An attempt to rethink the rural commuter-town of Asker, that lies 20 minutes away from Oslo, the capital of Norway. By rethinking how long a train journey could take, the whole experience of traveling by train and what kind of place Asker could be, changes. Asker becomes an extension of your freezer or an exotic holiday destination. Asker and Oslo become one city.

part of the LUGO LAND worksop in Lugo, Italy. Looking for signs of overlap between rural and urban inhabitation. Observing the contrast in size of a building on a map versus a building seen from the streets and the hierarchical difference of a industrial building compared to the picturesque Italian countryside.

Inspired by the artist Giovanni Pini native to Lugo. Pini works with creating collages featuring rural Italy. Here an attempt to use his style of creating a landscape but placing the hiding barcode, which seems out of context to the surrounding landscape but somehow is of as great importance as the landscape itself.

I took a picture every 10 seconds for the entire stretch of the 24 bus route. The fragmented yet repetitive elements of the photos compile into a new street.

I took a picture every 10 seconds for the entire stretch of the 24 bus route. In the night, the view of the street becomes blurred and unrecognisable, making me impose landmarks that I saw during the day onto the unfamiliar street.

Las Vegas was intended to be experienced by car. The Las Vegas strip is filled to the brim with signs for casinos and hotels, their neon lights instantaneously imprinting its message into our minds as we drive by. Although the facades of the signs don’t always correlate with the building itself, the façade somehow creates its own language and grammar native to the Las Vegas strip, turning a façade into a logo. Much like the composition of classical architecture, the signs of Las Vegas have their own grammar that they apply.
If one considers nostalgia, as a feeling of being able to instantly relate and read an object, creating nostalgia for an architectural style should not be difficult, providing the style has a clear grammar and is readable. Classicism has a clear grammar and language that is possible to read for anyone who wants to. From the style and spacing of the columns to the layers of structure and ornament. The signs of Las Vegas, although not using a strictly architectural grammar but rather using writing in their facades aims for the same feeling, to be able to read and understand without a doubt. What happens when one juxtaposes the grammar of these two styles?