concept and analysis. It was a perfect fit for me. It’s the process from analysis to project that interests me. Transforming the whole web of requests, legal requirements, budget, etc. into a physical response. So it was only natural for me to start my professional career in Cubo’s competition department, where I actually couldn’t get enough of the intense and varied process involved in the development of a competition project. It wasn’t really about winning or losing. It was the process of getting to the heart of something and creating order from chaos. What is your design process at Cubo? I am first and foremost a generalist. With regard to projects, I have a particular interest in the connec- tion between idea and project planning, between the conceptual and the concrete. Furthermore, I’m responsible for design. Design is one dimension of a project, just as sustainability or legislation are dimensions. Cubo’s lights for Lampas, which of course were designed before my time, have a strong material and architectural element. For example, BALLO in aluminium, or OWEN with its small ‘ears’ that enable this round light to deliver a sense of direc- tion. I feel great affection for the original designs and only employ the mandate to update or modify them when required owing to technical develop- ment. When the fundamental form and function is strong enough, happily the design can often easily support minor adjustments. What inspires you? One of the most inspiring things I’ve been involved in was designing Handicaporganisationernes Hus (the House of Disability Organisations) in Høje Taastrup. That project introduced me to the con- cept of universal design. Once you have been made aware of designing to ensure that archite- cture is accessible to all, you can’t just let that go. It makes sense and provides great satisfac- tion to create inclusive architecture that makes people feel respected regardless of differences and diversity. I have travelled quite a bit in China and Japan and I am particularly inspired by the type of architec- ture where the boundary between indoor and outdoor space becomes fluid and interactive. I have implemented this, among other things, when designing my own house. I positioned all commu- nal areas connected directly to a large, planted courtyard area. Field trips are an essential source of inspiration for me, as I don’t look in books and magazines very much, but I do have ‘Tænd!’ on my own bookcase and still browse through it from time to time. 142
Download PDF file