延森与斯科温建筑师事务所：挪威建筑的定制主义者

哈尔沃·魏德·埃勒夫森，米尔扎·穆叶齐诺维奇/Halvor Weider Ellefsen, Mirza Mujezinovic王冰 译/Translated by WANG Bing

延森与斯科温建筑师事务所：挪威建筑的定制主义者

jensen & Skodvin Arkitekter: Tailorists of Norwegian Architecture

哈尔沃·魏德·埃勒夫森，米尔扎·穆叶齐诺维奇/Halvor Weider Ellefsen, Mirza Mujezinovic王冰 译/Translated by WANG Bing

延森与斯科温建筑师事务所的两位主持设计师杨·奥拉夫·延森和博瑞·斯科温已经在挪威建筑界的前沿奋斗了超过10个年头。他们就读于奥斯陆建筑与设计学院，曾经师从挪威战后最重要的3位建筑师：斯韦勒·费恩、克里斯蒂安·诺贝格-舒尔茨和文克·塞尔默。他们的设计语汇简单直接，创造出一些独特而富于前瞻性的建筑作品，在这些项目中，自然环境往往扮演着重要角色。哈尔沃·魏德·埃勒夫森和米尔扎·穆叶齐诺维奇对此展开了挪威建筑物质与非物质限制性的讨论。

哈尔沃·魏德·埃勒夫森和米尔扎·穆叶齐诺维奇（E&M）:让我们从头开始吧。在你们开始合作时都做了哪些类型的项目？

博瑞·斯科温（BS）:还是在1990年代中期，当时新奥斯陆机场正在建设中。我们早期的许多项目都是些小型的建筑设计委托，如噪音屏和一些低成本的小型基础设施建筑，这些建筑往往有着较高的科技复杂性，其中一些还是机场技术设备的一部分。虽然这些都是理性化的设计，技术性能才是侧重点，而我们还是希望赋予其一些建筑学上的趣味性。这些项目的业主通常对建筑设计品质的期许不高，但任何事情都还是会带给我们意外之喜的。这些早期的项目，包括国家级旅游路线项目利亚桑登观景台都成为我们后期项目的试验床。

E&M:国家级旅游路线项目为挪威建筑的探索打开了一个怎样全新的局面呢？

杨·奥拉夫·延森（JOJ）:不论是旅游路线项目还是博瑞·斯科温刚才提到的一些项目都没有与建筑当局的政策相违背，所以并没有受到太多的关注。因此，在这些项目上我们往往有机会进行一些特殊的尝试。现在，许多挪威建筑师希望可以制定一个统一的国家建筑政策，让大家走在一条路上，我不知道建筑界的这种思潮是否会演变成一场大规模的建筑运动。

E&M:您经常会提到在挪威建筑生产的困难条件，那么，在你们最近备受赞誉的斯图尔峡湾的夏屋项目中是否也存在同样的情况呢？

JOJ:现如今挪威的建筑生产和30年前东欧的艺术品生产情形差不多。在当时，一些特别的艺术品是在未被关注的情况下生产出来的。较之于大量由政府批准生产的标准件，这些优秀的艺术品令人耳目一新。我想挪威现在的建筑生产情况可以说就和那时差不多：部分挪威建筑已经被预先认定的条条框框所控制，尤其是住宅项目，都多少有点演变成一个生态灾难了，其建造往往受限于众多的法律条文和那些虚构却不容置疑的逻辑。当然，建筑生产的一些领域还处于可管可不管的重叠区域，有些领域几乎还是未知的。国家级旅游路线项目就属于后者，一些像小木屋和夏屋这样的极小型的委托项目是附带其中的。然而，在官僚主义的倾向也在这里逐渐显现的情况下，这个项目会何去何从，还是让我们静观其变吧。

E&M:在设计中，除了严谨的概念设计方法外,你们所掌握的在专业建筑领域以建筑功能为导向的知识体系起到怎样的作用呢?

