Laboratory building at MAXXI Museum
Rome, Italy

Open International Competition

2022

3rd prize (8 000 €)

Participants: 103 teams



The MAXXI - Museo Nazionale delle arti del XXI secolo - has since its opening in 2010 established itself as a top-class international art museum, and as a highly acclaimed work of architecture (drawn by the British Iranian architect Zaha Hadid). The introduction of a new building and a new park on the grounds of the MAXXI is a significant happening in the international art world - one that requires a precise and respectful, but also bold intervention.

Our proposal becomes a symbol of technological and architectural innovation through the way it lets the park to fulfill its full potential as a large and lush art and activity space, allowing building and park to become two interconnected systems that strengthen each other and work towards the same goal: a more innovative and greener MAXXI.

The building is withdrawn from the street to allow the park to run past in front of it, creating a building in the park rather than along the street - and placing it on equal footing with other important buildings on the site. The volume is given a basic shape that does not compete with the Museum or the historical buildings, but which has a distinctive character through a balance of cantilevers. The cantilever at the front allows the park to run freely underneath and creates a covered and flexible outdoor area that marks the entrance to the building, while the cantilever at the rear end creates a covered and sheltered outdoor area for loading and unloading.

An open and inviting vertical atrium connects all main functions of the building, while exposing its inner activities towards the public and connecting the park with a lush public roof terrace with generous views of the museum area.

A precise facade expression underpins the clear geometrical shape of the building. Polished recycled aluminum panels in large formats and with concealed fixings create a diffuse reflection that subtly mirrors the historical surroundings and creates situational affiliation. Glazing systems sits flush with the cladding, making them blend with the aluminum panels and providing the skin of the building with a uniform and subtly reflective look. The facades are kept free of ornaments, making the building a sharp and precise supplement to the historical buildings in the area and to the distinctly articulated architecture of the Museum.

The park runs continuously from east to west, forming a coherent string of varied experiences and activities related to art, culture, natural qualities, and sustainability. Its design is based on the linear logic of the original design of the museum and its outdoor areas, and new elements are articulated as innovative interpretations of this original expression - achieving a park that is at the same time innovative and adapted to a built environment originating from different eras.

Museum building at Domkirkeodden, Hamar

Open International Competition

2021

2nd prize (300 000 NOK)

Participants: 110 teams

In collaboration with Fabel Arkitekter AS



A new museum building is to be situated on historic grounds at Domkirkeodden, adjacent two Norwegian icons of architecture; Sverre Fehns Storhamarlåven (1973) and Kjell Lunds Hamardomen (1998).

The plot consists of a green hill where the original terrain dates far back in time, and the building is organized along the topography and kept well within the building boundaries in order to preserve as much of the existing terrain as possible. The building is immersed into the terrain to reduce its scale - creating a subdued house respecting its significant neighbors, and a continuous strip of glass with varying heights forms the transition between the terrain and the denser upper part of the volume.

The house is given a simple rectangular shape free of ornament and a pitched roof that draws inspiration from both Storhamarlåven, Vernebygget and other buildings in the area. The width of the house connects the former two, while the angle of the roof is made steeper and closer to that of Storhamarlåven than the height requirements in the zoning plan suggest. The shape of the roof creates a spatially interesting interior, and forms the framework around a museum where varied room heights and different levels add an extra dimension to the experience of the visitors.

The interior of the house is characterized by rational room typologies and simple room geometries, allowing for multiple use, shared use and flexibility. The dynamics and variation of the interior spaces arise in the interplay between these smaller rooms, the enclosing volume, and the different floor levels that relate directly to the terrain on the outside.

The load-bearing system consists of an outer structure of glue-lam columns and beams, combined with internal clt walls and slabs. The outer structure is exposed in the interiors where it does not affect function or use - for example in the restaurant at the southern end, where the columns are exposed at full height and supplemented with diagonal rods supporting the glass facade. This creates an expressive and dynamic wooden construction that can be experienced in the restaurant, but also from the outside where it interacts with the exposed steel construction of Vernebygget.

Addition to a semi-detached house

2021

In 2019 we were contacted by a couple who had just given birth to their third child, and who wanted to increase their living space by adding an extension to their half of a semi-detached house in Oslo. The existing house was located on top of a slope running through an area rich on pine-trees, and the site had great views towards the south.

