My story, is in short that I create aestethic values in different ways. I'm a-one-army solo architect, townplanner, artisan, vigneron, biodynamic winegrower, qvevri winemaker, sommelier, entrepreneur and familyman who live by the pen and the qvevri creating a destination by the vines and beach under the sun and stars in Vejbystrand. In various constellations I provide architectural design, content, ideas and service to clients in building design, townplanning, urban design, culture and business. I love to draw, solve problems and inspire to projects in many fields of society but also in aesthetics, illustration, fine arts, culture, religion, painting, photography, clay, wine and travel.
At our destination I offer various guided tours, collaborations, artistic workshops, cultural meetings and winetasting events. Imagine an oasis and a social lavine.
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I investigate ideas with my approach of vibrant touch, burning torch, free mind and artistic ways. I treasure openness, all kinds of people and cultures regardless of religion and beliefs. I enjoy most of all the magic and fruitful discoveries that happens when people meet.
- "read-draw-make", it is exciting to combine time, effort and energy in the fine arts studio with the hands-on work of low-intervention methods, philosophy, ancient traditions and biodynamic winegrowing methods at Vejby Vingård.
In the greater picture, my holistic work at our family vineyard is also part of a visionary idea of creating "Bjäre Wine Country", our paradise on Earth built on winetourism, network and collaboration.
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In the winery I work humble in ancient ways inventing Swedish wine and propose a new perpective to Nordic style wines. At our destination I personally serve our guests magic wines at the holy winery along with stories , often to a great surprise and inspire people with our healthy, unusual but inspiring way of life.
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Quote by architect Jacques Herzog,
"Architecture is a way of thinking"
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- My answer; live now, enjoy with process and context, once thought, designed, built and lived through, who is one to appoint who is master and artisan - zen wisdom says we are nothing.
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Learn, Teach. Travel. Explore. Invent. See the world. Meet. Be friends. Use your fine senses. Tourism is the greatest economy on the planet.
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" A mile of highway will take you just one mile, but a mile of runway will take you anywhere."
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Magic is just around the corner.
Kunstakademiets Arkitektskole i København
Utbildning (Tre examen, 11,5 år 690hp)
- MAA Master of Arts in Architecture, Arkitektexamen Cand. Arch. Kunstakademiets Arkitektskole,
Copenhagen School of Architecture at Royal Academy of Fine Art, Denmark, Norway, Italy.
- BA Bachelor of (hons) Architectural studies + Master of Arts in Urban Design, University of Newcastle upon Tyne, United Kingdom.
- BSc Bachelor of Science in Townplanning Engineering, University College of Gävle, Sweden
- Berghs School of Communication, Illustration, Stockholm Sweden.
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Medlemskap
Sveriges Arkitekter, Stadsarkitektföreningen, Sveriges Tecknare
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Titel: Arkitekt SAR/MSA (Sverige) MAA (Danmark) MNAL (Norge)
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"An architecture that responds to cultural, organic, and existential experiences can be a psychic bulkwark against the misuse of technology and the trend toward mechanization. " Herb Greene. Associated with the writings of Henry James and Henri Bergson, and the architecture of Louis Sullivan, Antonio Gaudà and early work of Frank Lloyd Wright, and organic design tradition concerns the representation of patterns of organic groth or the dispay of properties associated with living organisms. Organic architecture embodies references to the kinds of living things that supply shapes, gestures and relationships that speak ofthe natural world, while, simultaneously, creating links with human empathy and understanding. Opposed to a Cartesian design tradition and a machinery imagery, the organic approach draws upon the evolutionary nature of life. It uses as form determinants the specifics of the site, climate, building function and the social and psychological needs of the users. Physical attributes of organic design tend to include the curve and the undulate, expressed in the plasticity of surface, rhytmical progression, textural interface and an association with ornament. However, here ornaments is not associated with the superficial and the tribute, but, in the words of Louis Sullivan writing in his Kindergarten Chats (1900), is evidence of the "ten-fingered grasp of reality".