BS:我们曾经就读于奥斯陆建筑与设计学院,现在也在这里执教。学院一直专注于以概念和构思作为建筑设计的主要创作源。如果想要建造一座建筑，那么也要掌握如何将抽象概念变成具体实物的发展过程。在好奇心的驱使下，我们会一直探寻什么是可能的以及如何实现。至于建造的知识则可以让我们对无趣的复制生产免疫。

JOJ:这也与地域的建筑实践大环境有关。以我们在奥地利的格莱兴伯格温泉疗养院项目为例，与我们在挪威的那些较大型的项目相比较，在这里，项目的参与方更关注设计本身和建造的过程。在奥地利，设计小组会与业主方一起热情地工作，不受合同的束缚，只为了创造出更好更棒的设计项目。这是出于人文的美好意愿，不幸的是，这种情况在挪威的建筑业并不常见。挪威缺乏精神追求和开放合作，法律法规永远要摆在第一位。因此，如果你想要在某种情况下修改设计，如何正确理解设计条件和修改可能带来的后果是非常必要的。众所周知，如何让设计变得更好是需要工匠、工厂和建筑师三方配合的，但同时我们也知道，在挪威所采用的标准合同格式是由法律严格规定的，设计变更和项目后期的方案改良都几乎是不可能的。因此，在编制挪威建筑合同标准时,那些大型的建筑承包商就设法在某些规定中加入对他们有利的条款。他们认为，对每个设计阶段的任务都做出明确定义才是最好的，这样每个阶段都有质量保证，从而确保项目进程的顺利推进。然而事实上，总是会在设计中出现许多悬而未决的问题，这往往是导致法律纠纷的潜在因素。

BS:我们最大的担心是，挪威社会正在朝着越来越不愿承担风险的方向发展，就要成为一个自闭、缺乏创新的非生产性社会了。100年前，挪威投入了大笔金钱用于国家建设升级，在当时的国家国民生产总值中占了很大比例，那是一个真正雄心勃勃的开发计划。同样，还有挪威的石油产业，其发展也受到了政府程序和民主原则的双重支持。我们可以赢得很多，输的很少，并抓住机会。今天，我们将失去所有，换来相对较少的财富和安全。我们都害怕失败，然而在这样的社会环境中，没人能够发展出一个创新型社会，更不用说创新的建筑了。

E&M:从这个角度看，挪威好像是一个不怎么适合建筑师发展的国家，但从外界看，似乎挪威的建筑很有意思，并且设计佣金丰厚。

JOJ:我记得在奥地利，我们与当地的合作者第一次会面时，他们就表示：挪威建筑师的地位要高于奥地利建筑师。我告诉他们，情况正好相反。同样的答案，我也曾经告诉过瑞士的马塞尔·梅里，当时，瑞士或奥地利的建筑报导给我们留下了深刻的印象。所有国家都会宣传他们排名前10的建筑。如果你说挪威建筑的国际形象与实际的建筑生产不匹配，这是真的，可能在挪威也会有非常糟糕的建筑，和其他国家一样。几年前，我买了一本关于圣保罗大教堂的书。书中就描述了大教堂的建筑师克里斯托弗·雷恩与教堂的神职人员由于工程期限和项目成本问题产生了一些矛盾。幸运的是，王室出面调解，并为建筑的竣工提供了必要的资金支持。那些最有趣的建筑的诞生都不会是一帆风顺的，在某些阶段或某个节点上总会有些不幸的事情发生。引人注目的建筑注定不能中庸，也不可能让每个人都支持。看来，传统的前提是没有冲突。

BS:有些人认为建筑必须是颠覆性的，要突破其限制。然而在挪威，建筑都是根据其实际的用途量身打造的。挪威的战后建筑产业告诉我们，建筑是受严格法规和有限资源限定的。今天，这意味着单单出于喜好而去做的事情会被认为是不道德的，从我们在斯图尔峡湾夏屋项目的一些反馈中就体现了这一点。一些人只是片面地关注建筑的实用价值，而不相信真正奇妙的空间体验。在做格莱兴伯格温泉疗养院项目时，我们去布达佩斯参观了盖勒特浴场。这个建筑最突出的特点是在它的挑高空间中设置了许多无功能空间，其主要目的是为了加深和增强游客的体验印象。设置多余的无功能空间，这在当代的建筑界几乎闻所未闻，这帮助我们思考应该如何设置和组织格莱兴伯格温泉疗养院的功能空间。事实上，基本不可能建造如此“慷慨”的空间，我们尝试用一种替代性的方式去组织功能区域，创造出一种“空间富余”的错觉体验。在现如今的挪威建筑业，除了那些被赋予非物质性或精神价值的建筑

jan Olav jensen and Børre Skodvin from jensen & Skodvin Arkitekter have been in the forefront of Norwegian architecture for over a decade. Educated at the Oslo School of Architecture and Design, they were students of three of Norway's most important post-war architects; Sverre Fehn, Christian Norberg Schulz and Wenche Selmer. eir outspoken disciplinary integrity has led to a handful of unique and advanced architectural projects, where the landscape-context plays a central role. Halvor Weider Ellefsen and Mirza Mujezinovic discussed both the material and immaterial constraints of Norwegian Architecture.

