Exciting Danish Architecture


During the 1990s, Danish architecture was increasingly oriented towards the Neo-Modernism which was dominant internationally at the time, and at the start of the 21st century, it still has a strong hold on Danish architecture. In addition, sustainability is an increasingly important factor at all levels of Danish architecture.

Both building forms and room layouts can be either severe and calm or highly dynamic, as for instance in Vilhelm Lauritzen’s Terminal 3 in Copenhagen Airport, Kastrup, from 1998.

The most immediately obvious common feature is the often sophisticated use of Modernist materials: steel and glass, but also wood, natural stone and brick are common facade materials.

Neo-Modernism seems to follow several trends. One is the minimalist treatment of building volumes and surfaces, as in KHR’s building for Kommunedata in Ballerup from 2002, NNE’s Novo Seven

Manufacturing Facility in Hillerød from 2002 and Dissing+Weitling’s Struers headquarters in Ballerup from 2004. Another trend involves conceptual simplification of form as in C.F. Møller’s second phase of the Darwin Centre in London from 2009. In addition, the Darwin Centre demonstrates a strongly poetic interpretation, like for instance Tårnby Courthouse (picture below) from 2000 by Dorte Mandrup and Niels Fuglsang. Finally, many buildings, especially blocks of flats, are clearly in-spired by 1930s Functionalism.


The most recent and largest prestige building projects in the capital, the Opera House from 2004 by Henning Larsen and the Playhouse from 2008 by Boye Lundgaard and Lene Tranberg, are also in their different ways based on the Modernist tradition, which is so strong in Denmark. A related treatment of form is seen on a smaller scale, for instance in the main entrance to the Zoo from 1998 by the firm of architects Entasis.

The Modernist approach to building projects is often supplemented with new features, including increased use of coloured elements, as in C.F. Møller Architects’ residential development Nordlyset at Amerika Plads in Copenhagen from 2006, and a shutter motif which adds movement to severely drawn facades, as in the FIH headquarters at the Langelinie quay in Copenhagen, built by 3xNielsen in 2001.

A new trend, the so-called Pragmatism, has emerged in recent years. This takes an extremely unconventional approach to the projects and reinterprets the assumptions of architecture in a provocative way. With projects such as the VM houses in Ørestaden from 2005, Plot has become the advocate of a new approach to architecture.

High-rise development is a new phenomenon, which has been received hesitantly in Denmark. However, high-rise buildings are currently planned in several cities across the country, while Copenhagen is starting cautiously in peripheral areas with the 21-storey Ferring International Centre in Ørestaden, built by Henning Larsen in 2001, and the 16-storey Copper Tower in Copenhagen’s North Harbour, built by Arkitema in 2004.

A characteristic feature around 2000 was Danish architects’ increasingly strong position in major projects. Dissing+Weitling started this trend as architects of the East Bridge of the Great Belt Link in 1998, while KHR is responsible for the most recent project so far, the Copenhagen Metro development in 2002.



The Viking Age and Middle Ages

The earliest traces of Danish architecture have been found through excavations of the Viking Age military encampments of Trelleborg, Aggersborg and Fyrkat from around 1000 AD. Within large circular earthen ramparts, these fortresses were laid out on the basis of a cruciform, symmetrical grid of streets, whose main axes divided the complexes into smaller units.

The conversion of Denmark to Christianity around 960 introduced a new building culture: church building. The first churches were built of wood, but quite soon these were superseded by Romanesque stone churches. In the early 12th century, ambitious cathedral building projects were started in Lund, Viborg and Ribe. The village churches usually had a single aisle and choir, like Hover Church, and sometimes an apse. Regional characteristics might appear, such as the round churches on Bornholm.

Roskilde Cathedral (picture below) was started in the 1170s as one of Denmark’s first brick buildings. It is an early Danish example of the Gothic style, while St Knud’s Church in Odense, completed at the end of the 15th century, represents the High Gothic style. In rural parishes, the Gothic style mainly manifested itself in alterations and extensions of the Romanesque churches, such as the characteristic stepped gables.