Processional space responds to the movement of groups of people who, being involved in some ritualistic ceremony, pageant or demonstration, move forward in orderly succession while accompanied by a formal chain of architectural events. Found in many cultures, processing is an ancient phenomenon in which both processor and spectator have roles to play. The formality of processing takes place between two fixed points and is usually observed by a strict geometrical symmetry. For instance, buildings and cities that involve precessing are designed around a processional axis. Sacred buildings like Gothic cathedrals were formed around a spine along which ritual and rhytm of an orderly progression of linear movement can take place and be observed, sacred cities like ancient Rome and Peking were entirely planned around broad processional routes - the latter connecting the Imperial Palace and the Temple of Heaven. Another form of processional space is the promenade architecturale. Those involving a vertical movement through space range from monumental starcases like the Spanish Steps in Rome, those seen in Busby Berkley's Hollywood musicals to Le Corbusier's programmed walk through and up the roof of Villa Savoye and Frank Lloyd Wright's graceful spiral descent down the ramps of his Guggenheim Museum in New York. However, when connecting one point of place of devotion to another, processional space involves continuity of movement and visibility. It is a place to see and be seen.
"Each of us is a kind of crossroads, where things happen." Claude Levi-Strauss. The intersection of horizontal and vertical lines forms the archetypal cross, or the primary axis. This represented the ancient concept of space and the cosmos; the intersection of its two lines denoting the centre of percieved location. From this recognition, and the attendant ability to distinguish up, down, left and right, came our entire understanding of space. When the primary axis cross is further subdivided by more intersectiing lines, we achieve an elementary navigational aid. The point of intersection not only locates the navigator but their lines subdivide space into parts - horisontal space being defined by points of the compass and a fixed vertical axis. Therefor, the "x" marks the hot spot; the crossing-point of pathdays, drawn lines, planes or lines of thought. When different lines of thought intersect they can result in an agreement or argument. Intersecting routes are intercepting nodes that mark moments of choice and the opportunity to change direction, or to meet others travelling from other directions. The intersection of routes and river crossings mark the sites on which settlement are historically founded. In architectural drawing, the intersection of two or more lines is traditionally empasized to denote an important moment of measure. Sometimes intersections are marked by a dot, such as in a 'point grid', to indicate with precise certainty the locality of a junction, a point of crossing or a point of friction.
Qvevri
piwi grapes
DEMETER
Proportion, "every part is disposed to unite with the whole, that it may thereby escape from its incompleteness." - Leonardo da Vinci. The classical theory of proportion consists in an attempt to transfer to architecture the quasi-musical notion of a 'harmonoius order', by giving specific rules and principles for the proportionate combination of parts. - Roger Scruton. Proportion refers to a dimensional size, and also to an ordering process involving the correct or pleasing relationships of things to each other or the parts of a thing in relation to the whole. The ancient notion that the cosmos is a harmonious mathematical creation and that, to engage in its order, the things we create must obey the same mathematical laws has been an enduring principle. For centuries, from the mysticism of number in ancient Greece to the Middle Ages, through the proportional systems of the Renaissance to Le Corbusier's Modulor Theory, there has been endeavour to subject objects of different dimensions and musical harmony to certqin rules and fixed numerical systems. Much of this stems from an understanding of the harmonoius relationship between the parts of the human body and - when outstretched - its relatedness to the square and the circle. Reviving the proportional rations of the Pythagoreans and Vitruvius, Renaissance masters, including Leon Battista, Leonardo da Vinci and Albrecht Dürer, reawakened the doctrine that art, music and architecture could be structured on the analogy of the well-formed human physique. While some architects are attracted to proportional systems in the belief that their intrinsic ratios makes them appropriate for all kinds of design solutions, such an approach is not without its critics. For instance, Emily Ruder writes that proportional systems based on calculation have barred the way to creative design; they have become crutches on which to support the incompetent. Moreover, writing in his Mind and Image (1976), Herb Greene argues that, like cultural experiences that have progrsmmed us to see only a part of the world, the effectiveness of, for example, the golden section and the Modulor, is quickly shattered. This occurs the moment we perceptionally move off the axis and change our angle of view. As if in an agreement with David Hume's Treatise on Human Nature (1739), which proposed that while served by reason, creative judgement should be led by passion, Greene suggests that the designer can never be free of his or her personal design codes of 'valued proportion', and can invent strategies to accommodate proportional sets arising from each design circumstance. Greene concludes; 'As an architect I would treat proportion as a spatial adjustment should provide human scale and a unifying sense of purpose and, above all, should express some experimental value for the user.'
