had reached an agreement, and I have been here ever since. What is your design process at C.F. Møller Architects? Designs from C.F. Møller are always the result of teamwork. It is by no means a one-man effort. It’s important for me to point that out. We are part of one of Scandinavia’s largest architectural firms. As such, it has been natural for us to work on product areas that comple- ment the architectural context. Our products and design solutions can be divided into designs for buildings, their surrounding environments and the lives lived inside them. Our design solutions are not the result of a spe- cific style, but rather an approach or a process that is continuously being refined. In short, it is based on the fundamental elements of analysis, sketching and evaluation, which are repeated over and over with increasing levels of detail and the use of relevant and useful tools, until that eureka moment strikes, or you are able to distinguish the outline of the best solution from among the nume- rous possibilities. The concept of design has evolved and expan- ded significantly over the past two decades. Pre- viously it primarily revolved around designing physical products, but now it also encompasses designing processes, services or experiences. Our practical set-up incorporates flexibility and inclusivity, thus embracing that evolution, so that today we are able to adapt processes and activi- ties to the reality, even if designing physical objects still constitutes the bulk of our design work. What inspires you? When you work in this field, it becomes a way to experience the world around you, and I find inspiration everywhere I go. My holiday pictures are often a curious mix of typical holiday scenes and snapshots of objects, shapes, materials, etc. that I encounter in urban settings or in nature. As a designer, you are constantly accumulating references to provide a fertile mental melting pot to fuel your creativity. You are preparing your mind for whatever challenges may come up. You seek inspiration, but even when not seeking it out, you come across it. What characterises good lighting design? You can really only answer that question when you know the context for the particular light. Broadly speaking, a light should help you to see when it’s dark, and it must do so glare-free, with a pleasing colour temperature and the right amount of light. We are absurdly dependent on good, artificial light here in the Nordic countries. With QUINTUS specifically, the light was designed with a focus on making it easy to replace the light source. Compact fluorescent tubes were used, and they had to be replaced often. At the same time this should not dominate the appearance of 192
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