Renaissance, Baroque and Rococo

During the Renaissance, Danish architecture was dominated by the building of manor houses such as the 16th century Hesselagergaard and Egeskov, both on Funen. Among the Royal buildings of the period, Kronborg Castle was completed by Antonius van Opbergen in 1585 as a four-winged complex, while Frederiksborg Castle from 1602-1620 by the Flemish Hans van Steenwinckel the Elder was

three-winged with a fourth, lower, terrace wing. In both castles, the architectural look itself, the decorative finish, was in the preferred Dutch Renaissance style with lavish sandstone ornamentation on a red brick background.

King Christian IV’s extensive building program included many different projects, from the Stock Exchange (1619-1640) through the Round Tower (1637-1642), both in Copenhagen, to the construction of new towns such as Christianstad (1614) and new districts such as Christianshavn (1618) and Nyboder (started 1631), both in Copenhagen.

The Baroque style influenced Danish architecture from modest town houses to Royal building projects, from city palaces such as Charlottenborg on Kongens Nytorv in Copenhagen (started 1672) to country houses such as Ledreborg by Lauritz de Thurah from the 1740s.

The main Danish Baroque buildings include the Church of Our Saviour (Vor Frelsers Kirke) in Copenhagen from 1682-1696 by Lambert van Haven, Fredensborg Palace from 1722 by Johan Cornelius Krieger and the later Christiansborg Palace, started in 1730 by the German architect

Elias David Häusser. It was, however, mainly the leading architects of the next generation, Lauritz de Thurah and Nicolai Eigtved, who made their mark on the interiors of the palace.
Nicolai Eigtved became the main advocate of the Rococo style in Denmark. His principal achievement was the laying-out of the Frederiksstad in Copenhagen in 1749. This quarter was organized around

the octagonal square surrounded by the four Amalienborg palaces. For the townhouses, he produced type designs in his characteristic, discreet pilaster strip and recessed style with delicate relief effects.
Classicism and Historicism

After Eigtved’s death in 1754, another architect had to continue the work on the main monument of the Frederiksstad, the Cathedral from 1778 and the colonnade by Amalienborg in 1794. In 1779-1780, he built the town house 3-5 Kongens Nytorv, which became the new model for Copenhagen town houses at the time. After his death, the chief proponent of Classicism was Christian Frederik Hansen.

The ideal developed towards a considerably more severe classical style dominated by clean, simple forms and large, unbroken surfaces. From 1800, Christian Frederik Hansen was in charge of all major building projects in Copenhagen, including the City Hall and Courthouse on Nytorv from 1816, the Church of Our Lady (Vor Frue Kirke) in 1826 and the new Christiansborg Palace from 1829.

In the 1830s, the Antique ideal was beginning to give way to Late Classicism’s more free interpretation of historical styles. Buildings were now designed with both plastered and brick masonry walls, for instance Gustav Friedrich Hetsch’s yellow brick synagogue in Krystalgade from 1833 and Michael Gottlieb Bindesbøll’s Thorvaldsen’s Museum with its polychrome plaster facades from 1848, both in Copenhagen.

The second half of the 19th century was the age of Historicism. Two main trends can be distinguished. The national trend attached importance to high standards of craftsmanship as well as truth and honesty to materials, as demonstrated in Johan Daniel Herholdt’s pioneering University

Library in Fiolstræde in Copenhagen from 1861. This trend later developed into National Romanticism, which found its main expression in Copenhagen City Hall from 1905, built by Martin Nyrop.

The second trend was more international and worked with a broader spectrum of historical inspiration. Ferdinand Meldahl was its leading representative and, incidentally, the architect who finally completed the Frederik Church in 1894 after almost 250 years.
First half of the 20th century

A change occurred in the first decades of the 20th century, when the decorative and historical motifs seen, for instance, in the Neo-Baroque and even the Art Nouveau style, gradually gave way to a new functionality, which around 1920 merged into a Classicist trend. Earlier in the century, the Council for Design Assistance had been established by the Society of Academic Architects in 1907 and the Better Architectural Design Association in 1915. Their aim was to provide guidance to the population, so that good and healthy family houses, in keeping with the Danish architectural tradition, would be built all over the country.

