Posto 9 Arquitectos was founded in 2002 by Joana Castanheira and André Ferreira, bringing together residential architecture, urban restoration, and heritage and education, with a focus on transforming existing buildings into contemporary, functional spaces adapted to today’s needs.

Casa Navegantes. 3D images by Posto 9

The firm’s work centres around the potential of the existing city. “We work with buildings, sites and urban contexts that already have a history, and we transform them into new spaces for living, learning and urban life,” says one of the architects at Posto 9. “Although we work across different scales and programmes, our approach is always based on understanding the place, the existing building, the client’s needs and the specific conditions of each project. From there, we develop solutions that are clear, functional and lasting.”

For Posto 9, restoration is not only about preserving the past. It is about giving buildings a new life and extending their use over time. “The challenge is to respect the identity of the place while responding to contemporary requirements for comfort, functionality, accessibility and spatial quality,” explains the architect. “In Lisbon, this is particularly relevant, as many projects are located in consolidated areas, existing buildings or heritage contexts, where it’s necessary to find a balance between preservation, adaptation and feasibility.”

BSL Discovery Center. 3D images by Posto 9

Urban restoration and architecture

Posto 9 has developed several residential projects, both in Lisbon and in other locations, and often in very different contexts. In residential projects, value is not only created through the image of the building. It also comes from the way the spaces are organised, the quality of natural light, the relationship with outdoor areas, the choice of materials and the creation of comfortable and lasting spaces.

One recent project is Edifício Conde Valbom. Located in Avenidas Novas, one of Lisbon’s most well-established neighbourhoods, this is a residential project that explores the relationship between contemporary housing, urban life and nature. The large tree located in front of the building, whose preservation was a key requirement from the outset of the project, guided the design of the facade. In Avenidas Novas, the tree becomes the centre of the project; architecture grows in dialogue with nature, the city, and light.

Another example is Terreiro do Trigo in Alfama, located in Lisbon’s historic centre close to the River Tagus. Nominated for Building of the Year 2026 by ArchDaily, the project involved restoration, alteration and extension of two existing residential and commercial buildings, originally separate. The proposal unified the two buildings with a shared entrance, while preserving the individual identity of each facade.

Casa Navegantes is a residential restoration and extension in Lisbon. Posto 9 converted the existing building, previously divided into four separate apartments, into a single-family residence, with the addition of two floors and an extension of the rear facade. The architect explains: “The project offered an opportunity to rethink the house as a whole, reorganising its interior spaces, improving its relationship with natural light, and opening the building more directly to the garden at the rear.”

Edifício Conde Valbom.

Educational buildings and continuity

Educational buildings are also an important part of the studio’s portfolio, with several projects for universities and schools, many of them involving the adaptation of existing buildings to new educational institutions. Working with schools and universities requires architecture to respond not only to function, but also to institutional identity and to the everyday experience of students, teachers and the wider school community.

The BSL Discovery Center is a prime example: a large-scale project that involved reinventing a former Olympic complex for education. Here, the team managed to preserve and reuse an existing circular structure, and reconstructed the more orthogonal building while preserving its architectural language and urban presence, ensuring continuity and coherence within the broader sports complex. “Our work with The British School of Lisbon is particularly relevant in this context,” says the architect. “We’ve been working with this client since they first came to Portugal in 2018, and the BSL Discovery Center is our second school project together.”

Posto 9 is based on a rigorous and collaborative approach, where each project is understood as both an intellectual and technical challenge. Architecture is seen as an integrated process. It is not only about the design concept, but also about feasibility, licensing, technical coordination and construction follow-up.

“Close relationships with clients, continuous dialogue with public and private entities, and collaboration with trusted partners in engineering and landscape design are essential pillars of our working method,” reflects the architect. “This is important for international clients who want to develop projects in Portugal. They need a team that understands the local context, the licensing process, heritage constraints, technical requirements, and the reality of construction on site.”

Edifício Terreiro do Trigo.

