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NORDIC QUARTERS ARCHITECTU RE AND DESIGN STORIES FROM F I N L A N D , T H E N O R D I C S A N D T H E B A LT I C S
2026
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NORDIC QUARTERS ABOUT NORDIC QUARTERS Nordic Quarters is a new publication launched by Habitare Pro, Finland’s largest design trade fair. Published digitally in English, it features the most important architecture and design stories from Finland, the Nordics and the Baltics through people, products and spaces, whilst also offering current design highlights from around the world. Our publication is subscribed by and targeted to the professional architecture and design industry each quarter, with over 35,000 readers. By combining a seasoned editor with a rich and active background in design journalism, covering global design stories, and a passionate creative who lives and breathes design and events, a publication was born that covers the best the Nordic region has to offer. Each quarterly issue will be compiled into a single publication just before the Habitare design fair opens each September. The first issue of the year is released following the announcement of the new Habitare theme in December. Finland and the Nordics are a hub of architecture and design inspiration, and our Nordic Quarters publication is an expression of the best that the region has to offer to a wider audience. Our aim is simple: to be the source of the most interesting, relevant and up to date design publication coming out of the Nordics.
Photography by Fanni Laukkanen
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NORDIC QUARTERS ARCHITECTURE AND DESIGN STORIES FROM F I N L A N D , T H E N O R D I C S A N D T H E B A LT I C S
2026
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6 NORDIC QUARTERS TEAM
8 FROM THE TEAM
The people behind the stories, ideas and designs that make each issue happen
A note on the people, products and places that brought together the latest issue
PRODUCTS
34 TAKE YOUR SEAT
10 SITTING PRETTY
Hans Hornemann’s Rope for Normann Copenhagen pairs classic upholstery with comfort
Carl Hansen & Søn brings Hans J. Wegner’s CH621 chair, first designed in 1948, back into the fold
36 SOUND MATTERS
14 WORKING ART COVER Welcome to Nordic Quarter's second issue
Zilenzio and Copenhagen’s Paper Collective rethink office acoustics with Dezibel Art
18 CIRCULAR COMFORT Fredericia teams up with Hugo Passos on Gomo, an armchair designed with circularity in mind
Kvadrat Acoustics marks the launch of Soft Cells with a Design Workshop
40 THE FINNISH WAY At Habitare, eight Finnish furniture makers celebrate craftsmanship, local materials and longevity
44 TUNE IN Put on a headset and discover the stories behind Finnish design icons
22 A LIGHT PALETTE Louis Poulsen’s iconic Panthella brings plenty of personality to every corner
PEOPLE 52 HANNA ANONEN
24 SHAPE SHIFTER Danish label Montana reimagines Erik Rasmussen’s 1969 modular sofa as Paradigm
26 ON THE MOVE TAF Studio’s lightweight aluminium trolley for String Furniture is designed to move from work to home
30 ROOM TO PLAY Vitra's Anagram Club, designed by Panter&Tourron, adds flexibility and longevity to interiors
32 GROUND WORK Ege Carpets and Snøhetta explore advanced weaving in Matter
The Finnish designer on colour and putting her own stamp on design
56 JOAKIM LASSEN Montana’s CEO on four decades of playful storage, personal spaces and keeping design fun
60 ALL THE WAY TO PARIS
Petra Olsson Gendt on curiosity, collaboration and three decades of creative work
SHOWROOMS 66 DESIGN DESTINATIONS Discover the city’s leading design showrooms, curated for inspiration
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JESSICA-CHRISTIN HAMETNER Writer, editor and consultant Jessica-Christin is a writer, editor and consultant specialising in design and architecture. Drawing on nearly a decade of experience in publishing, Jessica-Christin steers the editorial direction of publications and brands, bringing a global perspective and a keen visual sensibility. Over the years, Jessica-Christin has written for various titles, including Wallpaper*, The Modern House, The Grand Tourist and FRAME. She was also a guest speaker at the École cantonale d’art de Lausanne (ECAL) (2024-2026) and on the jury for Global Creative Graduate Showcase (2024-2026) by Arts Thread and WGSN + Coloro.
HANNA LAIKOLA Designer and creative brand manager, Habitare Pro Hanna Laikola is the Creative Brand Manager of Habitare Pro, the trade division of the design fair Habitare. By combining her skills, she seeks to engage and inspire broad audiences, create excitement, and new commercial opportunities with the aid of design. She has a strong professional background in furniture and product design, especially in the use of cardboard. As a natural extension of her creativity and strong business acumen, she steers the B2B platform for design professionals. Hanna’s Finnish-British heritage means she can draw on her insights in the international design spectrum.
EDITORIAL
MARKETING
ADVERTISING
MANAGEMENT
HEAD OF CONTENT
MARKETING SPECIALIST
SALES MANAGER
BUSINESS LEAD
Jessica-Christin Hametner
CREATIVE BRAND MANAGER
Christa Vuorinen
MARKETING SPECIALIST
Hanna Laikola
Matti Salo
GRAPHIC DESIGNER
MARKETING SPECIALIST
Mia Kilpeläinen
Saija Vanhanen
Ida Grönman ida.gronman@ messukeskus.com
Tanja Pasila
SALES MANAGER
CREATIVE LEAD HABITARE
Outi Forsblom outi.forsblom@ messukeskus.com
Päivi Helander
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FROM THE TEAM We are delighted to introduce you to the second collated issue of Nordic Quarters, a new publication by Habitare Pro, the team behind Finland’s largest design trade fair, in 2025. Showcasing the most exciting design and architecture stories from Finland, the Nordics and the Baltics, Nordic Quarters is a celebration of the region’s most compelling creative voices. Through in-depth features on people, products and spaces – alongside a broader perspective on global highlights – we aim to deliver a publication that reflects the creativity, innovation and forward-thinking spirit that defines this part of the world. In this second issue, we journey from Finland to Sweden, Denmark and beyond, shining a light on everything from the trailblazing creatives shaking up Helsinki’s design scene to the latest advances in circular design emerging from the Nordics. Finland and the Nordic countries have long been at the forefront of design thinking. With Nordic Quarters, our goal is to share that inspiration with a wider audience. We invite you to explore its pages and discover the very best the region has to offer. Follow us on @habitarefair
Photography by Sameli Rantanen
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SITTING PRETTY Wood and brushed stainless steel give a sculptural elegance to the CH621 chair, originally designed by Hans J. Wegner in 1948 and now relaunched by Carl Hansen & Søn
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Few designers mastered the balance between function and modernist elegance quite like Hans J. Wegner. Though he produced over 500 chairs, he designed only a select few with a swivel mechanism, placing the CH621 among his most distinctive and sought-after creations. Seventy-five years on, the chair still reads as unmistakably modern. It embodies Wegner’s commitment to woodworking and craftsmanship, while also highlighting his interest in metalwork and the balance between both natural and engineered materials.