20th century Neo-Classicism was inaugurated by Carl Petersen’s Fåborg Museum from 1913. The trend put ideals such as symmetry, regularity and rhythmical repetition on the agenda. Neo-Classicism influenced, for instance, the building of flats in Copenhagen, such as Kay Fisker’s block of flats Hornbækhus in Copenhagen from 1923. A special monument of the time is Hack Kampmann’s Copenhagen Police Headquarters (picture below) from 1924, powerful, simple and inward-looking on the outside and monumental in its open courtyard inside.


The transition from Neo-Classicism to Functionalism happened around 1930. The ideal was rational and functional architecture, preferably with a social objective. The new materials, concrete, iron and glass, were to be combined in constructively honest building volumes. Major examples of international Functionalism in Denmark include Frits Schlegel’s single-family house at 17 Bernstorffsvej from 1931, Mogens Lassen’s single-family houses at 5-11 Sølystvej (picture below) from 1936 and 1938 and Arne Jacobsen’s Bellavista block of flats from 1934, all north of Copenhagen.


This co-existed with a more traditional trend which, although influenced by the ideals of the time, primarily used native materials and a more traditional idiom, as in Aarhus University initiated in 1932 by Kay Fisker, Christian Frederik Møller and Povl Stegmann or the balcony and bay window block of flats Vestersøhus in Copenhagen (picture below) from 1939, also built by Fisker and Møller. The architecture of the 1940s showed signs of the difficult conditions during World War II. The buildings tended to be smaller and used native materials such as brick and wood, for instance Viggo Møller-Jensen’s Atelierhuse (studio houses) at Utterslev from 1943.

Second half of the 20th century

After the war, there was particular interest in American Modernism.


Typically, the houses were designed with irregular ground plans, flat roofs, open plan room sequences and large glass facades, as in Jørn Utzon’s single-family house at Hellebæk from 1952 or Jørgen Bo and Vilhelm Wohlert’s Louisiana (picture above). In the post-war period, Arne Jacobsen was the country’s leading Modernist of international standing. In Rødovre Town Hall from 1955 and the SAS Hotel in Copenhagen from 1960 (picture below), he created cool, classical Modernism with simple, severe forms and curtain-wall facades. Friis and Moltke introduced a completely different architectonic approach, the Brutalist-inspired so-called casemate architecture with mrobust concrete forms, for instance Odder Town Hall from 1971.


In the early 1960s, the State began to invest in industralising construction through pre-cast and prefabricated building elements, as in Høje Gladsaxe, built in 1964 by Povl Ernst Hoff and Bennet Windinge. The very tall high-rise blocks quite soon encountered criticism and a low-rise alternative arose with Fællestegnestuen’s estate in Albertslund Syd from 1963-1966.

The decisive break with Modernism  within housing came with the low, dense estate Tinggården in Herfølge from 1978 (picture below) by the firm of architects Vandkunsten. Tinggården was the first realisation of the concept of a new, alternative housing environment in the form of small, intimate residential enclaves in touch with nature. The idiom was varied and informal. Tinggården set the tone for residential architecture in the following decades.


Tinggården’s idiom anticipated Post-Modernism in Denmark. The main advocates of this trend are the firm of architects 3xNielsen with projects such as Villa Atzen in Horsens from 1986.

Apart from Post-Modernism, Danish architecture around 1970-1990 was characterised by several other architectural trends. Late Modernism’s refinement of the Modernist forms is chiefly seen in

Danish architects’ work abroad, but the trend is also well-represented in Denmark, from Henning Larsen’s Gentofte Central Library from 1985 (picture below) inspired by the 1930s to Dall & Lindhardtsen’s Brutalist-inspired Holstebro Town Hall from 1986.