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The architecture and design studio, founded by architect Pablo Madrid, offers a complete 360-degree service, from start to finish. With a strong Scandinavian client base, PMA has built up extensive expertise within this market over the years. This, combined with Swedish-speaking staff and a personal connection to Nordic culture (Madrid’s wife is Swedish), makes the studio a natural partner for this clientele.

One of PMA Studio’s main strengths is its understanding of Scandinavian clients’ expectations combined with deep local knowledge of Mallorca and its complex regulatory landscape, as well as the island’s architecture, materials and way of life. “We understand how overwhelming it can be to start building or renovating a house in a foreign country, and we’re here to guide our clients throughout the whole process.”

Four projects demonstrate PMA’s ability to work across different scales and contexts, from historic residential properties to international schools and contemporary workplaces, while responding to the character of the place.

Convendum.

RWIS, protecting and modernising

Raoul Wallenberg International School in La Vileta, Palma, is a prime example of PMA’s approach to architecture and design. This historic building was thoughtfully transformed into a contemporary learning environment, where heritage architecture and modern education coexist seamlessly.

The former nun cloister from the 1920s sits on a plot of more than 10,000 square metres and has been carefully restored. Thanks to PMA, the building’s distinctive architecture, gardens and chapel have been converted into a state-of-the-art school.

“The restoration was based on respect for the architectural legacy, demonstrating how to meet current needs without sacrificing its essence,” says Madrid. “Preserving the features of the cloister while adapting it for today’s needs creates spaces that encourage curiosity, creativity, and a strong sense of place. It’s a reminder that great architecture doesn’t just preserve history – it gives it a new purpose.”

Convendum coworking concept

Another of PMA’s interesting projects is Convendum, a beautifully designed Swedish coworking concept in the historic centre of Palma. The building dates back to the 18th century and has undergone a comprehensive renovation to transform it into a contemporary workspace.

“Convendum combines history, functionality and design,” says Madrid. “The layout has flexible workspaces both indoors and outdoors, plenty of natural light, and a rooftop terrace that becomes an extra room for working, meeting or simply stepping away from the screen for a while.”

The project revitalises a disused building while respecting its architectural identity and highlighting the original features. “The restoration brought the historic building back to life, adapting it to today’s needs without compromising its character,” adds Madrid.

Raoul Wallenberg International School.

Estudi General, family-home restoration

Estudi General is a comprehensive restoration of a late 18th century house in Palma’s Old Town. The aim was to preserve the building’s architectural uniqueness while adapting it to the needs of modern-day living.

The project retained valuable architectural elements, such as the facade, the roof and the building’s traditional configuration. “The work included a complete reorganisation of the interior layout, optimising the relationship between the different floors by adding an elevator and adapting the house to current needs without losing its identity,” explains the architect.

The result was a renovation that embraces both tradition and modernity, restoring a historic house and converting it into a functional, efficient and future-proof home, while maintaining the charm that makes it part of Palma’s architectural heritage.

Hostal Corona, a journey back in time

One of PMA’s current projects is Hostal Corona, located between the seafront promenade and Bellver Forest in Palma. Designed by Mallorcan architect Gaspar Bennàssar and built around 1930, the building became one of the most characteristic establishments in the area. Throughout its history, it has reflected the evolution of the El Terreno neighbourhood, acting as a meeting point for artists, intellectuals, travellers and international residents – all attracted by the cosmopolitan vibe.

“After years of inactivity, this renovation aims to restore the architectural and heritage value, adapting it to contemporary needs without sacrificing its distinctiveness,” says Madrid. “The project will seek to highlight the original features that have defined the building for decades, while incorporating current criteria of sustainability, energy efficiency and spatial quality.”

Time leaves its mark on every building, says the architect, but it also leaves something far more valuable: character. “As architects, our responsibility goes beyond restoring facades or redesigning spaces,” Madrid reflects. “It’s about listening to what a building has to tell us, respecting its past, preserving its identity, allowing it to evolve without losing the soul that made it special in the first place. Because the most beautiful architecture isn’t always created from scratch. Sometimes, it’s simply given the chance to live again.”

Estudi General.

