Eva Bo Geisler, Architect at Spacon & X
On a recent day in Copenhagen, we met Architect Eva Bo Geisler in her apartment for a conversation on design and her architectural heroes. She spoke to us about how she finds storytelling in design important, to make her curious about it.
Eva Bo Geisler
Architect at Spacon & X
Currently I am attentive to design that succeeds in being more than a functional object and to become more of an artwork. The interface between art, design and architecture is fascinating. It's important to me that design has its own unique storytelling, which makes me curious about it. I don't have many of the same kind of objects in my home: I like that they complement each other, and each has its own design language in the overall universe. And design gains strength by being inspired by the artist's free approach to creating a work of which only one exists.
Many of my architectural heroes are Japanese. One of them is Kazuyo Sejima, who really manages to create poetic universes. There is a common thread from the large scale down to the stool in the room. The Japanese are generally good at working with the light in a room and how the light hits a surface and creates a distinct atmosphere. It's a feeling I can get completely euphoric about and which I've only experienced by being in a Japanese space.
I am also interested in design that focuses on good craftsmanship and where you can see that there is a person behind it. Kasper Thorup's chairs have an honest appearance because he doesn't try to hide anything in the design. Honesty is important to me. I would never use a material that looks like wood but isn't.
“Thorup’s chair has this refined combination of materials that complement each other: the strong steel against the organic halyard. The chair has a timeless expression which makes it sustainable, and that is essential in everything I work with. I think it´s a good take on a new classic chair.”
Eva Bo Geisler, pictured in her private home in Copenhagen.
At my previously work at Henning Larsen Architects, I primarily worked in smaller scale and in creating universes. I did everything from design concepts, plan development and defining materials to finding furniture and designing interiors such as built-in seating niches, shelving, and furniture. Now I am working on an opera house abroad, where I work on defining all interior surfaces, illustrate the bars, restaurant and café and find and design all the furniture.
In my work within architecture I look for the existing qualities of the building and the space: it could be a stucco or panelling, a beautiful floor, or a style from a certain time that I can either work with or against. Like Kazuyo Sejima, I want to create a holistic experience. I can do that by thinking all functions into the architecture and space. On our houseboat, all partitions are made as storage with cabinets or shelves in the same wood as the rest of the house. It creates a sense of coherence.
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