KRISTOFFER SUNDIN
FOLKSKOLEGATAN 22
117 35 STOCKHOLM
SWEDEN
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GALLERI MAGNUS KARLSSON • STORAGE ROOM/SHOWROOM • 2010 •
THE CONCEPT WAS TO MAKE A WORK/STORAGE ROOM THAT ALSO FUNCTIONS AS A BACKSTAGE SHOWROOM FOR ART CUSTOMERS.
A FLEXIBLE SHELVING SYSTEM WAS MADE TO FULFILL THE NEED FOR STORAGE OF THE PAINTINGS AND SCULPTURES IN ALL DIFFERENT SIZES.
THE INTERIOR IS MADE OF UNVARNISHED PINE AND BLACK PLUGS TO ACCENTUATE THE CONSTRUCTION.



PHOTOGRAPHY BY ERIK WÅHLSTRÖM

STUDIO KARIN MAMMA ANDERSSON • SHELVING SYSTEM • 2011 •
SHELVING SYSTEM FOR THE SWEDISH ARTIST KARIN MAMMA ANDERSSONS NEW STUDIO. THE CONSTRUCTION IS A DEVELOPMENT OF THE INTERIOR FOR GALLERY MAGNUS KARLSSON AT FREDSGATAN 12. TWO READY-MADE FURNITURES ARE INCLUDED TOGETHER WITH A NEW BUILT LOCKER. THE SHELVING SYSTEM IS DESIGNED TO FULFILL THE VARYING KIND OF STORAGE NEEDED WHILE WORKING WITH NEW EXHIBITIONS.



PHOTOGRAPHY BY ERIK WÅHLSTRÖM

PERMANENT VACATION • KRISTOFFER SUNDIN AND 1:2:3 • INTERIOR DESIGN • 2009 • INTERIOUR DESIGN FOR SWEDISH FASHION BRAND PERMANENT VACATIONS POP-UP STORE IN GOTHENBURG. CUSTOM-MADE FANS MADE THE HANGERS ROTATE, USING THE CLOTHES AS SAILS. ALL LIGHTING WAS PLACED OUTSIDE OF THE SPACE, LIGHTING THE STORE DURING NIGHT TIME.

RIO • OUTDOOR SEATING • 2010 • STOOLS, BENCHES AND TABLES MADE OF UNVARNISHED SIBIRIAN LARK WHICH HAS A NATURAL WEATHER RESISTENCE. WITH TIME THE OUTDOOR FURNITURES WILL FADE TO GREY EXPOSING THE DARKER WOODEN PLUGS.

THE FURNITURES IS PRODUCED BY
A-B-C AND IS FOR SALE AT:
WWW.A-B-C.SE


PHOTOGRAPHY BY DANIEL BLOM

A-B-C 010 • KRISTOFFER SUNDIN,SIMON KLENELL AND 1:2:3 • SPAZIO ROSSANA ORLANDI, MILANO DESIGN WEEK • 2011 •

FOR SPAZIO ROSSANA ORLANDI WE MADE AN INSTALLATION OF OUR PRODUCT A-B-C 010. THE GLASS PENDANT IS MADE THROUH THE MOST BASIC PRINCIPLE OF GLASSBLOWING. BLOWING, TURNING AND GRAVITATIONAL FORCE MADE THIS LAMP. THE UNPREDICTABLE PROCESS MAKE EACH LAMP DIFFERENT FROM THE OTHER.


A-B-C 010 CAN BE BOUGHT AT WWW.A-B-C.SE

STUDIO JOCKUM NORDSTROM • INTERIOR • 2011 •
WHEN DESIGNING AND BUILDING THE SWEDISH ARTIST JOCKUM NORDSTROMS NEW STUDIO ME AND CARPENTER TOBIAS FJELLSTROM SET UP A TEMPORARY WORKSHOP IN THE ROOM NEXT DOOR.

WE BROUGHT THE MATERIAL NEEDED AND USED IT TOGETHER WITH THE FURNITURE FROM JOCKUMS EARLIER STUDIO. SOME FURNITURE WAS LEFT UNTOUCHED, SOME OF THEM WERE CUT UP IN PIECES AND USED AS BUILDING MATERIAL.