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After working as a collaborator, co-author and associate in several architectural offices, Pedro Ferreira set up his own studio in 2012. With offices in Esposende and Porto, PFArchStudio shares extensive experience in various sectors of the construction industry. With a team of 25, the studio designs buildings nationwide, specialising in intervention in pre-existing buildings, with a focus on housing, services and hospitality.

“We design engaging, emotional, sustainable and contemporary projects,” explains the architect. “Importantly, we design buildings that age well. They will withstand the weather and become more beautiful with time, integrating with the surrounding nature. Architecture is a marathon, not a 100-metre race.”

A project that illustrates PFArchStudio’s approach is Casa do Bosque, which the architect describes as an exercise in the distinction between being in the landscape and being the landscape. “The challenge of designing a house on a densely wooded plot proved far more complex than the apparent absolute freedom that the initial impressions suggested,” says Ferreira.

Casa do Bosque is a family home built for permanence, timeless in its nature. A house of quietude that reveals itself slowly among cork oaks and pine trees, with the understated discretion typical of traditional Minho architecture. A house rooted in the sands of former dunes. “The surroundings are not a mere backdrop, but a living, spontaneous, uncontrollable organism – one we had no intention of taming. Nature will conquer the house again,” smiles the architect.

The house consists of an assembly of volumes with distinct functions, a shape that alternately opens up to and closes off from the outdoors. A house of sequence and transition, living from and for its site. And each living space is strategically placed to capture optimal sunlight.

What becomes clear is that PFArchStudio values what is already there, but also the human relations and different layers of thought: “One of our clients said that he liked the idea so much, he felt like it was his own. This is what we do as architects; we step outside ourselves and solve someone else’s problem.”

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Based in Kongsberg, Plan og Ressurs works across Østlandet including the Oslofjord region, combining urban planning, landscape architecture and property development. The company follows projects from the early idea and concept stage to regulation and construction.

“We don’t just draw lines on a map,” says Joar-Andre Halling, owner and manager of Plan og Ressurs. The aim is to create functional, sustainable environments adapted to their surroundings and future users.

By integrating area planning and landscape architecture from the outset, Plan og Ressurs can identify challenges early and ensure that buildings, outdoor spaces and infrastructure work together as a whole. The company also experiments with AI and digital tools in early-stage feasibility studies.

Floor plan of outside space.

Climate adaptation is becoming an increasingly important part of the work, with solutions such as green roofs, rain gardens and blue-green infrastructure helping communities prepare for more extreme weather. The company also transforms former industrial areas into new residential and commercial spaces.

For Halling, seeing these plans become real places is one of the most rewarding parts of the job. “It’s incredibly rewarding to know that a schoolyard we designed or a residential area we planned still provides a safe and enriching setting for people’s everyday lives.” After 18 years in the industry, that sense of lasting impact continues to drive Plan og Ressurs forward.

Owner and architect Joar-Andre Halling.

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Originally established as Narud Stokke Wiig sivilarkitekter MNAL by Jørn Narud, Gudmund Stokke and Ole Wiig, the practice adopted the name NSW Arkitektur in 2018. Today, its work spans architecture, planning, urban design, interiors and transformation, with offices in Oslo and Hamar. “We’re an office that works at all scales,” says Live Serck-Hansen, architect and head of sustainability at NSW. “Every project is unique and needs its own approach.”

That breadth has long been part of NSW’s identity. The practice’s early work in Oslo’s urban renewal helped establish the office, while later commissions have ranged from schools and housing to major public buildings and airports. Today, NSW describes its approach as combining conceptual thinking with innovation, pragmatic human focus and a sensitivity to context.

Værøy Skole. Photo: Einar Aslaksen

Designing for people, place and permanence

For NSW, architectural quality is not simply a question of appearance. Architect and managing director Thomas Berge-Andersen describes the practice’s foundation as a form of timeless modernism combining aesthetics and functionality. Serck-Hansen emphasises that the philosophy results in durable buildings designed with flexibility and robust materials, with the goal that architectural quality will enhance the everyday life of its users.