We realized early on that locating the extension on the southeast end of the existing house would allow for utilization of the view, a clear connection between existing and new, and rational internal logistics. There was one big challenge though; the municipality had specific requirements for the amount of usable outdoor space on each plot, and our site did not meet these demands. So; in order to get a building permit we would have to find a way to make the extension itself increase the amount of outdoor space - a challenge that was something of a paradox; how do you establish a larger outdoor area simultaneously as building on existing outdoor areas…

The solution was to place the extension on the slope. This way we could replace an area that was too steep to be defined as outdoor living space with a one that met the criterias; a roof terrace on top of the extension. The positioning of the extension on the slope also made it possible to fulfill a couple of other wishes from the family; connecting the existing house to a lower garden on the bottom of the slope (an area that had not been used because it was perceived as inaccessible), and integrating a carport under the new structure.

We wanted the extent of the narrow slope to visually define the width of the extension, and we wanted the structure to have a distinct vertical appearance - meaning we had to enhance the perception of «high and narrow» - without compromising on functional aspects.
This was achieved through a couple of different measures; the facade of the second floor «bridge» is pulled back and opened up to allow for the vertical «tower» to stand out, the ground floor (which extends under the carport) is made visible only at the base of the tower, and the railing on the roof terrace is made dense where it makes up the top of the tower. This logic applies to both ends of the extension, while the south-east facing facade has large windows that capture the nearby pine trees and the horizon behind them, and shifts inwards so that the width of the end facades can be kept at a minimum.

The main entrance was moved to the first floor of the new structure, utilizing the mid-part of the tower and the narrowest part of the extension. From the entrance hall a staircase leads to a studio apartment adjacent the lower garden below and to the main living space above. Here a new dining room occupies the bridge, while a large opening in the wall of the existing house connects old and new. The main living spaces span across this storey, where window openings from floor to ceiling provide varied views that include both the nearby area and the Oslo Fjord further away in the distance. A second staircase inside the existing house provides access to the upper level of this building and to the roof terrace on top of the extension.

We wanted a facade material that was able to enhance both the shape of the tower and the details around the windows on the east facade. Glue-mounted fibre cement panels were chosen for their ability to be precise, non-reflective and subdued in their expression - qualities we felt would complement the slightly rougher mortar wall on the existing house. The interior of the extension was designed to represent a warm contrast to the exterior, and consist of short-traveled Norwegian wood in the form of load-bearing structures in spruce, walls and stair railings in birch plywood panels, ceiling-slats in aspen, and floors/stairsteps/doors/windows in pine.

https://www.dezeen.com/2021/08/22/resellniccas-tower-bridge-house-extension-oslo/

https://www.archdaily.com/961104/tower-bridge-resll-plus-nicca

Parallel assignment / Ideas competition

2021

Client: SIT

In the autumn of 2021, Resell+Nicca was pre-qualified to participate in a parallel assignment involving the development of ideas for a student housing and operations center project in Gjøvik, Norway. The project will constitute a visual fund motif for Campus Gjøvik and mark the start of the axis running through the university area.

On the front part of the site the program is divided into smaller volumes - creating a relationship with the adjacent houses in terms of scale and intermediate cross-connections - while the volume on the rear part of the site relates to the height of the commercial building further east.

The project is organized with a distinct differentiation between front and back, where the student housing and the personnel areas of the operations center are facing Campus, while the operations center's logistical areas are facing the road in the south. This distribution of the program creates an active, intimate and pedestrian-friendly street between the two parts of the site, while providing the operations center with plenty of safety-satisfactory space at the back.

The planned "green ring" surrounding Campus is allowed to run along the northern part of the site (where roof gardens are established and existing trees / green slopes preserved), while the south-facing facade of the tall building is designed as an outdoor space for the recidents, and is given an energy-producing facade that will serve as a visual marker of a future-oriented and sustainable Campus.

It was an important and clearly stated goal for the developer to establish as many dormitory units as possible within the limits of the zoning plan. By establishing buildings with varied forms of housing on both parts of the site, Ryggrad establishes significantly more units than the other proposals in the parallel assignment (147 versus 62, 70 and 100). On the front part of the site, the green slope, the spaces between the houses and the varied character of the houses create an intimate and lush residential area. At the top of the operations center, a more dramatic living environment is created - with airy patios and dramatic views.