Neo-Rationalism came to the fore with Høje Tåstrup’s more traditional urbanity, where Jacob Blegvad Architects and Claus Bonderup in their competition proposal from 1978 emphasized enclosed street spaces and the creation of squares. The Classical element was continued in many buildings, both in Post-Modernist and Neo-Rationalist versions, including Henning Larsen’s Business School in Frederiksberg from 1989.

Deconstructivism has had a few advocates in Denmark, but very few buildings, notably the Museum of Modern Art, Arken (picture below), in Ishøj by Søren Robert Lund from 1996 and Holstebro Courthouse by 3xNielsen from 1992.


At the same time, a significant part of Danish architecture is characterized by its regional roots, especially within housing, where the 1970s dense-low concept has been developed into contemporary design.

Arkitema led this development with for instance Håndværkerparken III in Århus from 1986.

The sustainable dimension also became a key issue for many Danish architects, including Boje Lundgaard and Lene Tranberg.
Written by Vibeke Andersson Møller, Curator

Christmas In Scandinavia

Located at the northern Hemisphere, Scandinavia is obviously in the peak of winters when Christmas comes. It is the darkest and coldest period of the year. Christmas lights up the long, dark nights with cheers and warmth.

The exaltation of celebrating the birth of Jesus makes people active even in the extremities of weather. Christmas in Scandinavia starts with Advent and both men and women, young and old take part in this with gusto. Though 24th December is the main celebration, there are many preparations to do before the holy day arrives. Scandinavia was originally a pagan country and celebrated “Jul” or “Yule”, a winter festival, before Christmas was introduced. And, glimpses of pagan customs and traditions in Scandinavian Christmas celebrations can be seen even now.

Scandinavian Christmas starts with the first Sunday of December, the first Advent-the countdown to the birth of Jesus Christ. Scandinavians start decorating their houses as a welcome sign. Children decorate their home with their favorite Santa, tinsels, lights, candles and many other things. As a contrast to the bitter and dark winter, each and every house is lighted with colorful lights. The Scandinavian Advent wreath consists of four candles, one to be lighted on each Sunday before 24th of December. The wreath is usually embellished with spruce twigs, moss, red berries and ribbons.


Lucia Night
Scandinavians celebrate Lucia night in connection with Christmas. This falls on the 13th of December and is observed in commemoration of Lucia or St. Lucia, the Queen of Light, an Italian saint who belonged to the island of Syracuse. She was very kind-hearted and brought food to the poor Christians in the catacombs in Rome. It is said that she wore a wreath on her head and placed candles on it to light her way so that her hands stayed free to distribute food.


Quite surprisingly, St. Lucia night is celebrated in Scandinavia with greater enthusiasm than in Italy, from where she actually hailed. During the festival, a Lucia is selected in every village, dressed in white, singing Christmas songs and carrying wreaths on her hair, with candles on it. The audience is usually treated with saffron buns and ginger snaps.

Christmas Markets
Christmas season in Scandinavia is characterized by the Christmas markets that spring up in every small town and city. These markets sell mulled wine, saffron buns, local delicacies and traditional handicrafts. The largest Christmas market in Scandinavia is usually set up in the amusement park Liseberg in Gothenburg, Sweden. This market, decked up with over 5 million lights, starts from November and stays put till Christmas.


Santa Claus
The tradition of Santa Claus varies across the countries. It is the strongest in the Nordic region where it is believed that he visits every home on Christmas Eve. According to Scandinavian belief, Santa is a cross between a gnome and a Greek Saint Nikolas, and a lot of children believe he lives in Norway or Sweden.


Christmas Cuisine
The traditional Scandinavian cuisine consists of a variety of cold and warm delicacies like fish, meat, sausages, ham, salads and desserts. Herring and lutefisk are traditional fish dishes. Schnapps is a Scandinavian beverage distilled from potato or grain and then flavored with various spices.