"SEVENTY-FIVE YEARS ON, THE CHAIR STILL READS AS UNMISTAKABLY MODERN"
An early advocate for ergonomics, Wegner worked with doctors and physiologists to perfect posture, lumbar support and all-day comfort. His forwardthinking approach means the chair still feels perfectly suited to modern life and aligned with today’s working habits and needs. Family-run Carl Hansen & Søn now brings the CH621, back into production, pairing a brushed stainless steel frame with an upholstered FSCcertified oak seat, back and armrests, which can be upholstered in a choice of leather or fabric options.
Height is adjusted via a subtle gas lift cylinder and lever mechanism, and the original four castors have been refined to five, ensuring stability and smooth movement. The custom castors, made of brushed steel, provide the finishing touch to the design’s industrial-inspired aesthetic. The CH621 is offered in two timeless styles. One pairs FSC-certified oak finished in oil with Leather Sif 90, lending the chair a warm, cosy character. The second option combines the same oiled oak with Vidar 1062 upholstery, introducing a soft tactility that underscores the chair’s sculptural form.
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"WITH NO ORIGINAL CH621 AVAILABLE TO WORK FROM,CARL HANSEN & SØN RECOVERED THE ORIGINAL 1948 DRAWINGS" Both variations honour Wegner’s material sensibility and are versatile enough for a variety of settings. From a dedicated home office or a professional workspace to a minimalist meeting area, the CH621 brings comfort and elegance wherever it is placed. With no original CH621 available to work from, Carl Hansen & Søn turned to Wegner’s family and, thanks to his meticulous archive, recovered the original 1948 drawings. From these, the chair could be brought back with its proportions and details intact, while allowing for the subtle updates needed for contemporary use. The result offers a rare glimpse of a lesser-known side of the designer’s practice, with a technical piece that sits
between office furniture and a more expressive form. Staying true to Wegner’s ethos, Carl Hansen & Søn has reintroduced a chair that will be loved by many for generations to come. Every curve and detail reflects Wegner’s meticulous attention to materials, commitment to ergonomics and his belief that furniture should be both beautiful and comfortable, making the CH621 as relevant in interiors now as it was over 75 years ago.
carlhansen.com Photography courtesy of Carl Hansen & Søn
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WORKING ART Swedish office design brand Zilenzio has teamed up with Copenhagen-based Paper Collective to launch Dezibel Art, a collection that blends high-performance acoustics with contemporary art to elevate offices, restaurants, hotels and more
With its latest collection, office design brand Zilenzio shows how the Swedish label continues to evolve how workplaces can cater to different needs. Its newest addition to a growing range, Dezibel Art – a collaboration with Copenhagen’s Paper Collective, known for its curated print and graphic works with international artists – transforms acoustic panels into gallery-worthy wall pieces. Drawing on over 20 years of expertise, Zilenzio designs acoustic solutions that temper noise and visual distraction, fostering environments that allow collaboration and human connection to thrive. Founded in 2013, Paper Collective brings a curated mix of international artists and designers together under one platform, championing contemporary art and thoughtful partnerships.
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"Zilenzio’s philosophy is rooted in creating acoustic solutions that elevate everyday life, both by acoustic performance and design, while Paper Collective brings a strong artistic and human-centred approach," says Hans Bergström, CEO of Zilenzio. The pair’s first collection comes to life through artworks selected from Paper Collective’s expansive catalogue, with pieces ranging from paintings by All The Way To Paris to photographic works by Kantinkoski, Vento & Forsman and graphic compositions by Minh T. Each image is printed directly onto the acoustic panels, offering a new take on how art and acoustics can share the same surface. "Both Zilenzio and Paper Collective share the belief that design should improve human experience, in a sustainable way," he continues. "It shows up in everything from creating solutions that last and really perform well to taking social responsibility."
"ARCHITECTS AND INTERIOR DESIGNERS CAN USE THEM AS ACOUSTIC ARTWORK IN OFFICES, HOSPITALITY AND PRIVATE HOMES"
Available in a range of sizes and designs, each frame is crafted in solid wood with a choice of oak, ash, white or black finishes. The panels themselves are filled with stone wool for optimal sound absorption and can be specified in Paper Collective art prints or any of Zilenzio’s 28 standard fabrics. Lowering noise levels while adding a considered dose of colour, the new range brings a calm feeling to workspaces. It complements the surrounding interior with its versatile forms and design-led prints, each adding texture, character and emotion. "Dezibel Art panels are versatile by design," explains Bergström. "Architects and interior designers can use them as acoustic artwork in offices, hospitality environments, educational spaces and private homes. End users can integrate them as statement pieces that reflect identity while improving comfort."
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"Zilenzio contributes technical expertise in soundscapes, while Paper Collective adds visual storytelling and emotional connection," adds Bergström. "Together, we merge functionality with artistry, ensuring spaces are acoustically balanced and visually inspiring." Highlighting how art can enhance our experience of different rooms – particularly in the workplace – Dezibel Art demonstrates that the impact of acoustic panels and design on wellbeing can be understood beyond technical metrics alone.
"Acoustic performance is the foundation, but wellbeing goes far beyond decibels," concludes Bergström. "We look at how people feel in a space – through qualitative feedback, postoccupancy studies and observations of stress reduction, focus, and collaboration." "Indicators such as reduced fatigue, improved satisfaction and enhanced aesthetic appreciation help us understand the emotional and functional resonance of the panels. Ultimately, wellbeing is measured in human experience, not just technical data."
zilenzio.com Photography courtesy of Zilenzio and Paper Collective
MEET THE EXPERTS IN CONSTRUCTION, RENOVATION & LIGHTING International construction and building technology trade fair
29 September – 1 October
FinnBuild brings together the latest innovations, products, services and solutions for construction and building technology, complemented by a high-quality programme for industry professionals. Established in 1974, FinnBuild is Finland’s leading construction industry event and the key meeting place for professionals across the sector. It is the largest event in the industry in terms of exhibiting companies, visitors and exhibition space.
The meeting place for property maintenance and renovation The professional event for property maintenance and renovation brings together housing company decision-makers, property owners and industry professionals. Discover the latest products, services and innovations, gain expert insights and connect with leading companies across the property sector.
5–7 April 2028 International trade fair for the electrical industry Sähkö-Electricity brings together the entire electrical industry value chain, from energy and lighting to building technology and automation. In addition to professionals from across Finland, the event attracts trade visitors and decision-makers from the Nordic and Baltic countries.
Real Estate Helsinki 6–7 October 2027
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CIRCULAR COMFORT Fredericia has released the Gomo armchair, realised by Portuguese-born, Copenhagen-based designer Hugo Passos, and created with circular comfort in mind
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Designed in collaboration with Hugo Passos, who creates everyday objects and furniture from his studio in Copenhagen, the Gomo armchair by Fredericia reinterprets heritage craft with a modern twist. Blending the comfort of residential furniture with contract-grade durability, the chair features a removable cover that extends its lifespan well beyond typical industry standards.
"OUR AMBITION HAS BEEN TO BRING TOGETHER CRAFT, CIRCULARITY AND INDUSTRIAL DESIGN"
The Gomo armchair embodies Fredericia’s Circular by Design ethos, ensuring new furniture enters the collection only when its environmental impact has been considered. While many office chairs rely on bulky, rigid designs, the Gomo armchair offers a more compact and comfortable alternative.