The projects would be built with a combination of wooden structures and facades of reused bricks. The use of bricks has a strong historical anchoring in Gjøvik and in the surrounding area; at a time there were about 25 different brickworks in towns around the lake of Mjøsa, all producing bricks for the construction of Gjøvik, Lillehammer and Hamar. We want to continue the local brick tradition in a new and sustainable way. Reused bricks are bricks that have previously been used on other houses, and they are installed with an acceptance for some mortar residues, which simplifies the reuse process and creates a varied and slightly rustic look. On the houses in front the brick is combined with a wooden framework. The divisions of the framework establishes defined areas for different types of brick, and simplifies the work of the mason by allowing hidden voids. Reused bricks is an environmentally friendly facade material that does not create new emissions related to production.

Verkstedet - Workshop for building conservation and traditional handcrafts

Open International Competition

2021

1st prize (700 000 NOK)

Participants: 121 teams

In collaboration with Arkitekt Aslak Haanshuus AS




A workshop building that contributes to the preservation and promotion of traditional Norwegian handcrafts will be built at an open-air museum in Follo. The building will function as both workplace and open learning arena, and will house carpenters, joiners, blacksmiths, silversmiths, glassblowers, potters and textile workers.

The plot has great natural qualities, and an important premise has been the preservation of an existing foresty hill with several protected oak trees. Preservation of the hill creates a clear separation between public entrance and operating side, allowing for the new building to create a compact and unified complex together with the existing museum building.

An elongated and flexible workshop space is placed on the existing surface next to the museum building, while a longitudinal backbone containing technical spaces, storage and wet rooms runs alongside and is stepped off towards the hill. The height of the building is decreased towards the north end in accordance with interior height requirements, reducing the scale effect of the volume towards the entrance side and the relatively low existing museum building.

The north facade of the new building delimits Torget - a continuous floor surface that marks the entrance to the museum as a whole, and that highlights the main foyer in the existing building. From Torget visitors are led down Gata, an intimate space where the two buildings interact closely, and where multiple synergies between different activities can occur. Gata culminates on Tunet, an outdoor workplace and a common gathering place for the entire museum. Tunet is directly related to the different workshops inside the new building, and has views towards the historical buildings of the open-air museum. The east facade of the building is opened up towards Gata and Tunet, thus activating the space between the buildings and allowing the public to take part in the diverse activities of the workshops.

The architectural expression of the new building draws inspiration from the existing museum building rather than from the historical and authentic gabled roof houses of the open-air museum. Our aim has been to create a robust and flexible workshop building, with a sober expression that will stand the test of time. A building that creates a natural framework for the individual expressions of the various handcrafts that will inhabit it.

Fire Station in Bjørvika, Oslo

Open international competition

2020

3rd prize (150 000 NOK)

Participants: 103 teams

 

The activities of a fire department generate curiosity and excitement among people of all ages, and the location of a new fire station in the middle of the populous Bjørvika creates an opportunity to expose this vital social function directly towards the people of Oslo. Our station is placed close to important walkways in the area and is given a transparent and inviting exterior, where large openings in all directions ensure that spectators can get close to the building and take part in the everyday life and activities going on inside. The building is designed to accommodate visiting kindergartens and school classes so that fire protection measures and preventative activity can be communicated to future generations.

Festningsalmenningen is one of seven commons in Bjørvika that connect the urban fabric with the waterfront - a green public space that constitute the transition between the classical city (Akershus/Kvadraturen) and the harbor. Our goal for the station building has been to create a pavilion-like structure with a light and varied facade, that enhance the park character of the commons and adds human scale to the area. The ceramic panels of the cladding provide a filtered expression while at the same time maintaining a close relationship with the stone and brick facades of the surrounding buildings.

A fire station is an extremely specialized function, where rational internal organization is crucial and can be the difference between life and death when every second counts. One of the keys to achieving well-functioning logistics has been to place the dorms on plan 2, providing the shortest possible route from here to the apparatus bay (where the vehicles are parked). This creates a very compact station, where all of the primary functions are organized along the main staircase running from north to south.

A locally produced wooden structure reduce CO2-emissions to the atmosphere, and allow for recycling and reuse, while the compact shape of the building provides a small surface area and thus reduced energy consumption for heating. South-facing solar panels on the roof provide heated water, while integrated solar cells on south-facing glass-facades produce electricity. A green roof with rich biodiversity will contribute actively to the ecosystems of Oslo and create a natural habitat for bees and other pollinating insects.