Christmas in Scandinavia is a special experience. The Christmas markets and traditional Scandinavian cuisine makes it an exclusive privilege for the natives.

A wooden Danish Santa for X-mas


With his paternal attitude, unyielding optimism and mantra that good design should be personal, warm and lively, Kay Bojesen could never be described as stiff as wood, quite the contrary! And yet, throughout his life, wood was his preferred medium, and the breadth of Kay Bojesen’s work is vast: from puffins and songbirds to rabbits and cool monkeys.


This autumn, Kay Bojesen Denmark added another member to the design family with the relaunch of his original wooden Santa from the 1940s, complete with bag and walking stick.

Dogs, elephants, hippos, puffins, songbirds, bears, monkeys, rabbits and rocking horses… Kay Bojesen is especially known and loved for his menagerie of wooden animals in all shapes and colours, while his creativity gave life to much more than just four-legged creatures. In as early as 1942, Kay Bojesen created the colourful Royal Guardsmen, with their drums, flags and rifles, which stand at attention in many Danish homes, and when he created the wooden Santa in the 1940s, his inspiration clearly came from the painted guard.

Kay Bojesen’s grandchildren clearly remember how their grandfather’s home and shop in Bredgade in the centre of Copenhagen were filled with these wooden Santas during the merry holiday season, and how Bojesen generously gave the figurines away to children and the young at heart among his customers. And now that Kay’s Santa has been put into production, everyone has the chance to acquire one of these jolly figurines, which are bound to find their way under this year’s Christmas tree…



“Santa Kay” with a bag of toys

Kay Bojesen’s wooden figurines are famous all over the world for their unique combination of playfulness and design. His naivistic designs are free from superfluous shapes, but with plenty of heart and humour in the craftsmanship, and a wooden Danish Santa for X-mas is no exception. With his grey beard and plump belly, “Santa Kay” peeks out from under his red hat with a cheerful sparkle in his eye, while his hands grasp a walking stick and a bag of toys for all the nice little boys and girls, and maybe even their naughty friends…

The bag is a modern addition to Kay Bojesen’s original design, which can be filled with Christmas treats or little gifts as part of the holiday decorations. Or it can hold an extra present for the recipient of the Santa, because everyone knows that good things often come in small packages.


Another fun detail is that Santa Kay can be seen as a preliminary study for Kay Bojesen’s most famous design, The Monkey, which saw the light of day in 1951 and features the exact same body and construction as the wooden man in the red suit. Now that’s a real Christmas story!

Source: Rosendahl Design Group A/S

The Standard Copenhagen


Claus Meyer from Noma and Meyers Madhus and jazz musician Niels Lan Doky have joined forces to open a combined restaurant and jazz club in Copenhagen. Here you can enjoy Nordic as well as Indian food while listening to soothing jazz tones.

The New Nordic kitchen has gained appeal around the world and today the kitchen is highly praised internationally. The New Nordic kitchen is characterized by its uniquely Nordic identity among the world’s greatest cuisines and by its commitment to organic sustainability and local products.

The former Custom House in Havnegade, Copenhagen, will house no less than three restaurant, two bars and a jazz club. Combined they make The Standard Copenhagen.

The restaurants
Two of the restaurants, Almanak and Studio, serve food from the Nordic kitchen. Almanak offers traditional Danish open-faced sandwiches, and in the evening the restaurant will serve ”food that your grandmother would have made if she had known what we know today”.

The Standard
Studio restaurant
Standard Copenhagen
The Almanak restaurant

Studio is inspired by Danish as well as international landscapes and creates dishes that represent our nature. Here you can expect to taste something that you have not tasted before. Furthermore, the food will be prepared in an open kitchen.

The Standard
Verandah restaurant

The third restaurant, Verandah, serves food from the contemporary, pan-Indian cuisine using seasonal and regional ingredients. An Indian gourmet restaurant has been missing in Copenhagen for a long time. The owner of Verandah in Copenhagen is also the owner of a Michelin star Indian restaurant in London.