"We wanted Gomo to feel open and inviting, something you want to sit in and linger in, without compromising durability," says Rasmus Graversen, CEO and thirdgeneration member of the family behind Fredericia. Whether placed in a meeting room, lounge or coworking space, it adapts easily to the demands of modern working life.
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"In terms of design thinking, Hugo has managed to incorporate a dash of inviting informality into what can usually be a rather stiff, technical and serious typology," he continues. Graversen goes on to explain how the openarm design encourages freedom of movement, allowing both the sitter and the conversation to take centre stage. "The chair remains full of curvature and energy, which is central to its design, combining comfort, character and contract-grade performance in one cohesive piece."
Upholstered in a removable textile or leather cover secured with Velcro, the Gomo armchair is available with three base options: solid wood, steel tube, or a swivel base. "Versatility is what allows furniture to remain functional and relevant over time," adds Graversen. "Our Gomo armchair fits the way people truly live and work because it balances the functional needs of a task chair with the aesthetic clarity and craftsmanship expected in residential furniture." Its frame features a core of moulded recycled polypropylene, while the seat incorporates a plywood core, demonstrating Fredericia’s commitment to durability and working with sustainable materials.
"Furniture must do more than look good; it must perform and respond to how we live and work today," concludes Graversen. "Here, adaptability is increasingly essential. Single-use furniture suits an old-fashioned industrial mindset, but in the hybrid workplaces of today, tasks and technology change constantly. The task is to make a chair that can do its job in many different settings and environments."
fredericia.com
Photography courtesy of Fredericia
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A LIGHT PALETTE With a soft glow and plenty of personality, Louis Poulsen’s iconic Panthella brings colour, shine and play to every corner it touches
As part of its centenary celebrations this year, Danish design heavyweight Louis Poulsen revisits one of its most recognisable designs: the iconic Panthella lamp by Verner Panton. The lamp returns in its original five colours, complete with opal shade and chrome base, closely reflecting the original design Panton first dreamt up in 1971. When it first appeared, the Panthella read as something of a provocation. Its smooth, bulb-like shade, vivid colour palette and reflective trumpet base stepped away from
the restrained language of mid-century Danish design. Instead, it leaned into synthetic materials, soft curves and a more expressive attitude. Today, the playful light brings warmth to anywhere it is placed, from workspaces to adding character in hospitality settings and private homes. This flexibility is part of its appeal in contemporary spaces. In workplaces, a Panthella on a desk or meeting table softens the sharpness of screens and task lighting, introducing a calmer atmosphere.
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In home offices, it can sit alongside books and devices, offering a more tactile counterpoint to the fast pace and bright lights of digital work. In hospitality settings, the effect is immediate. Placed in hotel lobbies, bars or restaurants, the lamp adds a touch of personality without overwhelming the space. Its coloured glow and reflective base can anchor a table setting or create small moments of intimacy, inviting people to linger a little longer and engage with the light by touching the shade and adjusting the light.
"WHEN IT FIRST APPEARED, THE PANTHELLA READ AS SOMETHING OF A PROVOCATION"
Now reintroduced within Louis Poulsen’s Originals Collection, the Panthella returns in two phases. The first release, which arrived in February, included the Panthella 160 and 250 Portable Lamps. The second, arriving in autumn 2026, adds the Panthella Floor Lamp to the line-up. Across the range, finishes span Original Opal Brown, Blue Grey, Green and Red, each paired with a high-gloss chrome base. The result is a lamp that supports focus in workspaces, softens the tone of shared environments and adds a welcoming presence that makes spaces feel more alive and full of personality.
louispoulsen.com Photography courtesy of Louis Poulsen
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SHAPE SHIFTER Danish label Montana unveils Paradigm, a reimagined 1969 modular sofa by Erik Rasmussen, ready to shape-shift from offices to hotel lounges and everywhere in between
"PARADIGM CAN BE TAILORED TO SUIT BOTH COMPACT ROOMS AND LARGER LAYOUTS"
Montana Furniture expands its universe of adaptable. joyful designs with the reintroduction of a modular sofa, originally conceived in 1969 by Danish designer Erik Rasmussen. Now relaunched as Paradigm, the system retains its
sculptural quality while evolving to meet the demands and needs of contemporary living and working. Its modular nature - it comes in colourful cubes - makes it particularly effective in open-plan environments, where zoning is key.
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With its restrained geometry, flexible nature and playful hues, the sofa’s character allows it to be reconfigured to suit everything from residential, office and hospitality settings. The reissue of Paradigm reflects Montana Furniture’s wider values, including modularity, longevity and a commitment to sustainable design, while preserving the integrity of Rasmussen’s original vision. Comprising straight and corner modules alongside a pouffe, Paradigm can be tailored to suit both compact rooms and larger layouts, offering a flexible approach to seating that grows with the space. Updated with discreet linking brackets, removable covers and replaceable components, the system is easy to reconfigure, maintain and refresh as needs evolve. The option of removable covers also makes Paradigm a practical choice for high-traffic environments. In hospitality or workplaces, this allows for easy maintenance and longer life cycles, often key considerations in both commercial and residential contexts. New fabric options, including textiles from Kvadrat and Gabriel, extend its material palette, while specifications such as fire-resistant foam and elevated legs ensure suitability across a range of environments.
Originally known as the Paustian Modular Sofa, the design has been reissued with the support of Rasmussen’s family, ensuring continuity of authorship and intent. Its return highlights Montana Furniture’s commitment to creating furniture that remains timeless, with the ability to adapt and keep up with changing needs over time.
montanafurniture.com Photography courtesy of Montana Furniture
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ON THE MOVE Designed by TAF Studio for contemporary, flexible work and living spaces, String Furniture rolls out a lightweight aluminium trolley that moves between roles
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The newly unveiled Museum Trolley extends the modular language of String Furniture into a more mobile form. Designed by Stockholm-based design and architecture practice TAF Studio, it reflects a broader ambition to embed flexibility and creativity into everyday spaces. Constructed from powder-coated aluminium, the trolley balances a slender frame with a reassuring structural presence. Its two-tier configuration provides a considered amount of surface for tools, objects or books, while maintaining a deliberately light visual footprint.
"ORIGINALLY CONCEIVED FOR THE SWEDISH NATIONAL MUSEUM, THE DESIGN CARRIES FORWARD A LANGUAGE DEFINED BY RATIONAL PROPORTIONS"
Set on wheels and steered via a solid handle, it easily moves between rooms and roles, whether as a workstation or a service cart, adapting to the demands of the space as it goes. Part of the wider Museum Collection, originally conceived for the Swedish National Museum, the design carries forward a language defined by rational proportions and a strong emphasis on function.