The Golden Section, or 'golden rectangle', is said to be one of the most satisfying of all geometric forms. This calculable formula for the beauty percieved in ration of perfect proportion was known to the Greeks who, as early as the fifth centruty BCE, had already applied its harmonoius balance and artists in their triumph over matter. Through mathematics, they believed, beauty and harmony could be calculated. Consequently, geometrical and arithmetrical plans pervaded their exterior and interior architectural compositions. A particular distinction of the golden section lies in the fact that it produces a number of integrally related areas; its character is such that the ration between the bigger and the smaller measureable quantity is equal to the ration between the sum of the two and the bigger one. The geometric construction of a golden rectangle begins with a square which is then divided into two equals by a dotted line EF. Point E now serves as the centre of a circle whose radius is the diagonal ED. An arc of the circle is drawn DG and the base line BA is extended out to intersect it. This becomes the base of the rectangle. The new side HG is now drawn at right angles to the new base, with the line CD brought out to meet it. The resultant rectangle is a golden section. However, this rectangle embodies an unusual property; if the original square is removed, what remains will still be a golden rectangle. Golden ratios can be found in the work of many leading architects, including Le Corbusier, who felt that life was 'comforted' by mathematics, and Louis Kahn, Tadaeo Ando, Mario Botta and so on. However, a favourite pastime of some historians is to impose the golden section on historic buildings - many of which were not designed in that way.
Myth is the infancy of narrative. - Carl Jung. Narrative is a spoken or visual commentary, account or story of unfolding, connected events or experiences. Narrative is a form os communication. It is also a transaction in that its exchange relies upon an initial 'contract' formed between the narrator and the recipient. Narrative also concerns transformation - a story unfolding until its meaning brings revelation. An architecture can be transformed around narrative, narrative can be spun around an architecture. For instance, the architectural competition - perhaps, the most prominent way in which society chooses the built form of the future - is a setting in which, more often than not, the architect is absent when designs are reviewed and judgements are made. Using increasingly diverse media, architects must convince both the jury and the public of the potential of their vision in absentia, which necessitates emphasis on the 'process' of thinking and the 'intellectual underpinning' of the design as much as the end product. One approach involves developing a narrative disclosure that, using precedents and influences drawn from inside to outside the building cuture, tells the story of the process of design. The design proposal is therefor wrapped in relevant, yet diverse, reference that gives it credence and helps to bridge the gap between established thinking, analogy and innovation. This is a communication tactic that induces the viewer to comprehend a design proposal in terms of a 'plot' and to judge its efficacy against the preocesses that created it. This strategy is designed to build-up revelatory expectation in the viewer-listener; consequently, it is important that the narrator-designer satisfies those expectations. Rem Koolhaas has described the sequential experience of his buildings in terms of an unfolding narrative. The approach and entrance as 'introduction', movement into and about the building as unfolding the 'plot', and, as in the structure of movies, the journey peppered with measured 'mini-climaxes' leading to an ultimate 'climax' or denouement.
For the same reason as I previously wished to turn your garden into an interior, I now wish to make your hall into an 'open air space'. - Alvar Aalto. Enclosure refers to containment; a hollow object or defined space that can be occupied either by the body or the mind. Functioning as an artefact of possession, a strong sense of enclosure will tend to respond to human scale, but can dramatically vary in degree of containment from complete closure to most fragile and tenous definition of place. However encompassing or elemental the definition of its boundary, enclosure to a most fragile and tenuous definition of place. For instance, in his The Concise Townscape (1961) Gordon Cullen describes enclosure in terms of 'here-ness'. He talks of the common experience of 'the outdoor room', a clearly defined urban or rural place in which occupants acquire strong feelings of position and of identity with their surroundings. This sensation can be expressed as 'I am it, or above it or below it, I am outside it, I am enclosed or I am exposed'. Whether temporary or permanent, whether abode or outdoor space, enclosure is usually coupled with a symbol of congreation - the focal point. Focal points, such as the domestic hearth or television set, urban statue, rural hedge or tree, function to ancor the sense of enclosure. However, the 'sense of enclosure' is experimental and may not be the result of actual physical enclosure.