DURING THREE DAYS WE BUILT THE STUDIO PIECE BY PIECE IN A TECHNIQUE THAT RESEMBLES JOCKUMS OWN WAY OF CREATING HIS CUT AND PASTE COLLAGES



PHOTOGRAPHY BY ERIK WÅHLSTRÖM

GALLERI MAGNUS KARLSSON GOTLAND
• ART GALLERY • 2011 •

FOR GALLERI MAGNUS KARLSSON GOTLAND AN OLD BARN WAS TRANSFORMED INTO AN ART GALLERY AND A PROJECT ROOM. THE GALLERY OPENED IN JULY 2011 AND IS OPEN DURING THE SUMMERTIME TO SHOW CONTEMPORARY ART ON THE ISLAND OF GOTLAND.

THE EXHIBITION ROOM IS CREATED TO FOCUS ON THE ART PIECES AND AT THE SAME TIME TAKE CARE OF THE ENVIRONMENT THEY ARE PLACED IN.

NEW WALLS ARE FUNCTIONING AS THE EXHIBITION SURFACES WITH UNPAINTED RECESSES FOR WINDOWS AND DOOR OPENINGS. THE SHINGLED CEILING IS KEPT INTACT AND THE CONCRETE FLOOR WAS POLISHED. A NEW ENTRANCE WAS MADE AT THE GABLE FACING THE PARKING.

HANDMADE LAMPS LIGHTS UP THE ROOM TOGETHER WITH THE DAYLIGHT COMING IN THROUGH THE WINDOWS. THE ROOM CAN EASILY BE CHANGED IF NEEDED BY USING THE WINDOW SHUTTERS AND MAKE IT SUITABLE FOR EXHIBITIONS THAT REQUIRES LESS DAYLIGHT. THE SHUTTERS IS PLACED IN EACH WINDOW RECESS AND ITS SURFACE BECOMES A PART OF THE WALL.

FOR THE ENTRENCE, AN ILLUMINATED SIGN WAS BUILT SIMILAR TO THE LOGOTYPE OF THE GALLERY.



PHOTOGRAPHY BY ERIK WÅHLSTRÖM

CIRKUS • KRISTOFFER SUNDIN AND 1:2:3 • CONSTRUCTION • 2007 • DURING 7 WEEKS IN THE FALL OF 2007 LEVI´S BLUE RAN A CONCEPT-STORE IN STOCKHOLM. ME AND 1:2:3 WERE ASKED TO DECORATE THE SHOP WINDOW DURING THE TIME. A CONSTRUCTION WAS MADE THAT DREW BLUE CIRCLES ON THE GLASS, MAKING IT MORE AND MORE BLUE AS THE SEVEN WEEKS ELAPSED.

COLAB CHAIR • 2006 • THE COLAB CHAIR IS THE RESULT OF MY AIM TO INCORPORATE MY FRIENDS IN THE MAKING OF MY FURNITURES. I MADE THE CHAIR AS A TOOL FOR MY FRIENDS, ON WICH THEY COULD APPLY THEIR OWN WORK TO TURN THE TOOL INTO A COMPLETE CHAIR. IN THE SUMMER OF 2008 A PIECE OF THE PROJECT WAS EXHIBITED AT THE GOTHENBURG MUSEUM OF ART

SMERALDINA / A-B-C 009 • LAMP • 2010 •

IN ITALO CALVINOS BOOK INVISIBLE CITIES THE EXPLORER MARCO POLO TELLS THE STORY OF 55 IMAGINARY CITIES. HE TELLS THE STORY TO KUBLAI KHAN, THE EMPEROR WHO NEVER TRAVELLED HIS OWN EMPIRE. THE COMPLEX STRUCTURES OF THE CITY SMERALDINA GAVE THE LAMP ITS NAME AND ITS SHAPE. THE BOOK THAT COMES WITH THE LAMP AIMS TO INSPIRE THE READER TO BUILD THEIR OWN VERSION.