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In a workspace, it becomes a flexible companion: either as a rolling desk extension, a mobile archive or a compact coffee station. In hospitality settings, it lends itself to service, display or staging, as it easily adapts to changing needs throughout the day. Available in a range of timeless, muted tones or more playful, expressive colours, the Museum Trolley integrates into varied interiors, rolling into place wherever it’s needed next.
stringfurniture.com
Photography courtesy of String Furniture
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CLICK TO FIND OUT MORE
Create timeless spaces
Taiga workspaces are modular by nature — designed to form flexible, functional layouts that evolve with changing needs. Built with sustainable materials, they support calm, focused, and collaborative work. taigaconcept.fi/spaces
Create timeless spaces
Taiga workspaces are modular by nature —
designed to form flexible, functional layouts Taiga workspaces are modular by nature — designed to form flexible, that evolve with changing needs. Built with functional layouts that evolve with changing needs. Built with sustainable sustainable materials, they support calm, materials, they support calm, focused, and collaborative work. focused, and collaborative work.
taigaconcept.fi/spaces
taigaconcept.fi/spaces
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ROOM TO PLAY From offices and libraries to hotel lounges and lobbies, Vitra's Anagram Club brings flexibility and longevity to interiors
Following the debut of the Anagram Sofa in 2024 by Lausanne-based creative practice Panter&Tourron, Vitra has expanded the concept with Anagram Club, a more compact and upright interpretation designed specifically for contract environments. "Originally, the sofa was created for the home, before being adapted for contract settings through this modular system," explain Panter & Tourron. "The idea was about openness and modularity. Today,
homes and workplaces no longer revolve around a single focal point in the way they once did. Instead of gathering around a fireplace or television, spaces have become more fluid, and the traditional sofa pushed against a wall facing the room doesn’t really exist anymore." From offices and libraries to hotel lounges and lobbies, the updated design responds to the growing demand for spaces that accommodate both collaboration and focused work. Central to this is its reconfigurable structure.
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"It almost becomes an immediate system for planners and architects to envision space more freely," continue Panter & Tourron. "The new version comes in three sizes, including a square module where you can create a table or armchair, as well as new accessories such as a swivel table designed to click into place wherever you sit." At its heart, Anagram Club retains the modular logic that defined the original collection. Platform modules can be connected on all four sides and paired with backrests, side panels and attachable tables, all secured with an intuitive click mechanism. Components can be repositioned in seconds, allowing spaces to evolve throughout the day as needs change. "We developed a simple clicking system," say Panter & Tourron. "Tables, side panels and other components can be attached very easily and, as you can see, there are no other tools required."
"WE DEVELOPED A SIMPLE CLICKING SYSTEM"
The flexibility of the system lends itself to a wide range of configurations. Modules can be arranged as informal meeting islands, communication-friendly S-shaped layouts or more traditional L-shaped sofas. For spaces that require greater adaptability, Anagram Club is also available on castors, making it easy to reconfigure spaces without disruption. While flexibility is central to the design, sustainability is equally important. Seat cushions are made using V-Foam, developed by Vitra in partnership with BASF and recognised as the world’s first economically recyclable polyurethane foam. The back cushions incorporate recycled PET ball fibre, while the lightweight aluminium frame contains 80 per cent recycled material. The commitment to circularity extends beyond materials. No components are glued, laminated or permanently bonded, allowing the sofa to be easily disassembled at the end of its life. Individual elements can be separated, repaired or recycled, extending the lifespan of the system and reducing waste.
"As you can see, the system is simple and easy to use," conclude Panter & Tourron. "You can personalise your own configuration, so it’s a really playful object."
vitra.com
Photography courtesy of Vitra
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GROUND WORK Matter, a woven carpet collection by Ege Carpets and Snøhetta, explores how digital craft and advanced weaving techniques create richly textured and adaptable architectural surfaces
For all the attention paid to furniture, lighting and finishes, flooring rarely takes centre stage. In many commercial interiors, uniformity is prioritised over character, with carpets designed to blend into the background. Matter takes a different approach.
A collaboration between Norwegian architecture and design behemoth Snøhetta and Danish manufacturer Ege Carpets, Matter is a newly launched woven carpet collection that combines digital craftsmanship with Ege’s advanced weaving technology.
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Available as carpet tiles, wall-to-wall flooring and even bespoke rugs, and with no minimum order requirements, Matter offers flexibility across a wide range of formats and project scales. The partnership is a natural one. Snøhetta’s interest in systems and scale finds an ideal counterpart in Ege Carpets’ expertise in colour, materiality and advanced manufacturing. While Snøhetta is recognised for its cross-disciplinary approach to architecture, landscape and product design, Ege Carpets has spent nearly a century pushing the boundaries of flooring design. Matter sits at the heart of those disciplines, combining computational design with a deep understanding of woven construction. The result is a collection that is rich in texture, confident in colour and precise in execution, challenging the notion that flooring should fade into the background. By pairing Snøhetta’s systems-led approach with Ege Carpets’ manufacturing expertise, it offers designers a richer vocabulary of texture and colour, proving that there’s more to flooring than meets the eye.
From code to pixel, pixel to thread and thread to carpet, the collection explores the relationship between scale and space. ‘Matter began as an investigation into scale,’ says Marius Myking, Director of Product Design at Snøhetta. ‘How small decisions at pixel level could influence the spatial experience of an entire room.’ Combining digital design tools with sophisticated weaving techniques, the team has created surfaces with rich texture and variation. Matter comprises two parallel colour palettes, each featuring 18 carefully developed shades expressed through either muted beige-grey or saturated blue-green undertones Constructed in a woven loop quality and classified for heavy commercial use, the collection pairs the sleek architectural style associated with Snøhetta’s work with the durability and manufacturing expertise for which Ege Carpets is known.
egecarpets.com Photography courtesy of Ege Carpets
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TAKE YOUR SEAT Designed by Hans Hornemann, Rope combines classic upholstery details with flexibility, bringing comfort and character to interiors
Few pieces of furniture are asked to work harder than the sofa. With the newly unveiled Rope, young Danish designer Hans Hornemann has created one that combines flexibility, comfort and personality in equal measure.
Created for Normann Copenhagen, Rope is a modular sofa designed with adaptability in mind. Clean lines and softly rounded edges give the piece an inviting feel, while a piped seam – a classic upholstery detail -Hornemann has transformed into the collection’s signature feature.
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"In order to achieve the highest levels of comfort, we have built the sofa with pocket springs and foam," explains Hornemann. "The foam shapes itself according to the body, while the pocket springs provide support that feels more alive because you don’t sink too far in." Designed to adapt to a variety of interiors, Rope can be configured in numerous ways and upholstered in eight different textile options across a wide palette of colours. Whether in a compact workspace or a larger interior, the design can be configured to suit different needs, proving that flexibility need not come at the expense of personality.