Biodiversity has also been one of the key design parametres for the park directly to the south of the building. This area is difficult to access for pedestrians and cyclists due to traffic conditions, and has therefore been earmarked as a place for exercise and physical activity - in order to make it into a destination that people will actively seek out. The work out apparatuses will also be used by the fire station staff, thus facilitating further interaction between the station and the city's population.

Single Family House

2019
 

The house is situated in a lush and west facing area with views towards the outer parts of Oslofjorden, and on a site that is characterized by forest-like areas along its outer edge, many tall pine trees, and a gentle slope towards the northwest. Early on in the development of the project it was decided that the 29 pine trees would be preserved, that the organization of the house were to relate directly to the different levels on the plot, and that the forest-like areas were to be visible from key areas inside the building.

The building is given a simple basic shape that is inspired by the other houses in the area, with an elongated main volume and a longitudinal gabled roof. From this starting point, selected parts of the volume has been subtracted to allow the building to meet functional needs; The lower part of the east facade is withdrawn to provide roofing over and between the entrance doors, while the volume is reduced on the upper part of the west facade for the creation of a west-facing roof terrace with access from the garden and views over the nearby fjord.

The materiality of the building seeks to underline the concept; the basic shape is given a homogenous and precise surface enhancing its sculptural qualities (fiber cement panels), while the recessed parts (where people come closest to the facade) are held in a warmer material with more texture and visual depth (oak slats). The fiber cement panels are glued to underlying metal laths, giving the facades a simple and distinct appearance, and they are used in a number of different ways on the project exterior; as cladding on the roof, cladding on the garage door, window linings, railings, doors on technical cabinets, etc.

On the inside the building is characterized by a longitudinal main space containing the living room, the kitchen and the dining room. These functions are interlinked and visually connected, but sit on three different levels - with each level corresponding directly to the terrain outside. Semi-high walls, with integrated cabinets, kitchen accessories and storage space separate the levels, while glazed sliding doors on each level connects the interiors with the garden.

The complementary rooms of the house are organized in a linear system behind the main space, creating a spine towards the north-east facing courtyard. The spine spans both stories of the building, and also contains the main passageways for the technical installations (ventilation, water, electricity), and . On the upper floor the spine culminates in a flexible family room in the north-west - a space that has views in three directions and direct access to a large roof terrace.

A narrow void spans a large portion of the buildings length, providing visual contact between the different levels, while simultaneously bringing daylight from large windows down onto the veneer-clad back wall of the ground floor main space. The birch veneer is used on surfaces and integrated furnishings throughout the interior, and is complemented by colorful tones of blue and turquoise on selected walls and ceilings.

https://www.archdaily.com/928696/villa-void-house-resell-plus-nicca

https://www.opumo.com/magazine/villa-void-directing-natural-light/

https://www.re-thinkingthefuture.com/architecture/housing/3002-villa-void-by-resellnicca/

Parallel commission

2019

In the fall of 2019 Resell+Nicca was invited to participate in a parallel commission for a new building on the waterfront in central Haugesund along with three other teams. The building were to contain cultural and educational facilities in addition to offices and retail.

At the heart of the site sat the remains of one of the oldest boathouses in Haugesund - dating back to approximately 1850. A building that has been transformed many times over the years, but that has kept large parts of its original front facade, and its unique position - stepped out in front of the rest of the houses along the canal - a feature that dates back to the citys origin, when the seashore did a turn in this area.

According to the rules for the competition it was up to the teams if they wanted to propose demolition or conservation of the boathouse, and we decided early on that preservation was going to be a key element of our project.

None of the original interior structures of the boathouse remain, and in accordance with the wishes of the citys conservation authority we therefore developed a concept where the buildings exterior were to be kept and reversed to its original state, while the interior components would be replaced with new structures and a different spatial layout - a layout where the inside volume of the boathouse were to form one large coherent space, made possible by new timber structures of glulam beams and columns.

A multipurpose auditorium with associated rooms is placed as a box at the heart of the volume, while public functions such as foyer and cafe operate in the open layer between the box and the outer walls of the boathouse. Group- and meeting rooms are placed on top of the box, with views towards the public areas, and direct access from en elevated part of the city behind the building.

Completed 2014
 

The cabin is situated in gently sloping terrain on a lush small island northeast of Stavanger. The island has no road connection to the mainland, and all building materials have therefore been brought over by boat.

