THE POWER OF GREY
— STUDIO OLIVER GUSTAV
ART
A tribute to the poetic yet haunting atmospheres of the canvases of Vilhelm Hammershøi (1864-1916), designer Oliver Gustav’s studio gallery is modelled on the oil-on-canvas interior paintings of the fêted Danish artist. A self-confessed extreme minimalist, Gustav finds his own sensibilities reflected in Hammershøi’s spareness.
“I need to show objects at the studio but I’ve always preferred very pared-down spaces where I can rest my eyes. That’s why I reflect Hammershøi’s paintings. His architectural details and sharp corners were character enough.”
Exploring the impact of Hammershøi’s mastery over the limited and cold Nordic light, and how this is reflected within his own studio space, Gustav discusses his succinct homage to Hammershøi’s distinctive vision.
The story of Hammershøi’s artwork as guide for the studio of Oliver Gustav is featured in Ark Journal VOL III.
WORDS TILI BENSLEY-NETTHEIM
PHOTOGRAPHY PETER RØDSGAARD RASMUSSEN
STUDIO VISIT — CHRISTIAN VENNERSTRØM JENSEN OF BAHRAINI-DANISH
Ideas rather than looks lie at the heart of Christian Vennerstrøm Jensen’s design practice. As one of the trio behind the studio, Bahraini-Danish, the architect starts his explorations from a place of cultural duality.
MODERN MEMOIR — HOME MILAN
Part private base part project, the Milan home of Studiopepe partner Arianna Lelli Mami and photographer Andrea Ferrari is a repository of memories and a composite of their individual and shared aesthetic sensibilities.
PURE VOLUME AND SPACE — HOME COPENHAGEN
An attic apartment by David Thulstrup inspired by his interiors of Noma restaurant exudes humanity and humility with architectural clarity and grace.
THE POWER OF GREY — STUDIO OLIVER GUSTAV
ART
A tribute to the poetic yet haunting atmospheres of the canvases of Vilhelm Hammershøi (1864-1916), designer Oliver Gustav’s studio gallery is modelled on the oil-on-canvas interior paintings of the fêted Danish artist. A self-confessed extreme minimalist, Gustav finds his own sensibilities reflected in Hammershøi’s spareness.
“I need to show objects at the studio but I’ve always preferred very pared-down spaces where I can rest my eyes. That’s why I reflect Hammershøi’s paintings. His architectural details and sharp corners were character enough.”
Exploring the impact of Hammershøi’s mastery over the limited and cold Nordic light, and how this is reflected within his own studio space, Gustav discusses his succinct homage to Hammershøi’s distinctive vision.
The story of Hammershøi’s artwork as guide for the studio of Oliver Gustav is featured in Ark Journal VOL III.
WORDS TILI BENSLEY-NETTHEIM
PHOTOGRAPHY PETER RØDSGAARD RASMUSSEN