"THE FOAM SHAPES ITSELF ACCORDING TO THE BODY"
Hornemann explains that "all other excess details have been removed from the design", resulting in a sofa that feels pared back and timeless, while still embodying Normann Copenhagen’s playful spirit. Comfort was equally central to the brief. To achieve it, Rope pairs pocket springs with generous cushioning, borrowing construction techniques more commonly associated with mattresses. The approach creates a seat that feels softer and more supportive, encouraging long afternoons of reading, working or simply unwinding.
normann-copenhagen.com Photography courtesy of Normann Copenhagen
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SOUND MATTERS Kvadrat Acoustics opens its Design Workshop to mark the launch of Soft Cells, exploring acoustics through sensory design, longevity and adaptable high-performance systems
Creating fully customisable, high-performance acoustic solutions, Kvadrat Acoustics has opened its Design Workshop in Copenhagen to mark the launch of its re-engineered Soft Cells, a flexible, high-performance acoustic system.
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Located in the city’s Nordhavn district, the workshop brings together exhibition space, laboratory and event venue, where Kvadrat showcases bespoke, acoustic systems and hosts a programme of design-focused events and discussions. Introduced in a re-engineered version, Soft Cells features expanded panel formats, refined detailing and a new patented textile attachment system. Together, these updates increase design freedom, deliver cleaner surfaces and extend the system’s potential for reuse. Guided by Kvadrat’s long-standing principles of innovation, flexibility and durability, Soft Cells remains a fully customisable acoustic system defined by restraint rather than visual excess, in keeping with Kvadrat’s understated design ethos.
"THE REVISED CONSTRUCTION HAS ENABLED AN INCREASE IN RECYCLED ALUMINIUM CONTENT"
At its core, it is built around made-to-measure panels with an acoustic core concealed behind a textile surface. The revised construction improves structural stability and has enabled an increase in recycled aluminium content to 83 per cent – including 8 per cent pre-consumer and 75 per cent post-consumer material – while reducing total aluminium use per panel by 10 per cent. The result is a more efficient system with a lighter material footprint. A newly patented textile attachment system allows fabrics to be fully detached, re-tensioned and replaced over time. Panels can therefore remain in place while textiles are cleaned, refreshed or updated, extending their service life and supporting more circular patterns of use. Designed for non-destructive disassembly, the system reflects a move towards adaptability rather than replacement.
"THE SYSTEM REFLECTS A MOVE TOWARDS ADAPTABILITY RATHER THAN REPLACEMENT"
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Meanwhile, panels extend up to 1,300 mm in width and can be combined into continuous runs of virtually unlimited length, enabling large-scale installations with high levels of precision. A newly developed corner detail secures the textile without adhesives, resulting in a cleaner construction and a more refined finish. A redesigned family of stainless-steel fittings sits discreetly within the system, improving installation while maintaining a pared-back visual language. Functional but unobtrusive, the components allow for flexible application across both walls and ceilings.
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Taken together, these elements are tested and experienced in situ at Kvadrat Acoustics’ Design Workshop in Copenhagen, a space dedicated to understanding how sound, surface and material interact in real architectural environments. kvadrat.dk
Photography by Benjamin Lund and courtesy of Kvadrat
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MADE IN FINLAND. FROM REAL INGREDIENTS.
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THE HOUSE THAT FINLAND BUILT Eight Finnish furniture makers explore the ideas and techniques behind Finnish design at Habitare From forests and lakes to workshops and factories, Finland’s design heritage has long been rooted in a culture of making things well. At this year’s Habitare, eight Finnish furniture manufacturers team up under one roof for The House That Finland Built, exploring the materials and traditions behind a uniquely Finnish approach to design.
MUURAME When interior architect and professor Pirkko Stenros developed Muurame’s Moduli system in 1951, Finland was entering a new era of suburban living. Postwar homes were often compact and filled with inherited furniture, while families needed interiors that could adapt as their circumstances changed. Stenros saw an opportunity to rethink the way furniture worked together, creating a system based on consistent dimensions and interchangeable modules. The result was furniture that could grow alongside a household rather than becoming obsolete when a child grew up or a family moved home. More than 70 years later, that principle remains central to Muurame. Drawers, cabinets and extensions can be combined with newer pieces or treasured originals, allowing the system to accumulate history while remaining useful. muurame.com
RINTALUOMA More than five decades ago, Rintaluoma began making furniture in Äystö, in the Finnish region of Teuva. The family-owned company remains rooted in the same place today, designing and manufacturing its furniture under one roof. By keeping production close and building on more than 50 years of experience, ideas are able to move directly from the drawing board to the factory floor. Rintaluoma specialises in board furniture with a focus on clean lines, useful proportions and accessible pricing. The ambition is to make well-designed Finnish furniture available to more homes, without unnecessary complication or decoration. Its approach reflects a practical side of the country’s design culture, as usefulness and good construction are valued as highly as appearance. rintaluoma.fi
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IKIMAKEE Ikimakee is a Finnish furniture company built around the shared expertise of four creative professionals, bringing carpentry, upholstery, design and product development together under one roof. From its workshop in Helsinki’s Hakaniemi district, the team designs and makes modular sofas with removable covers, giving customers the freedom to configure and personalise them as their homes evolve. The Nuku sofa embodies this approach, balancing comfort and practicality with the craft of a piece made by hand and close to home. There is also a more circular dimension to the business: alongside its own collection, Ikimakee produces custom sofas and restores existing furniture, helping valued pieces continue their lives rather than disappear when tastes or circumstances change. It is an approach that feels particularly suited to contemporary living, where flexibility matters but so does the desire to surround ourselves with things that have been made with care. ikimakee.com
HUONEKALUTEHDAS LAITALA In Jurva, a town long associated with Finnish woodworking, Laitala has been making furniture since 1932. Now run by the third generation of the family, the company draws on a rich archive of European furniture traditions, producing pieces inspired by Finnish Rococo, Gustavian and Empire styles. Its work is less about recreating the past than keeping specialist skills and historic forms relevant in the present. Traditional proportions, carved details and woodworking techniques are combined with modern manufacturing methods, allowing Laitala to produce both collections and highly considered bespoke pieces. The company also works on heritage projects, showcasing an understanding of historic furniture and technical precision. In an age of rapid production and shortlived trends, Laitala's furniture continue to find a place in homes, hospitality spaces and public interiors, as their pieces often live on from one generation to the next. laitala.com
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TERVAS Tervas approaches architecture from a familiar Finnish idea: sometimes life simply needs a little more space. The company creates additional buildings and spaces for homes and properties, from guest accommodation and places to gather to quieter retreats and rooms for new plans. Rather than offering a one-size-fits-all solution, each project is designed around the property, its surroundings and the people who will use it. That adaptability is important because the purpose of a space can change as quickly as life itself. A room created for summer guests might later become a home office, a studio or somewhere to escape the everyday. Tervas therefore looks beyond the immediate brief, considering how a structure might serve a household across different stages of life. Its work connects with a broader Finnish approach to living: an appreciation of nature, simplicity and well-made spaces, alongside an understanding that the best architecture leaves enough room for people to make it their own. tervas.fi