PACKAGING BY 1:2:3

SMERALDINA IS PRODUCED IN A LIMITED EDITION OF 100 PIECES AND IS FOR SALE AT:
WWW.A-B-C.SE

RIO • KRISTOFFER SUNDIN AND 1:2:3 • IDENTITY AND INTERIOR DESIGN • 2009 • THE CONCEPT CONSISTS OF INTERIOR DESIGN AND A GRAPHIC IDENTITY, BOTH OF WHICH REFER TO THE ORIGINAL DESIGN OF THE 1940'S CINEMA, BUT AT THE SAME TIME IT INTRODUCES A SPACE IN TRANSFORMATION. FROM BEEING A CINEMA LIMITED TO ONE SCREENING EACH NIGHT, RIOS NEW AIM IS TO OFFER A WIDER RANGE OF ACTIVITIES. THE CONCEPT IS DESIGNED SO THAT IT CAN BE ADJUSTED AND ALTERED DEPENDING ON EACH ACTIVITY. OPERA NIGHT OR CAFÉ, FILM FESTIVAL OR CONFERENCE CENTRE. FOR THE FOYER, ME AND 1:2:3 DEVELOPED ADAPTABLE FURNITURE AND LIGHTING. THE ROOM NORMALLY FUNCTIONS AS A CAFÉ, WITH THE TABLES PULLED APART AND A LAMP OVER EACH ONE. BUT IF YOU SIT DOWN AT A TABLE AND LOOK AROUND, YOU SEE THAT THEY FIT TOGETHER – THEY HAVE A COMMON, LARGER FORM. IN A SIMILAR WAY THE LAMPS CAN BE BUNDLED TOGETHER TO FORM A LARGE CHANDELIER. FOR THE GRAPHIC IDENTITY WE DESIGNED A EXTENSIVE SIGNAGE SYSTEM. THE DESIGN OF THE NEW SIGNAGE SYSTEM WAS BASED ON THE IDEA OF THE CINEMA AS A UNIQUE PHYSICAL SPACE IN CONSTANT CHANGE. AN ALPHABET IN THREE SIZES WERE CREATED WHICH IS USED IN SIGN BOXES INSIDE AND OUTSIDE OF THE CINEMA. ALL SIGNS ARE WRITTEN MANUALLY BY THE STAFF, THE SYSTEM MAKES THE SIGNS EASY TO CHANGE. BY PHOTOGRAPHING THEM AND USING THE PHOTOS IN MONTHLY PRINTED PROGRAMMES AND NEWSLETTERS, IT CREATES A STRONG CONNECTION TO THE ACTUAL THEATRE RIO.



PHOTOGRAPHY BY ERIK WÅHLSTRÖM

OSC-09 • KRISTOFFER SUNDIN AND ANTON ALVAREZ • FÄRGFABRIKEN • 2009 •
ME AND ANTON ALVAREZ CREATED THE FURNITURES AND THE SCENIC DESIGN FOR THE OSC-09 FESTIVAL AT FÄRGFABRIKEN WHO TOOK PLACE IN AUGUST 2009.
WE USED A WATER SPRINTLER, 160 LITERS OF PAINT AND A HIGH PRESSURE PUMP TO TELL THE STORY ABOUT THE OSCILLATION AND THE HISTORY OF THE LOCATION. THE PAINTING WAS DONE IN AN OUTDOOR SPACE INSIDE TEXTILE WALLS IN ORDER TO LIMIT THE SPRINKLING OF THE PAINT. THIS SURFACE WAS THE ENTRANCE TO THE FESTIVAL AND THE VISITORS’ FIRST IMPRESSION OF THE LOCATION. A SPRINKLER WAS LEFT IN PLACE, PLACED ON A PODIUM IN THE CENTRE OF THE ROOM. FURTHER INSIDE THE ROOM THERE WERE WALL SIGNS, BAR CONSTRUCTIONS AND A DJ TABLE THAT WERE INVOLVED IN THE PREPARATIONS AND SPRAYED IN RANDOM PATTERNS.

THE MAKING OF OSC-09:
http://www.youtube.com/watch?v=xsH3TK9F3H8

PHOTOGRAPHY BY PER ENGLUND AND TORKEL ENGSTRÖM