Halvor Weider Ellefsen & Mirza Mujezinovic (E&M):Let us start from the very beginning? What kind of projects did you have when you started your collaboration?

Børre Skodvin (BS):This was in the mid 1990s and the new Oslo airport was under construction. Many of our early projects were minor building commissions, such as noise screens and small lowcost infrastructural buildings with high technical complexity, some of them a part of the airport technical facilities. It was an unsentimental context, where technical performance was the primary focus. Still we had the ambition to make something architecturally interesting: Since the clients of these project usually had very modest expectations with regards to architectural quality, anything that could be baked in came as pure bonus. These early commissions, including the "National Tourist Routes" project "Liasanden lay-by," became the test bed for many of our later projects.

E&M:To which degree have the Tourist Route commissions opened up of a new space for architectural exploration in Norway?

Jan Olav Jensen (JOJ):Both the tourist routecommissions and the projects Børre Skodvin refers to were made on the outside of the politically correct architecture bureaucracy, and did not receive much attention. Therefore, these projects had a greater chance of developing into something special. Today there are many architects in Norway that want外（例如教堂或图书馆），极少有项目会像盖勒特浴场这样被允许建造这种无功能空间。但是，在其他类型的建筑设计中，这些方面一般是不会论及的，尽管事实上，所有的建筑都会是我们生存环境的构成部分，从而影响我们的生活和幸福。大部分的结果只是平庸无奇。

E&M:在你们对斯图尔峡湾夏屋的项目描述中，使用了像“几何改造”和“独立复合体系”这样的建筑术语。在我们看来，这个项目整合、连接并且发展了你们早期项目的主题和思考。

JOJ:我觉得这个项目在挪威的建筑评论家中间是评价比较低的：根本分歧在于注重创作本身的建筑构成还是基于地块无法改变的实际条件而形成的建筑构成。这并不是新的主题，在一些建筑师的项目中早已有所体现。例如，路易斯·康的几个广场项目，以及斯韦勒·费恩的诺尔雪平别墅，更不用说约翰·海杜克和他的德克萨斯7住宅项目，皆是研究我们所谓的理想建筑形式。当然，还有帕拉第奥的圆厅别墅。更近期的建筑师还有像彼得·马克里、彼得·卒姆托、克里斯蒂安·克雷兹和瓦勒里欧·奥加提。他们的作品兼顾识别性和功能性，富于表现力，在所有不朽的优秀建筑作品中是一个主要的组成部分。这一类型的建筑通常包含一些不同类型间清晰并且先进的对称性，能够吸纳附随的偏差。几何冲击，就像蓝天组的作品所表现的，则是另外一种完全不同的类型。斯图尔峡湾的夏屋并不属于上述的两种类型，它不是一个随意开发的产物，其最终的建筑构成是必然的，但并不是一个严格的对称体系。更确切地说，它是一个现实的项目，是有着几何严谨性的一种不同的建筑形态。我们有一个知道该如何工作的建造系统，但我们无法确切地知道最终会呈现什么。在建造的同时我们必须勘测基地，比如，挖掘后石块是否松动，还要应对其他意想不到的新状况，这些往往会在建造期间改变建筑的体量和它们相互间的关系。

E&M:那么，如何处理对基地进行的改造，而无需将其彻底破坏？

JOJ:基地改造都是属于几何层面的范畴，可以根据其构造灵活处理。这种方法就无法应用在像安德列·帕拉第奥的圆厅别墅这类的几何形状的项目中。这是一个被许多挪威建筑师热议的话题。一个典型的例子是斯韦勒·费恩的北欧馆—— 一个与当地环境相融的丰碑式的建筑。斯图尔峡湾夏屋就延续了这个思路。

2 居德布兰河谷项目细部/Detail from Gudbrandsjuvet（图片来源/Courtesy of the architect）to define a common national architecture policy. They want to make everyone march together. I do not know where this idea of architecture as a mass movement comes from.