AISBOIS Aisbois began with an idea born beside a snowy Finnish slope: what if the material left over by the timber industry could have another life? The company brings together Petteri’s interest in circular thinking and Kuisma’s design expertise to create furniture and interior products from Finnish wood-industry waste. Rather than thinking of offcuts as an unwanted by-product, Aisbois uses them as a starting point for many of their designs. The material used in its products comes from Finnish manufacturers, including leftover pieces from Kontio’s log-house factory in Pudasjärvi and Vaara’s mill in Tervola. The approach is both resourceful and rooted in place, keeping the story of Finnish wood within the country’s furniture tradition while questioning how much new material design really needs. The resulting pieces celebrate the irregularities and character of timber, making the material’s previous life part of the object’s story. aisbois.fi
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LUNDIA Lundia’s story began in a Finnish carpentry workshop in 1948, when master carpenter and inventor Harald Lundqvist found himself frustrated by a very modern problem: moving house meant leaving behind the shelving he had built into his previous home. His solution was a system that could be dismantled, transported and rebuilt elsewhere. A clever fastening mechanism allowed shelves to be adjusted in small increments, giving the furniture an unusual ability to respond to different rooms and changing needs. What started as a workshop invention became a landmark in Finnish furniture design, helping to popularise flexible, freestanding storage in place of fixed cabinetry. Today, the Classic collection is still made in Finland from Finnish pine, carrying that original idea into contemporary homes. Its appeal lies in its simplicity: furniture that can be expanded, rearranged and repaired rather than replaced when life changes. lundia.fi
MUOTO COLLECTION Muoto Collection was founded in 2010 by Finnish designers Kirsi Pasanen and Mikko Kentta with the ambition of keeping design, development and manufacturing close together. What began in a small rented warehouse in Vääksy has grown into a workshop and production space in Lahti, complete with woodworking facilities and its own paint shop. That proximity between designer and maker remains central to the company’s way of working. Muoto Collection places particular value on Finnish materials, local partners and the expertise built up through hands-on production. Its furniture ranges from the generous Modus dining table, conceived as a centre for gathering, to the playful Lulu stool and the understated Laine sideboard. The collection reflects a Finnish confidence in restraint: well-resolved forms, carefully considered proportions and high-quality materials. muotocollection.fi
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TUNE IN At Habitare Pro, Nordic Quarters invites visitors to sit, listen and experience seven Finnish chairs up close, with a headset offering the stories behind each design What makes a chair more than a place to sit? At this year's Habitare Pro, Nordic Quarters explores that question with seven pieces that bring to light the many different and influential facets of Finnish design. From pioneering classics to contemporary experiments in material and making, our showcase asks visitors to slow down and be curious.
The experience is deliberately engaging. Visitors can take a seat in each chair, put on a headset and listen to the story behind it. It is an invitation to experience design through more than just the eye; to notice the materials, proportions comfort and ideas that have helped these pieces last. Discover the seven chairs across the following pages.
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One of the chairs in the exhibition, Made by Choice’s Kolho was designed in collaboration with American artist Matthew Day Jackson. Its story begins with the NASA Apollo 11 moon landing, and a small Finnish town of the same name, where Jackson encountered the idea that would become the starting point for the collection. The chair brings together two opposing forms: the flat, ordered geometry of Apollo and the serpentine curves associated with Dionysus, the Greek god of chaos and excess. Jackson describes the space between these forces as one of play. Beginning in the workshop, Made by Choice’s Kolho chair was developed through full-scale plywood and cardboard prototypes. Made in Finland, the finished chair combines Nordic craftsmanship with Jackson’s artistic eye. madebychoice.com
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There are icons, too, including Alvar Aalto’s Paimio Armchair 41, created in 1932 for a Finnish sanatorium and now recognised as a landmark of Finnish design. Aalto designed its sweeping plywood form with the wellbeing of patients in mind, with the angle of the back intended to make breathing easier. Its use of warm, flexible birch plywood also marked a departure from the tubular steel of modernism, creating a more organic expression of the material. artek.fi
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Boardwalk’s Block stool takes a different perspective, turning humble cardboard into a strong, flat-pack seat designed for reuse. Founded by British-Finnish design professional Hanna Laikola, Boardwalk explores what this familiar, wood-derived material can do when approached with fresh eyes. The stool offers a glimpse of a newer generation of Finnish design, bringing together material innovation, circular thinking and emerging talent in unexpected and inventive ways. Lightweight yet remarkably strong, the stool is easy to assemble and designed to be taken apart. Reflecting a more resource-conscious approach to making furniture, Block shows that everyday materials can be reconsidered and given a second life. boardwalk.fi
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Elsewhere, the everyday takes centre stage. Arabia’s IDO 59 toilet became a familiar fixture of Finnish homes, bringing thoughtful design to one of the most ordinary objects in daily life. geberit.com, ido.fi
Martela’s Kilta chair, designed by Olli Mannermaa in 1955, has spent more than 70 years proving that good design can work almost anywhere. One of Finland’s first plastic chairs, its form, comfort and novel construction helped make it a design classic. martela.com
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Another expression of contemporary Finnish design, Vaarnii’s 001 Dining Chair puts Finnish pine firmly in the spotlight. Designed by Swedish designer Fredrik Paulsen, the chair celebrates the material in its most natural form, allowing its lively grain, knots and changing tones to become part of the design. Made in Finland from solid Finnish pine, its substantial form is deliberately simple. It is a fitting example of how the country's natural materials continue to inspire the next wave of designers. vaarnii.com
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Completing the lineup is Eero Aarnio’s Ball Chair, which began with a simple desire to create a generous, comfortable family seat. Designed in 1963 and launched in 1966, its enclosed spherical form creates a room within a room, offering privacy and a sense of escape. Made from fibreglass, it became one of the most recognisable forms of the 1960s and an expression of Finnish design’s more playful, experimental spirit. aarniooriginals.com
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Together, these seven objects chart how Finnish design has evolved. From postwar modernisation to sustainability and local production, these designs trace the ways Finns have lived and worked. They show how furniture can respond to its time – from affordable, practical pieces for a rapidly modernising nation to contemporary designs that celebrate local materials, responsible production and longevity. The best designs earn their place in everyday life, gaining meaning and familiarity as they are used and passed from one generation to the next. And there is no better way to hear that story than from the seat itself. Experience The Nordic Quarters Showcase at Habitare Pro from 2-6 September
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HANNA ANONEN On colour, storytelling and her favourite Helsinki coffee spot From characterful objects to striking colour pairings, Nordic Quarters spoke with the Finnish, New York-based designer about how she is redefining the visual language of Finnish design
"I WORK A LOT WITH COLOURS AND ENJOY COMBINING THEM"
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Nordic Quarters: When you begin your day in the studio, what is the very first ritual or habit that helps you shift into a designing or creative mindset? Hanna Anonen: I don’t really have a special or elaborate creative ritual. I tend to approach things one task at a time. Usually, I make a to-do list of the essential tasks for the day and cross them off as I complete them. This helps me stay organised rather than feeling overwhelmed, and it allows me to focus fully on each task. I also usually check the schedule from the previous day to see what needs to be completed. Arriving at the studio with this clarity helps me enter a creative mindset and focus on what really matters for the day.