The Standard
The Jazz Club

The jazz club
The jazz club, which will have 68 seats including six standing in the bar, will have fixed ticket prices for all concerts.

The Standard
Sandwiches at Almanak restaurant

The music is going to have a Danish/Nordic foundation, where the music is created specifically for The Standard.

Moreover, the aim of the jazz club is for Copenhagen to regain its historic position as jazz metropolis.

The Standard Copenhagen, written by: Tor Kjølberg. Photography: Tor Kjølberg

Two of Scandinavia’s Best Resorts for Winter Sports

Surge across an unspoilt winter wonderland behind a dog sledge, plunge down pristine slopes accessible only by chopper or blast your way down a bobsleigh run at breathtaking speeds. Experience more than just a ski holiday with our guide to Europe’s best winter sports resorts.

Åre, Sweden

Suitable for beginners as well as seasoned skiers, Åre has an arsenal of ski runs. Away from the slopes, discover the exhilaration of husky dog sledding in which experienced mushers will whizz you through an awe inspiring wilderness. If you fancy some hands-on action, you can also experience the excitement and adventure of leading your own dogsled team.


In addition, Åre has breathtaking ice climbing in limestone caves, heli-skiing and a zip line park in which you careen down a mountain side harnessed to a zip wire at speeds of up to 70kph (43mph). The combination of extreme sports and the infamous nightlife make Åre a perfect destination for an adventurous holiday with friends.

Lillehammer, Norway

Featuring endless cross-country trails and alpine slopes, Norway is a less crowded winter sports destination. Family-friendly Hafjell is one of four main resorts in Lillehammer which offers great introductory snowmobile classes for children and adults.


For those looking for a faster pace, Hafjell also has a bobsleighing and bobrafting track. Bobsleighs send you flying at speeds up to 120kph (75mph), while the bobrafts, an inflatable counterpart, guarantees a slightly gentler journey. Families can also enjoy tobogganing trails and traditional wooden sled rides. Enjoy two of Scandinavia’s best resorts for winter sports.


New Norwegian skiing options for winter 2014


Some of Britain’s biggest tour operators are introducing new Norwegian skiing options to their line-up for the winter 2014 season. And it’s Scandinavia that’s grabbing most of the headlines. 


Crystal and Thomson are offering skiing holidays in Beitostølen, Geilo (pictured) and Hemsedal, with flights from the UK to Fagernes Airport. The resorts have good snow records, offer varied terrain and family-friendly facilities. The companies are part of TUI, which says it’s been able to use its buying power to help deal with one of the traditional problems of a Norwegian holiday – the expense. It’s promising good value half-board options and inexpensive self-catering cabins and apartments.

Located within the Jotunheimen National Park, Beitostølen has an efficient lift network, English-speaking ski instructors and confidence-building slopes suitable for families, beginners and early intermediates. Children can enjoy a variety of activities, including Ski Fun Land and mini-snowmobiles.

The traditional village of Geilo is one of the best known of the Norwegian ski resorts, located in the heart of Norway’s ski region and with ski areas on both sides of the valley. The resort offers 40 pistes, mainly aimed at beginners and intermediates, five terrain parks and more than 220km of cross country skiing trails.


Known for being one of the biggest ski areas in Norway, Hemsedal has an excellent snow record and some fine terrain parks, with two half pipes. Up to 50% of the resort is covered by snow-making facilities in case the real stuff dries up. It’s another family-friendly resort with good facilities for children and beginners.

Copenhagen Wheel Turns any Bike Into a Hybrid Electric Vehicle


When MIT unveiled designs for the Copenhagen Wheel in 2009, it generated a lot of buzz. The deceptively simple, self-contained system can turn any bike into a “smart electric hybrid” cycle by providing a kinetic boost for riders. Four years passed—during which time the Copenhagen Wheel received a handy, high-profile publicity boost as part of a plot line on the HBO’s Weeds—and now Massachusetts-based company Superpedestrian is finally accepting pre-orders for the wheel.