E&M:You often mention the difficult conditions for architecture production in Norway. But your recent much-acclaimed summerhouse in Storfjord is conceived and realized within the very same conditions that you criticize?

JOJ:Today's architecture production in Norway may be compared to art production in Eastern Europe thirty years ago, where a particular segment was produced "below the radar" so to speak. ese were good and refreshing projects, contrasted by the large body of governmental approved standard projects. I think this may be said about the architecture production in Norway as well: Some segments of Norwegian architecture production have been colonized by predefined truths. This especially applies to housing, which have become somewhat of an ecological disaster, defned by abundant laws and fictive, yet unquestionable logics. There are some areas within the architecture production that are in the overlap between being just-enough predefined, and there are areas which are almost uncharted territory. The National Tourist Routes Program belongs to the latter ones, along with micro commissions like cabins and summerhouses. Let us see how the National Tourist Routes Program evolves, as there are bureaucratic tendencies that slowly emerge also here.

E&M:To which degree does your obtained knowledge of building function as a navigation tool within a professionalized architecture industry, compared to a strictly conceptual approach?

BS:The Oslo School of Architecture and Design, where we studied and where we also teach, has always had a focus on conceptual and idea-based thinking as the main source of the architectural design. If one wants to build, then one needs also to master the process of developing the conceptual into physical objects in the world. It is where my curiosity has been – questioning what it is possible and how it may be achieved. Knowledge of how to build is an effective vaccine against producing uninteresting imitations.

JOJ:It is also about the context where one practices. My experience from the Gleichenberg ermal Bath project that we did in Austria, compared to the larger projects that we have done in Norway, is that there are certain contexts where involved parties are more engaged in the design and building process. In Austria we experienced that the project team together with the clients were eager to go outside the contract in order to create better and nicer design solutions. There was a cultural good will, which unfortunately is difcult to fnd in the construction industry in Norway. ere is a lack of spirit and open collaboration, where juridical aspects always come first. Therefore it has become a necessity to really understand conditions and consequences of what may happen if one wants to alter the design at some point. We all know that a design can get better in a collaborative dialogue between the craftsman, the building industry and the architect. Simultaneously as we know that the standard contract forms being used in Norway, are so juridically rigid that it is almost impossible to alter and subsequently improve the project later. The cause for this is the fact that the large building contractors have managed to lobby certain provisions that favor their part in the Norwegian standard for contracting. ey state that it is optimal to do the design in well-defned stages, where each stage is quality assured and thereby an irreversible milestone in the process, despite the fact that there are always many unresolved issues within the design itself, something that may potentially be a subject of legal dispute.

BS:Our biggest concern is that the Norwegian society is being developed in a direction where one is increasingly more hesitant to take risks. We are about to become an introspective and unproductive society that lacks innovation. A hundred years ago, the amount of money spent on upgrading Norwegian lighthouses was immense compared to the country's GNP at the time. It was a truly ambitious project. The same applies to the development of the Norwegian oil sector, where one went outside both bureaucratic procedures and democratic principles in the process. We could win a lot and lose very little, and took the chance. Today we have everything to lose and relatively little to win in terms of wealth and security. We are afraid of failure. One cannot develop an innovative society, much less an innovative architecture, from such a context.

E&M:Seen from this perspective, Norway seems to be a difficult place to be an architect. But from the outside, Norway appears like a country of both interesting architecture and lucrative commissions.

JOJ:I remember the frst meeting in Austria where our local collaborators meant that architects in Norway had a much higher status than what they had in Austria. I've been told the same from Marcel Meili in Switzerland, while we, impressed by Swiss or Austrian published architecture, claim the opposite. All countries broadcast their top-ten architecture list. When you say that the international image of architecture production in Norway is unbalanced, it is true, but there is probably as much bad architecture in Norway as in other countries. Some years ago I bought a book about St. Pauls Cathedral. Christopher Wren, the Cathedral's architect, was in confict with the clergy due to deadlines and project costs. Luckily, the Royal family intervened and provided the funding necessary for the building's completion. The point is that most interesting architecture have on some level and at some point been in misfortune. Always! Interesting architecture cannot be in the middle; everyone cannot support it. It seems that the premise for the conventional is lack of confict.