The enclosing form is chosen to create a protected and sunny outdoor space with views over the fjord to the south. The cabins common spaces, such as living room, dining room and kitchen caters onto this side, while the majority of bedrooms and wet rooms are located on the opposite side, where they lie sheltered facing the forest.

The cabin has an upper level, accessible via stairs from the kitchen/entrance area, designed for different kinds of use. The outer room is strongly connected to the other common spaces, while the inner is a separate unit. Window openings have been made in roof and walls to ensure visual contact with the fjord and the surroundings.

A Norwegian slate stone is used on the outer shape of the facade, while counter-sunken areas of the facade are clad with a wooden paneling. The diamond shaped slate is stretched longitudinally and format sizes are pushed towards the maximum of what is possible to extract. Ash is chosen as the main interior material, and it is used in various forms: as paneling on ceiling and walls, plywood on walls and solid furnishings, and as solid wood flooring on the upper floor. The floors on the ground floor are made of polished concrete with integrated water heating.

A key element in the cabin is the concrete structure in the living room. It is cast with horizontal paneling formwork, and houses a wood burning stove that function as a fireplace when open and as an oven when closed. The structure acts as a heat storage element in the cabin.
 

Dachraüme by DETAIL Books
https://shop.detail.de/de/dachraume.html

http://www.dezeen.com/2016/01/25/hytte-i-ryfylket-cabin-norway-resell-arkitektur-pir-ii-slate-shingles/

http://www.archdaily.com/563314/cabin-ryfylke-pir-ii-oslo-resell-arkitektur/

http://www.baunetzwissen.de/objektartikel/Schiefer-Wochenendhaus-in-der-Region-Ryfylke_4257907.html

http://archi.ru/tech/news_70120.html

http://www.klikk.no/bolig/arkitektur/hytter-og-arkitektur-1664662.ece

http://www.cityoffuture.org/index.php?p=see-projects&cat=Architecture&id=244&s=resell+arkitektur

Parallel assignment / Ideas competiton

2016

Client: Jernbaneverket

In collaboration with Arkitekt Atle Leira AS

Raumabanen is hailed both nationally and internationally, and is seen by many as the true manifestation of the proud Norwegian railway tradition. The combination of distinctive architecture, wild norwegian nature and advanced engineering projects ensures a very special travel experience.

The stations on the railway will undergo major development in the coming years - in order to strenghten the position of the railway as an important tourist attraction.  We were asked to do a case study of Bjorli station - visualizing how this important hub on the railway can be developed into a worthy and functional starting point for a trip with one of the worlds most beautiful train rides.

The task was two create a station of the highest functional standard, but also one that is able to provide tourists and other visitors with a unique travel experience. The project aims to strengthen the position of the station as both end- and turningpoint for the historic trip up Romsdalen, and thus be the beginning of a revitalization of the entire stretch. Furthermore, our mission was to lift the rich history of both the station and Raumabanen as a whole into the light, while also focusing on how the standard of the village of Bjorli could be developed in terms of transparency, accessibility and attractiveness.

A reorganized traffic system (where the main road through the area is moved closer to the platform) provides an immediate and direct connection with the train, while at the same time reduzing the size of the area that has to be developed. This facilitates the establishment of a station that is perceived as intimate even when the number of users is limited. The project is stretched out longitudinally, along the platform, which ensures the achievement of another main objective; the inclusion of the important historical elements at both ends of the station in the whole. Activating the areas between the historical elements creates a a comprehensive and cohesive station, where visitors are invited to experience history as part of their travel experience.

The reuse of existing buildings has been important to the team, while the new architecture is given a limited scale so that the existing structures gets to play the lead role. At the same time it has been important that the new structures are developed with a uniqueness that makes them a worthy part of the station and off the railway as a whole.

Modelwork: Stud. Arch Andreas Juul Bergene & Stud. Arch Bjørnar Andersen

Lighting Concept: Light Bureau v/ Arve Olsen

Renders: Tegmark

Viking Age Museum at Bygdøy

Open international competition

2015

Honorable Mention (Innkjøp - 60 000 NOK)

Participants: 111 teams

The vision for a new Viking Age museum in Oslo was to create a globally leading center for the dissemination of knowledge about the Viking Age. The existing Vikingskipshus, designed by architect Arnstein Arneberg in 1913 was to be an integral part of the overall architectural solution.