The wheel was developed by members of the SENSEable City lab at MIT, and the project was sponsored by the Mayor of Copenhagen—hence the wheel’s name. It was unveiled back in 2009 at the COP15 Climate Change Conference, with anticipation that Copenhagen might even use bikes retrofitted with the wheel as a substitute for city employee cars as part of the city’s bid to become carbon neutral by 2025.

So what makes the Copenhagen Wheel quite so exciting? Straightforwardly, it’s an incredibly simple device that can do some not so simple, incredibly helpful things. The distinctive 13lb red hub fits onto the back wheel of any existing bike and features a 48V lithium ion battery and a 350W motor (250W if you’re in the EU). The hub stores energy generated through a regenerative braking system, which it then uses to provide an electric boost while you ride.

How much of an assist the Copenhagen Wheel provides is determined by sensors and electronics within the wheel. If you’re pedaling hard to go up a hill, the motor kicks in. If you’re cruising along happily on a smooth straight path, the motor may not run at all. And at its highest speeds, the motor can power your bike to a respectable 20 mph. A smartphone app connects with the wheel’s electronics via bluetooth, and users can determine how sensitive the wheel is to their pedaling.

Furthermore, the app can secure the bike (and the wheel). Through its bluetooth connection, the wheel will register when the phone, and the user, are in range, and unlock the wheel. When you leave your bike and walk away, the wheel will lock. Additionally the app collects personal usage statistics, including, but not limited to, time and distance traveled, elevation climbed and calories burned. All in all, the manufacturers claim that the Copenhagen Wheel “preserves the normal biking experience while enabling riders to bike faster, farther, and easier.”

After the wheel was developed by MIT’s SENSEable City lab, several of the lab’s members obtained the license for the Copenhagen Wheel’s design, and formed Superpedestrian who have now brought the product to market. Available for preorder, the Copenhagen Wheel costs $699, and the first units are expected to ship in the first quarter of next year.

Stavanger : New Air France Destination in Norway


Starting from 31 March 2014, Air France will operate two daily flights to Stavanger, on departure from Paris-Charles de Gaulle. 


Stavanger : New Air France Destination in Norway

The flights will be operated by Embraer 170 with 76 seats. The flight times will provide for easy connections with the Air France long and medium-haul network at Paris-Charles de Gaulle.

Air France’s second destination in Norway, after Oslo, Stavanger is the centre of Norway’s oil and gas industry.  This new route will complete KLM’s flight offering serving Stavanger with 5 daily flights on departure from Amsterdam-Schiphol.

In Norway, Air France also serves Oslo with three daily flights.

Flight times:  

AF 1846: departs Paris-Charles de Gaulle at 09:50, arrives in Stavanger at 11:55

AF 1746: departs Paris-Charles de Gaulle at 19:20, arrives in Stavanger at 21:25

AF 1847: departs Stavanger at 12:35, arrives at Paris-Charles de Gaulle at 14:45

AF 1747: departs Stavanger at 07:00, arrives at Paris-Charles de Gaulle at 09:10

A Night With Garbo in Stockholm

Blue Strand Hotel in Stockholm pays homage to one of its most renowned guests in the form of a hotel suite.

The newly furnished Greta Garbo suite is part of the hotel’s centenary celebration. This was Stockholm’s first celebrity hotel and the suite is meant to convey the feeling of stepping into a black and white film in which glamour, splendor and drama comprise a tantalizing blend. Greta Garbo’s dramatic characters on the silver screen have inspired the colours – black and gold – of the interior design. The choice of fabrics – velvet and silk – was inspired by Greta Garbo’s gowns. Also, one of the rooms is furnished with mirrors inspired by her jewellery. Why not stay a night with Garbo in Stockholm?

– It’s been great fun to honour the memory of Greta Garbo in this way, since she stayed at the hotel on several occasions and, primarily, because she is one of the best actresses of all time, says Eva Kalling Hansson, General Manager of the Radisson Blu Strand Hotel in Stockholm.


