by LucidiPevere.
Couldn't resist—Monkey, by Kaj Bojesen, created for Rosendahl in 1951. Spotted on the shelves at Asplund.
Couldn't resist—Monkey, by Kaj Bojesen, created for Rosendahl in 1951. Spotted on the shelves at Asplund.
The circular Miss Dottie Rug designed by Thomas Sandell for Asplund is hand-tufted and made of rich New Zealand wool.
The circular Miss Dottie Rug designed by Thomas Sandell for Asplund is hand-tufted and made of rich New Zealand wool.
Thomas Asplund enlisted Italian designer Paola Navone to re-issue her Log 99 stool, in white, to be sold exclusively at the Stockholm location.
Thomas Asplund enlisted Italian designer Paola Navone to re-issue her Log 99 stool, in white, to be sold exclusively at the Stockholm location.
Gunnar Asplund exterior lights were added by the couple to freshen up the exterior. “New exterior lights for the driveway, house and surroundings,” Werner Hed explains.
Gunnar Asplund exterior lights were added by the couple to freshen up the exterior. “New exterior lights for the driveway, house and surroundings,” Werner Hed explains.
At the shop, Poul Henningsen’s PH 5 lamp for Louis Poulsen hangs over the Sandra table by Thomas Sandell for Asplund and Scandia chairs by Hans Brattrud for Fjordfiesta (top left).
At the shop, Poul Henningsen’s PH 5 lamp for Louis Poulsen hangs over the Sandra table by Thomas Sandell for Asplund and Scandia chairs by Hans Brattrud for Fjordfiesta (top left).
A close-up of a whimsical tabletop setting featuring Cloth Fold Unfold by Margrethe Odgaard for Hay, Themis Mobile by Clara von Zweigbergk for Artecnica, wooden objects by Note Design Studio, ceramics by Asplund, and porcelain Purnukka from Iittala.
A close-up of a whimsical tabletop setting featuring Cloth Fold Unfold by Margrethe Odgaard for Hay, Themis Mobile by Clara von Zweigbergk for Artecnica, wooden objects by Note Design Studio, ceramics by Asplund, and porcelain Purnukka from Iittala.
Stockholm Public Library in Stockholm, Sweden-The first library in Sweden to adopt an open shelf design, the Stockholm Public Library opened its doors in 1928, when architect Gunnar Asplund and librarian Fredrik Hjelmqvist decided—to the joy of librarians all over the world—that library patrons could fetch their own books. Their self-service model was reinvigorated recently, with a renewed push toward automation for check-outs and returns. Photo: Marcus Hansson
Stockholm Public Library in Stockholm, Sweden-The first library in Sweden to adopt an open shelf design, the Stockholm Public Library opened its doors in 1928, when architect Gunnar Asplund and librarian Fredrik Hjelmqvist decided—to the joy of librarians all over the world—that library patrons could fetch their own books. Their self-service model was reinvigorated recently, with a renewed push toward automation for check-outs and returns. Photo: Marcus Hansson
One might consider the central circularity of the Conversation Room in the context of the Pantheon, The British Museum Reading Room, or Asplund's Stockholm City Library. Equally, the Travel Planning Room lives in a continuum which includes the study of St Jerome (as envisaged by Antonello da Messina) as well as various Studioli from the Italian Renaissance; that in the Ducal Palace at Gubbio springs to mind. Again, the tapering space which forms the neck of the Travel Planning Room has its origins in the First Floor Landing of Asplund's Villa Snell. The use of polished hardwood veneers recalls the interiors of Loos and, last but by no means least, the strategy of creating space which appears to have been carved out of solid (with supporting functions housed within 'poché') refers the visitor to both Nolli's plans of Rome and to the Parisian hotels of the C18. It is not accidental that he architect has spent much of the last twenty-five years altering and repairing rooms within Grade 1 Listed buildings in Westminster and the City of London. The interiority which the Reform Club achieves with marble and scagliola, this apartment does with richly figured timber veneers, polished copper and specialist sculpted finishes. The extraordinary door which separates the Lobby from the Travel Planning Room embodies a whole architectural theory in itself, being formed not as an object but simply as part of the enclosure around the two rooms it divides.
One might consider the central circularity of the Conversation Room in the context of the Pantheon, The British Museum Reading Room, or Asplund's Stockholm City Library. Equally, the Travel Planning Room lives in a continuum which includes the study of St Jerome (as envisaged by Antonello da Messina) as well as various Studioli from the Italian Renaissance; that in the Ducal Palace at Gubbio springs to mind. Again, the tapering space which forms the neck of the Travel Planning Room has its origins in the First Floor Landing of Asplund's Villa Snell. The use of polished hardwood veneers recalls the interiors of Loos and, last but by no means least, the strategy of creating space which appears to have been carved out of solid (with supporting functions housed within 'poché') refers the visitor to both Nolli's plans of Rome and to the Parisian hotels of the C18. It is not accidental that he architect has spent much of the last twenty-five years altering and repairing rooms within Grade 1 Listed buildings in Westminster and the City of London. The interiority which the Reform Club achieves with marble and scagliola, this apartment does with richly figured timber veneers, polished copper and specialist sculpted finishes. The extraordinary door which separates the Lobby from the Travel Planning Room embodies a whole architectural theory in itself, being formed not as an object but simply as part of the enclosure around the two rooms it divides.