Vestlandshuset. Photo: HUS Arkitekter

That philosophy is particularly evident in the practice’s airport work. NSW’s relationship with aviation began with Oslo Airport at Gardermoen, where the office was involved from the early stages and later worked on Terminal 2. The team continues to work with Avinor across Norway in a variety of projects. “We focus on clarity of design: all buildings have to be easy to understand and contribute to making the journey comfortable for the passengers,” says Berge-Andersen. “Even the small projects have a complexity that we need to solve.”

That concern for movement and accessibility is also at the heart of Glassheisen in Arendal. The twin lifts cut through the rock between the Market Place and the new extension of the city located on top of Fløyheia, linking pedestrians, cyclists and wheelchair users while creating a stunning public viewpoint. The project has become an attraction in its own right and won Norsk Stålkonstruksjonspris in 2023.

NSW Arkitektur was tasked by Avinor to draw the new Sola Airport. Photo: Sindre Ellingsen

Transformation, continuity and the life of a building

If Glassheisen demonstrates NSW’s ability to turn infrastructure into civic architecture, its work at Værøy School demonstrates an equally important instinct: knowing what not to replace. “On Værøy in Lofoten, we restored a 1960s school by Tobias Ritzau, which had faced the prospect of demolition. Rather than starting again, we preserved the existing building while introducing new functions, a sports hall and an intermediate building with a library,” says Serck-Hansen.

The former gymnasium has become a cultural hall, strengthening the school’s role as an important meeting place for the entire local community.

The project won the Northern Norway Architecture Prize in 2025 and in 2026, Værøy School was awarded Fortidsminneforeningen and Stiftelsen UNI’s National Preservation Award for the sensitive restoration. “The instinct for continuity has also been applied to Sterudkvartalet in Moss, where our proposal seeks to connect a major new development to its historic urban surroundings through new green routes, public connections and a landscaped centre,” adds Berge-Andersen.

It is also central to Vestlandshuset in Bergen, developed with HUS Arkitekter and Arkitektgruppen Cubus. The 27,000-square-metre county house was conceived around ideas of openness and democratic participation, with the council chamber visibly raised above the ground and the building opening itself towards the city. “People are at the centre as they’re the users of the buildings we design,” says Serck-Hansen.

Across airports, schools, civic buildings and urban quarters, NSW’s ambition is remarkably consistent: to create architecture that meets the requirements of users, is durable, has an environmental focus and belongs to its surroundings. As the practice looks towards its next generation, that may be the most important part of its inheritance; not a fixed style, but a way of thinking.

Vestlandshuset. Photo: Morten Wanvik

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The team at Tengbom creates architecture that is both sustainable and beautiful. “We develop buildings and environments that not only do what they’re supposed to do, but that make things even better; that enrich people’s lives, develop society, strengthen businesses and drive business – all at the same time,” says Mark Humphreys, CEO.

The firm’s approach combines architectural quality with a careful use of resources – preserving, refining and reusing what already exists. Five projects in particular, four of which have been completed and one is ongoing, illustrate Tengbom’s commitment.

Bergs Locks Visitor Center, work-in-progress. Photo: Patrik Ekenblom

Pink office encourages freedom and creativity

Tengbom’s Stockholm office is a three-dimensional manifestation of its ways of working. Located in the urban development Hagastaden, in an old mineral factory from 1934, the office is a pink dream. “By using playful architectural features and imperfect material finishes, we’ve created a vibrant environment where we can work, experiment and develop ideas together with our customers and partners,” says Humphreys.

Thanks to a flexible floor plan with many possibilities, the team has developed a functional, creative and stimulating work environment. A 1,200-square-metre spray-painted pink ceiling connects several parts of the office, covering pipes and ceiling installations, leaving clear traces of the former factory. The pink hue creates an optimistic, soft and warm feeling that brings life and builds identity.

The office is adapted to an activity-based work approach and is divided into zones: an open-plan office, sofa groups, smaller team facilities, and so on, explains Humphreys. “We want our employees to be encouraged to try something new, to be inspired, to have new ideas, and to have the opportunity to experiment – it’s a crucial foundation in our work as architects.”

The National Archives. Photo: Felix Gerlach.