What give our dreams their dreaming is that they can be achieved. - Le Corbusier. Design genesis refers to the birth of an idea. This takes place in the mind's eye when our creative imagination triggers a concept that is imagined 'seen' as flashing, dimensionless images; images formed from a creative leap into the potential solution. These mental images can result from, or be subject to, prejudices intuitions or systematic analysis or reduction of criteria. Such mental pictures are impressions - incomplete, in a state of flux and somewhat vague. They originate from forces at work within the mind, including the nature of the immediate problem, and the past experience and personality traits of the creator - the latter influences lying beyond any conscious control. These factors continue to have some bearing on decision-making throughout the ensuing and evolving sequence of design. It might be possible to generate and develop images from concepts in the mind alone. But spatial ideas can become so extensive and complex that they can no longer be contained. Externalization in some tangible form is needed so that they can be clarified, assessed and articulated. At this point the idea has to pass through space and be translated into two or three dimensions, as a descriptive model which allows the designer to experience and advance the nature of the idea. Newly represented, the model of the idea can inspire the creative imagination on to other mental images, which are, in turn, realized and evaluated. This two-way language of design is a continous dialogue between concept and expression - alternating until the creative process is exhausted. Louis Sullivan characterized the initial impulse of a design as the 'seed germ', a design catalyst that should be maintained throughout its many stages of development. Realization of newly-formed ideas can take the form of orthographic drawings. Of these, the plan view was famously described by Le Corbusier as the 'design generator'. However , less famously, the sectional view was promoted by Paul Rudolph as the most searching graphic vehicle when generating a design.
The original meaning of Genius is embedded in the Roman concept of every human being having two guardian spirits in the form of fallen angels 'genii' that give life or spirit to people or places. The development towards the dominant modern meaning of 'extraordinary ability' is complex but seems to have been connected to the idea of 'spirit' through a notion of 'inspiration'. The term genius loci as 'spirit of place' , however, refers back to the original meaning of genius as 'essence'. Thus, in geography landscape design, architecture and architectural design, genius loci is now accepted as denoting 'spirit or essence of place'. In his ground-breaking book, Genius Loci: Towards a Phenomenology of Architecture (1979), Christian Norberg-Schultz set the stage for this shift from the quantative ti the qualitative in architectural theory discourse. As a consequence of the resurgence of interest in phenomenology during the last decades, genius loci has become a popular and some-what trite expression in the design studio. It now refers to any quality that defines the experience of a place. Common examples of the genius loci tend to describe unique or dramatic natural landscapes. Architecturally inspired genius loci is harder to come by; an example of definitive genius loci might be Andres Palladio's Villa Capra (Villa Rotunda) in Vicenza.
Within design education philosofies, concepts of space and form are usually separated and regarded respectively as the negative and positive of the physical world, a world where objects reside and void - the mere absence of substance - is a surrounding or contained atmospheric emptiness. However, since the beginning of nineteenth century, there has been an alternative concept of space as continuum, as the continuously modified surface skin between the pressures of form and space in which the shape of the space in our lungs is directly connected to the shape of the space within which we reside - which is, in turn, just a layer of the space surrounding our planet. In this sense, space is percieved as an extgension of the body, a dimension of its imagined extension - a continuous force field activated by the body's movement. The fourth dimension, time, is a non-spatial continuum in which past, present and future occur in apparently irreversible succession. While space is the interval between point, surface and object, lapses of time are measured and marked by the intervals of recurring events. Another related aspect of continuum is when no part of an object, such as a building, is distinguishable from adjacent parts. An architectural example is the Hancock Building in Chicago where hotel, office space and residential uses are indistinguishable on the exterior facades of the building.