The addition is given a secluded location, allowing for the existing Arneberg building to play the lead. This way the interconnection between existing and new can be done in a simple and rational way - against the wing of the Arneberg building that was last established and is least worthy of complete preservation, while space is freed for logistics and a large park at the entrance to the site.

The entrance to the museum is pulled back and located at a new space created between the new and the existing building, allowing for the visitors to experience the exterior of Arnebergs house and an adjacent park before entering.

The addition is broken up into gabled volumes playing at the sizes of the existing building and the buildings in the adjoining Folk Museum. The volumes relate to the orientation of the wings of the existing building, but they are offset relative to each other and given different widths.

Ships and other artifacts of the Viking Age collection are colorful and diverse, with an extreme level of precision. The addition is designed to form a robust, precise, elegant and subtle backdrop.

Refurbishment of an office space

Completed 2017
 

In 2016, Resell+Nicca was given the opportunity to take over a small space on the corner of a functionalist building at Kampen in Oslo. The building was constructed in 1933 (drawn by architects Borthen & Brantzeg), and is a well preserved example of early twentieth century modernist architecture.

A number of different small businesses have occupied the space over the years (including a dairy shop, a cleaning company and a tobacconist), but it had been left empty for almost ten years when our office took over. By transforming it into an inspiring environment for a small group of architects we were hoping that we could breathe life into an important corner on Kampen that had been quiet for the past decade.

Early on we decided upon three aspects that were to be our main focus when working on rebuilding the space:

 - Open plan:  The ground floor level was divided into a lot of small rooms. We wanted to include all of the available volume (except the restroom) in one coherent space.

- Customization and Uniqueness: The limited size of the space required custom-made solutions if we were to achieve our goal of creating a comfortable and well functioning office for four architects. We therefore decided that all of the fixed components introduced by us should be bespoke and designed in order to make them as space efficient as possible.

- Existing versus New: The exterior of the building is characterized by simplicity in terms of materiality and color - plain white walls are contrasted by darker details. We noticed early on that the size of the windows makes the interior an important part of the exterior, and decided that we wanted the inside to coincide with the outside rather than contrast it. We also wanted it to be very clear what was original and what was introduced by us. As a result the strategy for the interior became very simple; existing parts = white and plain, new parts = black and with texture.

Divisare Selected Projects:
https://divisare.com/projects/371901-resell-nicca-office-at-kampen-park

Nytt Rom - New Scandinavian Rooms number 61

Addition to Sunnfjord open-air museum

Open international competition

2011

Honorable mention

Participants: 30 teams
 

The project is located at Movatnet in Sogn og Fjordane, and connect an existing open air museum with archive spaces inside the mountain. The old croft gets to play the lead role while the new museum's secluded location provides views of the open air museum and the lake.

The building is located at the interface between plane and slope and between the cultivated and the natural. The large central space is formed as an interpretation of different qualities from these topographies.

The building contain public facilities, exhibition spaces, administration and workshops. Public functions are organized around a central distribution line spanning from the entrance in the east to the café and outdoor scene in the west, while the workshops are located downstairs in direct contact with an outdoor working area and the road. More exhibition areas and administration are located higher up.

Refurbishment of cabin from 1957

2023

In 2021, Resell & Nicca were contacted by a family interested in exploring possibilities for further development of their cabin property in the coastal harbor of Ula, near Sandefjord. The property featured an existing cabin from 1957, designed by local architects Midttun and Skottun. The cabin was nicely nestled among the rocky outcrops on the property and had several distinctive qualities both externally and internally — including a main living area with balanced proportions and interesting spatial connections.

Rather than demolishing and building a new cabin, we wanted to explore how an older architect-designed cabin could be given new life by adding contemporary elements and solutions that could complement the old.

We wanted to maintain the cabin's original color theme, where ceiling planks and other selected interior components were painted in various coordinated color tones, and collaborated with manufacturer Toniton who supplied various interior components (including paint, sockets, cabinet handles, lighting fixtures, etc.).

In the ceilings of the bedroom wing, we have worked with Biri tapet — a traditional Norwegian hand sewn wallpaper that has been in production all the way back to the cabin's origin.

The exterior of the cabin has been preserved intact, with the exception of a couple of minimalistically designed new window openings on the rear side (facing away from the bayside).