BS:Some claim architecture must be subversive, and brought to its limits. In Norway, however, architecture is habitually measured by its practical uses alone. The Norwegian postwar building industry taught us that architecture was defned by strict discipline and limited resources. Today, this means that making something solely meant to be pleasant is considered outright immoral, something reflected in parts of the feedback we have got on Summer house Storfjord. The unilateral focus on a building's utilitarian value discredits the experience of truly fantastic spaces. While we worked on the Gleichenberg Thermal Bath project we went toBudapest to see the Gellert bath. One of the most striking features of this building is the amount of un-programmed areas that are found within its high lofted spaces. The main purpose of these spaces was to enhance and intensify the experience of the visitors. is excess of unprogrammed space is almost unheard of in contemporary architecture, and it raised our awareness of how we arranged and organized the programmed areas of the Gleichenberg spa. Lacking the possibility to actually build such generous spaces, we tried to organize the programmed areas in a way that instead could provide an "illusion of excess". In the Norwegian building-industry of today, there are few programs that allow for building the type of "non-utilitarian" space that we found in the Gellert bath. Exceptions are buildings where there is consensus around the significance of embedding immaterial or spritual values, like churches or libraries. But when working with other building-programs these perspectives are generally not discussed, despite the fact that all architecture will constitute a part of our physical environment, and thus affect our lives and wellbeing. The result is mediocrity.

BS:就像奥加提所宣称的一个建筑理念——建筑的构想或多或少会独立于其环境关系,而一个关联性的建筑往往是植根于环境的，二者有着很大区别。奥加提认为，这种关联建筑是比较差的，其产生几乎是偶然的，我们并不赞成这种说法。建筑的演变是一个持续的与环境相协商的过程，每一个决定都会产生其后果：过去的选择构成未来的框架。斯图尔峡湾夏屋就是很实际的，它是一个根据基地环境不断修改、不断变化的最终产物。

E&M:我们用了“低调的张扬”这样的词去形容某些挪威建筑师看似轻描淡写的高品质作品。在他们的作品中，是如何论述关于建筑、环境和工艺之间的相互关系呢？对于这类“环境决定建筑”的项目，我们鲜有听到“伟大”、“不朽”这类的描述。

JOJ:我绝对认为斯图尔峡湾夏屋是意义非常的项目。这是一个在特定条件下完成的建设任务，由于环境与景观的影响，最终的结果已经大大偏离了我们预定的设计。不怎么谦虚地说，它是一座不显眼的丰碑式建筑！

BS:那些被强调的“低调”在我看来是更具吸引力的，例如，怎样用简单的线条将一块岩壁从室外引入室内。这是发生在两个冲突的领域间的一种博弈：受约束的项目环境和将之改变的不受控制、无法预知的自然。

E&M:利亚桑登休息站项目展示了一个很强烈的“应和自然”的设计概念。该项目是一个设计策略，详细设计是其发展的结果，并直接反应在策略中。莫滕斯鲁德教堂项目是这一主题的延展：室内保留的自然元素，还有横跨在裸露基岩之上的钢构架……

而斯图尔峡湾夏屋项目则是参照前例，不过所采用的形式更为精妙，而且“应和自然”的设计概念仍然保留着。是否可以认为斯图尔峡湾夏屋就是“约翰·劳特纳”版的利亚桑登休息站？

JOJ:我并不相信真的有什么特别的专为男人或女人而造的建筑，但你应该了解客户。就像夏屋项目的业主，我们已经和他接触了多年，这个项目非常适合他，也是他喜欢的。虽然我们有作为建筑师的特质，但客户的需求在我们所有的作品中也是无处不体现的。总之，我们就是裁缝，为客户量身打造适合他们的建筑，我们也会不断调整设计以迎合客户的需求。我们的建筑是它的使用者定义的，我们只是将它表达出来。□

E&M:In your descriptions of Summer house Storford, you use terms like "geometric disruptions" and "independent overlapping systems" to describe the building. In our eyes, this project collects, connects and evolve themes and discussions from your earlier projects?