Variety is not just the spice of life, it is the very stuff of life. - J.J. Gibson Thinking in terms of contrasts is not a confused is not a confused way of thinking, for even contrasts can be united in a harmonious whole. - Emile Ruder. In A Primer of Visual Literacy (1973), Donis A. Dondis writes: ' All meaning exists in the context of polarities. Would there be understanding of hot without cold, high without low, sweet without sour?' Contrast is an important keyword: our ability to sense subtle and particularly sudden differences in our immediate environment - hanges of temperature, movement, smell, sound, taste, etc - functions as the crucial aspect of our biological survival kit. Contrast is central to our visual perception, the basic operation of our eye detecting change in the field of visionand translating the spatialsetting into an intricate network of 'perceptual patches'. Each shape in the network finds its existence through its degree of contrasts with its neighbours; the resulting pattern, albeit illusory, being deciphered by the brain into a register of three-dimensional space. The incidence of this visual pattern responds to the direction of light - each shape in the network being differentiated by size, value, colour and textural attributes that communicate precise qualities, such as rough, smooth, glossy, matt, specular etc. Without contrast a scene would appear as a uniforminglydull event with little or nothing to be seen. Contrast is a powerful design tool. Scales of contrast are the essential force in the articulation of design and communication; it is a powerful means of expression in the structuring of compsitional unity and in the intensification of meaning. For example, when look at a scene or a pictoral display, our eyes are immediately attracted to the areas of greater contrast, such as the flash of colour in a monochromatic field of value, and vice-versa. Therefore, when we design, we enlist the same vital force to structure and create two- or three-dimensional events as that used by our perception to make sense of our surroundings.
Let me say there are two things in which reality makes sens to us; there are those things we accept as being the way they are because we have no choice but to do so, and there are those things we accept as being the way they are because we want them to be that way. - William Hubbard. A convention is a given, a rule, an established practise or ritual that is consolidated by majority consent. For an example, social interaction is governed by conventions such as the handshake ' a declaration of being unarmed' and removing one's hat hat when entering a building ' an act of defence'. The practise of architecture is similarly riddled with convention: cultural 'street manners' and best practices that determine, for an instance, how a building is drawn and constructed. Architectural drawing particularly os governed by a code of convention that determines everything from the appropriate thickness of a line to the direction of sunlight entering a plan or elevation. However, convention can be shattered. For an instance, the conventionfor the pictoral depiction of movement in space and time was suddenly demolished with the advent of new idead 1907. Hitherto, movement in time was expressed trough successive images, and space was defined from the fixed viewpoints of linear perspective. Analytical cubism came to reject this; their work enlisted a decomposition involving transparency, superimposition and interpenetration to introduce the notion of simultaneous occupation of a picture by two different objects or by several aspects of a single object. Thus, new conentions can replace earier codes of practise. Indeed, the cycle of architectural 'isms' each tend to question the conventions of those it purports to replace. For an example, from a Deconstructivist standpoint, Modernism represents an artificial, cultural, design prop - an uncritically accepted convention that suppresses the invention of individual subjectivity. However, the true test of design conventions lies not in some absolute truth, but rather in their ability to achieve some desireable end. Designers practise informed by a particular culture or convention. However, while convention establishes axioms, some rules, even when golden, can be challenged. To do so holds the potential of putting one's foot in the door of innovation.
Bakgrund
- Biodynamic Agricultural College BDA (biodynamic farming and winegrowing), United Kingdom,
- Natur och Kulturturism (winetourism) Yrkeshögskolan Akademi Båstad,
- Mästarutbildningen, Leksands folkhögskola och Sveriges Hantverksråd
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Medlemskap
Demeter, Svenska Biodynamiska föreningen, FSV Föreningen Svenskt Vin, SBOV Sveriges Branschorganisation för Oenologi och Viticulture, SlowFood, Regional Matkultur Skåne, Hantverkarna, Ängelholms Näringsliv, Båstad Turism och Näringsliv
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Certifieringar i vinodling och vinproduktion
- EU-ekologiskt SE-EKO 03 Svenskt jordbruk
- Biodynamiskt av Demeter Sverige och Demeter International
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Meriter
- Pionjär planterar första vinstockarna på Bjäre (2006/07)
- Öppnar vinbaren (2016)
- Nomineras Årets personlighet (2018)
- Bygger världsunik Marani-vinkällare för hand (2019)
- Marani välsignas av heliga präst Shio-Shota Bitskinashvili, Georgisk Ortodoxa kyrkan, kyrkokör Alilo och Georgiska Ambassaden (2020)
- Tilldelas Årets Entreprenör (2020)
- Tilldelas Georgian Gastronomy Ambassador, Tbilisi, Georgien (2021)
- Nomineras Årets Skånska Destination (2022)
- Nomineras Skånes Bästa Dryckesproducent (2022)
- Tilldelas Visionary Award "Bjäre Wine Country" (Ängelholm 2022)
- Tilldelas Gesällbrev inom vinodling och vinmakaryrket, Sveriges Hantverksråd (2023)
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Titel: Master Winemaker
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