In collaboration with interior designer Maria Nordin, the Radisson Blu Strand Hotel has transformed the suite into an oasis of everything Garbo. In order to get every detail right, Maria Nordin enlisted Rune Hellquist, chairman of Garbosällskapet (The Garbo Society). Furthermore, the suite was the designed with the approval of Greta Garbo’s family. 131213_Greta_Garbo

– It’s been very enjoyable to interpret film star Greta Garbo and the stylish elegance of her times my own way. My aim is to make the hotel guests feel like they’re stepping into a scene from a film starring the legendary, glamorous Greta Garbo, says Maria Nordin. 131213_Greta_Garbo_Suite_Sunglasses

The number of details is rather astonishing – a plethora of hats, sunglasses and other objects with an immediate connection to Greta Garbo. The walls are adorned with numerous black and white photographs of the star herself, wearing different kinds of hats – an accessory Garbo seldom went anywhere without. Another example is a bottle of whisky. Garbo’s first line in a talking picture was “Give me a whisky”.

Published with kind permission from Z Lifestyle Magazine, created exclusively for the Carlson Rezidor Hotel Group.

Please Be Seated in Danish Furniture


Several retro design chair icons are brought back to life by the Danish furniture company Sika-Design.

With the utmost respect to the original designs, the company has put the chairs of Nanna & Jørgen Ditzel, Viggo Boesen and R.Wengler back into production.

These designers were all significant to the proud Danish design history with their experimenting and groundbreaking designs. Each in their own way, they performed magic with the sturdy, genius qualities of the beautiful natural material of rattan and wicker.

Ankjær Andreasen established Sika in 1940. The name comes from the Sika deer which is light and elegant. The company was established in Mossø, where during the war, there was growing unemployment and shortage of raw materials. The production was based on free raw materials, such as straw from the fields after harvest and reeds gathered from the marshes. After the war, there was also a production of baskets made from wicker in the state prison of Horsens.

In 1951 Sika Møbler moved to Fyn, and expanded the production of baskets, and a small production of furniture was started up. The biggest competitor in Denmark was, at the time, Horsnæs. They revolutionized the production of rattan furniture and created new methods of working with rattan. Ankjær Andreasen only worked with the best wicker makers and together they perfected the art of wicker working, focusing on what was to become Sika-Møblers design identity: Comfort, quality and design.

Nanna Ditzel graduated as a furniture designer in 1946 at Design School Copenhagen, in the age of just 23 years.

Before that she was educated as a cabinetmaker – a background that gave her a basic understanding of the furniture function prior to its design. Nanna Ditzel’s design was experimental and innovative at the same time.

Nanna and Jørgen Ditzel
Nanna and Jørgen Ditzel

Nanna Ditzel managed to become a successful woman in a very male-dominated time of Danish furniture design.

Here is her design chair Madame which she created together with Jørgen Ditzel. 121213_Ditzel_Madame

Furniture design with an organic flow that embrace the body smoothly and tenderly, is a delight to the eye as well solid and durable.

Inspired by a design competition held by the Danish wicker-maker guild in 1936, Viggo Boesen embarked on rattan furniture design combining modernist style with the hard wear qualities of the rattan material.

Viggo Boesen’s FOX lounge chair won the design competition in 1936. His inspiring, imaginative designs made him unique and put him among the designers of the “Danish golden age”. 121213_Sika_Fox

Wicker maker Robert Wengler was now known as the best wicker maker in Denmark and many architects came to his workshop to get know-how and understanding about weaving and wicker work. Among those were Danish architects Arne Jacobsen, Viggo Boesen, Nanna & Jørgen Ditzel and Kay Bojesen. They had many of their prototypes made in R. Wenglers workshop in Copenhagen.

Today R. Wengler stands as one of the pioneers in Rattan production. What he did to the craftsmanship and the way he challenged the material, makes ground for the way we know rattan furniture today. Please be seated in Danish furniture.

Wengler dining chair
Wengler dining chair