NQ: Finnish modern design has a strong legacy. As someone redefining its visual language, what elements in your creative process such as colour studies, materials or prototyping feel most crucial to keeping your work fresh and bold? HA: I work a lot with colours and enjoy combining them. I have certain palettes that I use repeatedly, but I also change a shade or add a small twist from time to time to keep things fresh and lively. Working with new materials and techniques, experimenting with them or combining them, is also very inspiring. Sometimes these experiments remain just experiments, while other times they evolve into projects that continue into the future.
"WHENEVER I VISIT FINLAND, I MEET MY FRIENDS AT THE HAKANIEMI MARKET FOR COFFEE. IT’S ALL ABOUT THE FINNISH COFFEE TRADITION"
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“THE MOST REWARDING MOMENT IS WHEN I SEND THE FINAL DRAWINGS FOR PRODUCTION”
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NQ: You curate, but also collaborate with brands like Made by Choice, Hakola, and Mifuko. What does a typical workday look like in the middle of one of these projects? HA: I work on a lot of exhibition projects with both museums and companies, which are usually very active and multi-faceted. In addition to Finnish manufacturers, I also collaborate with HAM and Ateneum. These projects involve storytelling, creating spatial atmospheres, reviewing content with curators, planning technical solutions with museum staff, and ensuring accessibility for customers and the safety of the objects that customers will get full experience and full story. My work includes drawing furniture and display cases, ordering printed materials and collaborating with graphic designers on texts or visual elements each with its own materials and execution. I love working with long-term partners when producing prototypes for my own designs or ordering structures for clients. I trust them, and it’s always an exciting moment to see the designs come to life in three dimensions and at full scale seeing how the pieces have actually turned out. Of course, the product manufacturers have certain tasks or steps that we discuss as we move projects forward. This is completely normal after years of working together on different projects, as there are periods of more intensive communication and sometimes longer pauses. My days aren’t very romanticised creative designer days. I spend a lot of time at the computer, working on sketches, materials, PDFs and emails. Meetings and discussions take up a lot of time, but they are essential to keep projects moving forward.
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NQ: Looking back at your day once you leave the studio, what element of your practice – problem-solving, hands-on making, aesthetic exploration, or client dialogue – usually gives you the biggest sense of satisfaction? HA: Earlier in my career, I did much more hands-on making myself, but over time, with changes in facilities and schedule, my work habits have evolved. Right now, I do what I can with the resources available, and perhaps this will look different in the future. The most rewarding moment is when I send the final drawings for production. That starts the anticipation in a week or two, as I see how the furniture or spatial elements have been realised in reality. That moment is always very satisfying.
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NQ: And finally, when you’re not working on new designs, are there any local spots in Helsinki where you find inspiration or like to unwind? HA: When I’m not working, I spend time with friends. I don’t have a fixed go to place, but I enjoy wandering spontaneously through different neighbourhoods in the city it’s relaxing and also inspiring. I live in New York, but whenever I visit Finland, I meet my friends at the Hakaniemi Market for coffee. It’s all about the Finnish coffee tradition, often enjoyed with classic pastries. I always go for drip coffee, served black.
hannaanonen.com @hannaanonen
Photography by Juho Huttunen and Mikael Niemi
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JOAKIM LASSEN For more than 40 years, Danish design label Montana has shown that storage can be playful, personal and anything but boring. CEO Joakim Lassen shares how there’s still plenty of room for fun This year marks the centenary of Danish-born architect and designer Verner Panton, best known for his succinct use of colour. From exhibitions to special editions, many design brands are revisiting Panton’s bold, avant-garde approach to colour and form.
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For Danish design company Montana, however, the occasion feels more personal. Rather than seeing Panton as a reference point, the brand has long worked with his legacy in a more direct way and, in many respects, embodies that same playful spirit and unapologetically bold approach to colour. This connection is far from accidental. While Montana’s modular storage and spatial organisation were originally developed in close dialogue with Panton himself – he saw interiors as flexible spaces that could be rearranged over time – the company has long known Panton not only as a design icon, but also as a family friend. In fact, Danish designer and former naval officer Peter J. Lassen, who founded Montana in 1982, struck up a close friendship with Panton in the early years of his career. "Verner Panton was pushing the boundaries in design, in his use of colour and materials," says Joakim Lassen, who now runs Montana. "What he did was something entirely new by using the room as an installation."
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"VERNER PANTON WAS PUSHING THE BOUNDARIES IN DESIGN, IN HIS USE OF COLOUR AND MATERIALS"
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"I STILL SEE VERNER PANTON REFLECTED IN SOME OF THESE PRODUCTS. I THINK IT COMES THROUGH IN THE CONFIDENCE TO USE SUCH A WIDE RANGE OF COLOUR"
That same idea of colour as a way of building narrative within a space is carried through in the latest Colour Archive Limited release, with each of the three tones bringing its own distinct character. While Montparnasse is deep and composed, Boulevard feels warmer and more complex, with a mustard base lifted by subtle green undertones. Extreme Lilac is playful and expressive, introducing
a brighter note that lifts the mood of its surroundings instantly. "I still see Verner Panton reflected in some of these products," says Joakim Lassen. "I think it comes through in the confidence to use such a wide range of colour. We work with a broad palette because we want people to be able to express their personality through what they create."
montanafurniture.com
Photography courtesy of Montana Furniture
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ALL THE WAY TO PARIS All the Way to Paris on curiosity, collaboration and keeping the creative spark alive All the Way to Paris was founded in Copenhagen in 2004 by Danish designer Tanja Vibe and Swedish designer Petra Olsson Gendt, who met while studying graphic design at the Danish Design School. What began as a graphic design studio has grown into a multidisciplinary practice spanning visual identities, art direction, interiors and objects. Almost three decades after they first began working together, Nordic Quarters speaks to Petra about curiosity, collaboration and the creative spark behind the studio’s work.
"WE'VE ALWAYS BEEN WILLING TO SAY YES TO THINGS WE DIDN'T NECESSARILY KNOW HOW TO DO YET"
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Nordic Quarters: Where does the story of All the Way to Paris begin? All The Way To Paris: Tanja and I met at design school in Copenhagen in 1997, where we studied graphic design, and we started working together almost immediately. I admired her design sense, and I think we complemented one another. We started taking on projects while we were still at school and we simply kept working together afterwards. We never really had an older designer telling us how things should be done. It was mostly trial and error. But we had each other, and that made a huge difference. We could laugh about things, challenge one another and work things out together.
NQ: You work across many different disciplines - you started as a graphic design studio initially, and have since evolved designing objects, interiors and more. Do you think of those as separate disciplines or is there a single philosophy that connects everything you make? ATWTP: We don't think too much in disciplines. We've always been willing to say yes to things we didn't necessarily know how to do yet. For us, making a lamp isn't fundamentally that different from making a book. It's about composition, silhouette, proportion and how something comes together. There is a playfulness in that. We have respect for disciplines, but perhaps we're not afraid to cross their boundaries. NQ: You’ve described curiosity and a kind of “positive impatience” as forces that push the studio forward. What does that look like in practice? ATWTP: I think it comes from the way Tanja and I work together. We're both impatient and get excited. When you suddenly feel that something is really good, you want to move forward with it. That excitement can happen at the beginning of a project or halfway through, when you suddenly realise
you've found something. It's a driving force. It's curiosity and excitement about where something might go. NQ: Where does that curiosity come from? What inspires you? ATWTP: It can come from anywhere. You can go to a museum and see something that suddenly sparks an idea, or simply experience something in everyday life. For me, inspiration comes from being open to the world. That's also one reason why I'm studying social anthropology at Lund University at the moment. I'm interested in people, culture, how we live and how societies evolve. I've always been inspired by the world around me, and I think that curiosity naturally feeds into the work.