Place for democracy and cultural heritage

Another colourful project is the National Archives in Härnösand, which was inaugurated this spring. Set amidst the blue-tinged heights of Höga Kusten, the building draws its identity from the surrounding landscape of pine forests, red granite and wood.

A project of gigantic proportions, the new landmark is not just a repository of records but a bastion of democracy and a celebration of cultural heritage. The National Archives contains some 258,000 shelf metres of Swedish archived material and provides workplaces for around 100 employees, including staff from the Swedish Tax Agency.

The archival section is a monolithic concrete volume, its red-pigmented facade inspired by Ångermanland’s native Nordingrå granite. Visible from a distance, the red volume anchors the building in the surrounding landscape and guides visitors to the site. The archive is linked with a wooden office building through an atrium and a welcoming visitor area. “Not only is this a play between architecture and nature, but the project also carries an important function for society in that it preserves Swedish culture,” adds Humphreys.

Mark Humphreys. Photo: Anneli Nygårds

Upcycling and enhancing good architecture

Two projects highlight Tengbom’s ambition to reuse, repurpose and upcycle whenever possible. The first is Östermalm Padel, which is an existing structure moved to a new location. The temporary market hall from Stockholm was given a new lease of life as a padel hall in Mölnlycke, just outside of Gothenburg. “This is a major upcycling project, maybe one of the biggest in Sweden,” says Humphreys, who was lead architect for the project.

Stjärnorp Castle Ruins. Photo: Felix Gerlac

The building has been well-adapted to its new function and location: “What we learnt is that good architecture is a condition for long-term sustainability. The project also demonstrates the advantages of prefabricated timber constructions.”

Another showcase of making use of what is available is Stjärnorp Castle Ruins, north of Linköping. Since 1789, the ruins had stood unprotected following a devastating fire. Through extensive restoration and modernisation, they have been safeguarded against further decay and prepared for future generations. “The cultural heritage site is a beautiful example of how architecture can enhance and highlight historical buildings, and it has been praised for the balance between preservation and renewal,” says Humphreys. Today, the ruins play a significant role in the cultural and tourism landscape of Östergötland.

Östermalm Padel (transformation of padelhall till saluhall). Photo: Felix Gerlach

Photo: Felix Gerlach

Culture, nature and landscape

And last but certainly not least, an ongoing project highlights Tengbom’s respect for the relationship between culture, nature and landscape. Bergs Locks Visitor Center, also located in Linköping, is set to become a new must-see on the tourist map, sitting at the top of Göta Canal’s biggest staircase lock – blending wow-factor with an ability to melt into the cultural landscape.

The timber construction, designed with a low climate impact, consists of three connected buildings inspired by the natural landscape and the old farmhouses in the area. With the curve of the buildings and angled gable roofs, they resemble upside-down boats. Eventually a viewing room will be added, along with exhibition spaces, a conference facility and a restaurant for 100 guests.

Tengbom’s Stockholm office. Photo: Felix Gerlach

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Founded in 2014, SAL architects realises projects that balance creativity, context and function against the Atlantic’s vivid backdrop. Being based in a remote European region is an important source of inspiration, according to CEO and founder Rui Sabino de Sousa: “Battling isolation daily is a key part of our identity and something that ultimately makes us very proud.”

Casa AW. Photo: SAL / Pedro Machado Photography

SAL architects grew out of a shared vision between an architect and a client who became partners in exploring what quality design could mean in the Azores. That spirit of dialogue still defines the studio today and each project starts with a close reading of place, budget and materials, before bringing designers, engineers and clients into one conversation.

Casa AC. Photo: SAL / Pedro Machado Photography

Clean lines, elegant layouts, natural light, ergonomic spaces and local resources define SAL’s work, yet its architecture is never generic. “What distinguishes our projects is this combination of design elements and client input, which give each project a unique personality,” says de Sousa. From private homes to hotels and commercial spaces, the approach remains site-specific and built to last.

Looking ahead, the studio aims to keep improving, listening and creating thoughtful and timeless architecture with a distinctly Atlantic soul.