JOJ:is is something I feel is undervalued among Norwegian architectural critics: The fundamental difference between self-referential ideal architectural compositions and compositions that are conditioned by for instance a site that cannot be altered. The thematic is not new, it is found among architects like Louis Kahn exemplified by several of his square projects, as well as Sverre Fehn and his Norrkøping house, not to mention john Hejduk and his Seven Texas houses and studies on what one can call ideal architectural form. And of course there is Palladio and Villa Rotunada. More recently, we have architects like Peter Märkli, Peter zumthor, Christian Kerez and Valerio Olgiati. Their work is about identifying and manipulating complex systems and giving these systems presence, a main ingredient in all monumental architecture. is type of architecture is one that often contains a number of clear and advanced symmetries of different types, capable of absorbing subsequent deviations. Geometric collision, like in the work of Coop Himmelb(l)au is something totally different. Summer house Storfjord is neither of these; it is not an art-piece of random explorations that result in a final composition and definitely not a strict symmetrical system. Rather, it is a pragmatic project with a different form of geometric rigor. We had a construction system we knew would work – what we did not know was exactly how it would turn out. We had to do surveys on site while building, after uncovering for instance loose stones and other unexpected new conditions, something that altered the building volumes and their reciprocal relations during the construction period.

E&M:So, how to handle disruptions without risking dismantlement?

JOJ:The disruptions are strictly on a geometrical level, a defined compositional flexibility. This approach would not work in the types of geometries found in i.e. Andrea Palladio's Villa Rotunda. It is a thematic discussed by many Norwegian architects. A classic example is Sverre Fehn's Nordic Pavilion that links a monumental architecture with a vernacular one. Summerhouse Storford continues this path of thought.

BS:It is like Olgiati's distinction between what he calls an architecture of ideas, which is conceived more or less independently of its context relation, and a relational architecture that is informed by its environment. While Olgiati tends to speak of this relational architecture as something inferior and almost accidental, we rather favour this approach.The architecture evolves in a continuous negotiation with its context where each decision that is made will have consequences: The choices of the past constitute the framework of the future. at is what makes Storfjord pragmatic; it is a consequence of constantly changing terms.

E&M:We've used the term "humble arrogance" to describe the ambiguity of the downplayed, but upscale architecture of certain Norwegian architects, and how they discuss the relation between architecture, landscape and craftsmanship in their work. We seldom hear the term monumentality used to describe this type of context-driven projects?

JOJ:I would definitely claim that Summerhouse Storfjord is monumental. It is a consequence of specific conditions embedded in the building assignment, something that allowed us to diverge from the predefined norms for landscape interventions. How swaggering can you allow yourself to be? It is a form of camouflaged monumentality!

BS:What some emphasize as humbleness is for my own part more a fascination for e.g. how a rock cliff is brought from the exterior to the interior with a simple line. It's a kind of game taking place between two colliding worlds: The controlled project environment and the unrestrained and unpredictable nature that alters it.

E&M:Liasanden rest stop exposes a strong conceptual approach to the landscape. The project is a strategy, while the detailing becomes a consequence and direct reaction to this strategy. Mortensrud Church is more of a motif-collage: A staging of nature inn-doors, where we fnd the steel construction straddling over exposed bedrock…

Storfjord, however, is self-referential, where the use of motifs is subtler, while the conceptual approach to landscape is maintained. Could Summerhouse Storfjord be described as a "john Lautner" version of Liasanden?

JOJ:Well, I don't really believe in the existence of a particular masculine architecture, but you should have met the client! We have been close to him for years, and the project suited him very well – it is a project that he loves. Although we have our particularities as architects, the client is omnipresent in all our work. All in all, we are tailors, continuously adapting our projects to benefit the needs of our clients. Our buildings become as much defned by them, as they are articulated by us.□

哈尔沃·魏德·埃勒夫森，建筑师，2005年毕业于丹麦皇家艺术学院。米尔扎·穆叶齐诺维奇，建筑师，MALARCHITECTURE事务所主持人，2001年毕业于挪威科技大学，2004年获哥伦比亚大学研究生学位。他们二人目前均为奥斯陆建筑与艺术学院在读博士生及助理教授，奥斯陆“定制”建筑展策展人，同时也是本期《世界建筑》专辑的客座编辑。/Halvor Weider Ellefsen, architect, graduated as an architect from the Royal Danish Academy of Fine Arts in Copenhagen (2005). Mirza Mujezinovic, architect, principal ofMALARCHITECTURE. He graduated at NTNU in Trondheim (2001). As a Fulbright Fellow he was awarded postgraduate degree at the GSAPP at Columbia University in New York (2004). They are both Ph.D research fellows and assistant professors at The Oslo School of Architecture and Design (AHO), curators of "Custom made" exhibition in Oslo (2013), and guest editors of this issue of World Architecture.

2014-03-22