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NQ: How do you see All the Way to Paris evolving from here? ATWTP: I hope we continue to thrive. It's a privilege to still feel that creative spark after almost 30 years. I think you survive in this industry by being authentic, staying open-minded and continuing to have something to say. And by keeping the dialogue alive with clients, collaborators and within the studio. We don't necessarily know what the next project will look like, and that's part of the excitement. You have to be willing to embark on a journey without knowing exactly where it will end. For me, the important thing is to keep the spark. To keep being curious. And to meet people who are open to going somewhere with you.
"IT'S A PRIVILEGE TO STILL FEEL THAT CREATIVE SPARK AFTER ALMOST 30 YEARS"
NQ: It sounds as though good dialogue is at the heart of everything you do.
Nordic Quarters: What are you working on at the moment, and what are you excited about? ATWTP: We've had relationships that have lasted decades. That's something I'm very proud of. Clients come back, and you get to evolve together. Sometimes it's a completely new project, but sometimes it's the continuation of something you've been building for years. That can be just as exciting and there's enormous value in continuity. We've worked in an industry that has changed enormously over the past 29 years, and we're very lucky that we're still here and still getting interesting projects. But I think part of surviving is staying authentic, doing what you believe in and maintaining a dialogue with your clients and your team.
ATWTP: It really is. I think graphic design is a conversation. A client gives you something they want to communicate, and you work together to enhance it. It's almost like choreography. And that's why collaboration is so important to us. You don't always know what you think until you start talking. A good dialogue can change your mind, challenge an idea or reveal something you hadn't considered. That's what keeps things moving – and, ultimately, that's what keeps the work alive.
allthewaytoparis.com @allthewaytoparis
Photography by All The Way To Paris
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2.–6.9. 2026 HELSINKI EXPO AND CONVENTION CENTRE
Habitare, Finland’s leading and most established Nordic design fair welcomes the international design industry to Helsinki each September.
THE LEADING FURNITURE, DESIGN AND INTERIOR EVENT IN THE NORDICS
HABITARE.FI @HABITAREFAIR #HABITARE
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INTRODUCING THE SHOWROOMS Explore the city’s top curated showrooms and be inspired
Step into the heart of Helsinki’s design scene and explore the Habitare Showrooms. Discover the city’s most exciting spaces, where leading companies showcase their latest products and services to both industry professionals and design enthusiasts. Details and opening hours for each showroom event can be found at habitare.fi
From 2–6 September 2026, during the Habitare fair, showrooms across Helsinki will open their doors, inviting visitors into a world of creativity and design. Together, the fair and the showrooms transform the city into a showcase for design, offering a unique opportunity to experience the work of creative professionals and the magnetic atmosphere of Helsinki as a design capital. The connection between the Habitare fair and the city’s showrooms creates a rich and inspiring experience, as the main exhibition extends into the city and creativity spills out onto the streets of Helsinki.
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300 m Pasila Railway Station
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Our top showroom picks! Our team has handpicked a selection of must-visit showrooms that stand out for their creativity, innovation and commitment to design excellence:
EERO AARNIO ORIGINALS
ARTEK
STUDIO CREA
Eero Aarnio Originals, are a Helsinki based company and showroom holding exclusivity of the production and sales rights of Eero Aarnio’s most iconic and beloved classics. A brand new showroom has been opened!
Spanning two floors, the Artek Helsinki showroom offers a selection of carefully picked classics and novelties by Artek, Vitra and the most important Finnish and international design brands.
Studio Crea is a shared interior showroom bringing together Hietakari, Tapwell, Doorie and Reatek. It offers kitchen and bathroom solutions, materials and inspiration for designers and architects. residential and commercial design projects.
EUROHELA
SVENSSON
Eurohela’s Helsinki showroom presents European furniture and interior hardware brands, with solutions spanning handles, hinges, kitchen mechanisms, storage and fittings. Eurohela showcases beautiful brands such as TreCe, Glimakra of Sweden and Forming Function.
Svensson’s Helsinki showroom presents a curated selection of high-quality interior textiles, offering designers and professionals an opportunity to explore fabrics, colours and materials in person. Located in Helsinki’s Design District, it provides a dedicated setting for inspiration, specification and textile consultation.
MADE BY CHOICE Made by Choice is an awardwinning design brand from Finland. The vision is based on the value of collective creation and the promotion of sustainable Nordic values and traditional design. Made by Choice has a strong commitment to producing sustainable, bold, and innovative products combining modern woodcraft with the latest technology.
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Aarikka
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ABL-Laatat
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Arkken
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ARKKIkaluste x Studio Ilkka Palinperä
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Artek
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BOLON
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Carl Hansen & Son
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Eero Aarnio Originals
MANO HELSINKI Mano Helsinki creates timeless furniture and interiors with a focus on craftsmanship. The company's showroom is a showcase of locally produced, high-quality pieces that bring elegance and sustainability together.
Vetrospace’s Helsinki showroom showcases premium acoustic workspaces, from private phone booths to larger meeting pods. Visitors can experience solutions designed for focus, privacy, collaboration and wellbeing, while exploring flexible workplace concepts and customisable configurations.
Eurohela: TreCe, Glimakra of Sweden, Forming Function Finsoffat
12 Framery 13 Gitte 14 Hakola 15 Hifi Klubben 16 HT Collection
Other Destinations
The Helsinki showroom in Punavuori offers over 1000 m² of interior inspiration, featuring carefully curated rugs, furniture, lighting, fabrics, wallpapers and flooring with extensive material samples and expert support for residential and commercial projects
VETROSPACE
10 Fasetti 11
KOOLMAT
34 Solo Sokos Hotel Pier 4, Katajanokanlaituri 4, 00160 Helsinki Kino Konepaja: Konepajanpasaasi, 00510 Helsinkii
17 HTH Keittiöt
26 Made By Choice
18 Isku Spaces
27 Mano Helsinki
19 Kalevala
28 Marimekko
20 Koolmat
29 Niimaar
21 Kuusilinna
30 Nomart
22 Laattapiste-Pukkila Helsinki 23 Lennol
31 Studio Crea: Hietakari, Tapwell, Doorie, Reatek-laatat
24 Lokal Helsinki
32 Svensson
25 Lundia
33 Vetrospace
Train to Main Exhibition All local trains go to Pasila, 5 min. Tram to Main Exhibition, Trams 2
NORDIC QUARTERS
HABITARE.FI