Residence Azores. Photo: SAL / Francisco Nogueira

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Sanna Form is closing the gap between vision and construction. The firm’s approach is one where architecture, construction and responsibility are held together, from the first idea to the finished home. “At the heart of our approach is one simple principle: one team, one responsibility,” says Christopher Lobsien, CEO. “By bringing architecture, planning and construction together under one roof, we can guide our clients through the entire journey with clarity and accountability.”

Lobsien explains that the best results are achieved when architecture, planning and building production collaborate from the start. “When the same people are responsible for the entire process, decisions become clearer, risks are reduced and the path from idea to reality is significantly safer.”

For Sanna, a home never starts with the architecture. It starts with the people who will live there. “Most people who come to us already know what they like. They know quality when they see it,” says Lobsien. “But creating a home that lasts is about much more than taste. Our starting point is what life looks like for our clients today, how it’s likely to change over time, and what decisions will matter in the long run.”

Photo: Robert Mendoza

Architecture and craftsmanship

Sanna’s business model is based on the conviction that architecture and building production belong together, because when the same organisation is responsible, all the way from original idea to completed building, decisions become clearer, processes are more reliable and the results are more considered. “Today, Sanna brings together architects, project managers and builders in one organisation. This allows clients to move seamlessly from vision to completed home, without losing direction, quality or accountability along the way,” says the CEO.

“For us, it’s not enough that something is beautiful,” he continues. “Architecture reaches its full potential when it can be realised with the same precision in construction. Our team of builders understands the importance of craftsmanship and of staying true to the original vision, so that every home is executed with the same care it was designed with.”

Photo: Robert Mendoza

Transparency, timeliness and accountability are as important as the architecture itself. Lobsien assures that with Sanna, clients will understand the whole process, know why decisions are made, and feel safe throughout the entire journey. “We work with people who want thoughtful decisions rather than quick solutions, and homes that remain relevant long after trends have passed.”

Building a home is one of the biggest investments most people make. Not just economically, but also emotionally. Reflecting on what makes a home truly meaningful, Lobsien says: “A home is a place where life will last for many years to come. Therefore, architectural decisions affect more than just aesthetics, economy and function. They affect how everyday life works, how you feel and how well time passes.”

Photo: Marcus W Carlsson

The beauty is in the details

Projects range from grand residences and high-end apartments to bespoke family villas, all united by the same commitment to precision and thoughtful design. “Over the years, Sanna has delivered a broad range of residential projects, from bespoke family homes and exclusive apartments to larger architectural environments,” says Lobsien. “Regardless of scale, the ambition remains the same: to combine architectural integrity with practical execution.”

Photo: Marcus W Carlsson

For the team, quality is found in the details that work every day, in the materials that age beautifully, and in the timeless solutions that continue to create value long after the project is finished. “Our projects are certainly not standardised. Instead, our tailored solutions work, every day, over time.”

Clearly, nothing is left to chance in Sanna’s projects, as a home is too important. Every angle, every detail, has been considered, stresses the CEO: “We constantly ask ourselves what good architecture looks like and what is actually sustainable. We take responsibility for the entire process, from the first idea to completion, with the aim of creating security in every decision and quality in every detail.”

Photo: Robert Mendoza

Ultimately, Sanna is not simply in the business of building houses, as expressed by Lobsien: “We create places where life unfolds, where architecture, craftsmanship and responsibility come together in lasting form. Success is not measured when construction is complete. It’s measured years later, when a home continues to serve the people who live there.”

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After graduating from Bergen School of Architecture in 1997, Jo Kjetil Nielsen established JK Arkitektur in 2005 in Leirvik, a coastal village between Bergen and Stavanger. Today, the practice consists of four architects, each with different educational backgrounds and complementary skills.

Before founding the studio, Nielsen spent seven years at an architecture office that grew into one of Norway’s largest practices. There, he primarily worked with competitions and early project phases. Over time, however, he missed being involved in the entire process; “I felt a longing to be able to be involved throughout the whole process and for someone to have continuous ownership of the projects.”

And so, JK Arkitektur was born, becoming a smaller practice where the same team could follow a project from A to Z.

Bekkjarvik drawing. Image: JK Arkitektur

No fixed style

Look through JK Arkitektur’s projects from the past 20 years, and you might notice something unusual. “You could say that we lack a style, a particular way of approaching the building task,” he says. “Our style and formal response are adapted through the landscapes and the people we meet.”

Rather than imposing a recognisable signature on every project, the practice sees architecture as a response to its particular circumstances. Clients, landscapes, climates and cultures differ, and each project demands a new answer.

Stolpehus. Photo: Helge Eek

Among its clients are what JK Arkitektur calls Stedsbyggerne, or place-builders: people who are interested not simply in constructing a new building, but in strengthening the community and identity of their villages for future generations.

“If we’ve achieved something unique, it’s through these people, their visions and the input they’ve given us as designers. The client often has just as much influence on the final result as the architect.”

The dramatic landscape of western Norway also plays an important role. Working in Sunnhordland and along the west coast allows the architects to be restrained, using relatively few elements to create powerful spaces and visual experiences.

Røyrøy staircase. Photo: Helge Eek

Building the spaces between

One of the clearest examples is the expansion of Bekkjarvik Torg, a mixed-use development of 8,000 square metres comprising shops, care homes, apartments and offices.

Bekkjarvik is a historic trading village and one of western Norway’s most popular guest harbours. Rather than responding to the programme with a single, unified building volume, JK Arkitektur sought to extend and complement the existing village. “The main idea was to build on and supplement the village, becoming part of it rather than creating the large, imposing and homogeneous volume the building programme might otherwise have encouraged.”

Bekkjarvik. Photo: Helge Eek

This meant giving as much attention to the spaces between the buildings as to the buildings themselves. Materials and forms draw on local building traditions and coastal architecture from Normandy.

The same sensitivity to context can be found in the project Les Espedrels, which saw the transformation of an old farmstead in the Midi-Pyrénées into a contemporary home with a guest house, pool and outdoor spaces. New buildings appear initially as simple, almost anonymous farm structures, connected by a long wall, but their personality emerges as the visitor enters the courtyard and begins to inhabit them. “We’ve tried to build a quiet sense of anticipation into the project, where you as a visitor should not only experience a main motif but be led through a series of experiences.”

Blikk. Photo: Helge Eek

Back in Norway, Løa på Røyrøy involved reconstructing an old barn, of which only the round-stone foundation remained.

The project completes the re-establishment of the original fiskarbondetun (a traditional fisher-farmer homestead) through a reinterpretation of local building traditions, including a solid-wood structural system developed with Solberg Sag on Osterøy.

At Kråko in Fitjar, the BLIKK project takes a different approach: ten holiday homes developed around a shared construction system. Here, each plot is given its own story through the relationship between building and terrain, while a restrained composition keeps the landscape in the foreground.

Even the practice’s own architecture follows this philosophy. Stolpehus nr. 1, JK Arkitektur’s branch office in Fitjar, takes inspiration from traditional notheng, buildings raised on posts, with open ground floors once used for storing and drying fishing nets. The studio occupies the transparent, public street level, while meeting, dining and overnight spaces sit above.

Les Espedrels. Photo: JK Arkitektur

Pleasing your neighbour

The principle underpinning all these projects can be traced back to Nielsen’s student days. As part of a course called Bygrend, students were tasked with designing individual homes within a collective urban setting. At the end of the introductory lecture, BAS founder and lecturer Svein Hatløy shared a piece of advice that Nielsen has never forgotten: “The person who answers this task best is the one who makes their neighbour better.”

For Nielsen, making one’s neighbour better captures the fundamental architectural responsibility of allowing the project to converse with and contribute positively to its surroundings. “For us as architects, viewing a building project merely as the shaping of an object is limiting. The interplay between the building and the landscape, in the broadest sense, must be the primary focus; this is what creates qualities that transcend the purely technical or functional. Our buildings should create space for experience and variety, rather than passive observation,” he says.

“If we draw a parallel to human interaction, encountering someone with a perfect facade is rarely enriching; we’re usually more drawn to individuals with distinct character, those who hold back a little and reveal new layers as we get to know them.”

Les Espedrels drawing. Image: JK Arkitektur

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