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Interiør & Møbler
NILs årbok 2025
The Norwegian Organisation of Interior Architects and Furniture Designers (NIL) represents the country’s leading talents within interior architecture and furniture design. The 2025 annual Interiør & Møbler presents the juried projects from 2024.
The 2025 edition of Interiør & Møbler is published both as a printed version and a digitial version. The content is the same, both a html-version and downloadable pdf-files identical to the print layout.
Editor: Inger Schjoldager, Orfeus Publishing.
Project manager: Mona Lise Lien
Art direction, graphic design and production/repro: Halvor Bodin.
Design intern: Caroline Rognan Aasen
Advertising: Coordinator of sales: Steffen K. Ludvigsen.
Typography in use: Neue Haas Grotesk.
The 2025 edition is the third Interiør & Møbler published both as a printed version and a digitial version. The content is the same, both a html-version and downloadable pdf-files identical to the print layout. The web-project is developed with Bleed, Avento and Halvor Bodin (also responsible for the content management).
Interiør & Møbler online version
2025
228 pages
Format: 29,7 x 23 cm
ISBN 978-82-91194-35-6
ISSN 0803-7582
Paper: 300 g/m2 FSC [omslag],
115 g/m2 G-Print FSC [materie],
Rainbow Intensive Orange 80 g/m2
Livonia Print SIA, Latvia
Orange coloured paper on the index and address chapter.
228 pages
Format: 29,7 x 23 cm
ISBN 978-82-91194-35-6
ISSN 0803-7582
Paper: 300 g/m2 FSC [omslag],
115 g/m2 G-Print FSC [materie],
Rainbow Intensive Orange 80 g/m2
Livonia Print SIA, Latvia
Orange coloured paper on the index and address chapter.
Historien om den norske løve
Knut Johannessen
Why is Norway’s coat of arms a lion with an axe, and not a native Norwegian animal? Why can’t anyone and everyone use the coat of arms in the same way as the flag?
Historien om den norske løve tells how the coat of arms is used in our time. But above all, the account traces the long lines of history, all the way back to when the motif first appeared as a royal emblem in the 13th century. Through many centuries of unions, the lion had to relate to Danish and Swedish royal symbols and find its place within the union coats of arms. In key historical years such as 1814 and 1905, the Norwegian lion played a part in the political power struggle. During the Second World War, both the Quisling regime and the London government used the lion as their emblem. The Norwegian lion has left its mark on a rich visual tradition.
We encounter the lion on coins, banknotes, and stamps; in church decorations; on cast-iron stoves and glass goblets; and on cupboards and chests in folk art. It appears on military uniforms and banners, on bookbindings and sheet music, in digital design programmes, and of course on the royal standard.
The book presents an extensive and largely unknown collection of images.
The author, Knut Johannessen, is a historian and former Head of Department at the National Archives of Norway.
© Orfeus Publishing & Knut Johannessen
Author: Knut Johannessen
Publishing editor: Inger Schjoldager
Picture Editor: Knut Johannessen
Design/repro: Halvor Bodin
Photography: Credited in captions
Front cover photo: Arnstein Arneberg’s design of the coat of arms on the Telegraph Building in Oslo. Photo: Halvor Bodin
Orfeus Publishing
View all projects with Orfeus Publishing here.
2025
248 x 272 mm
288 pages
ISBN 978-82-93959-20-5
Livonia Print SIA, 2025, Latvia
Paper: Arctic Matt 150 g/m²
Endpapers: Munken Lynx 150 g/m²
Book jacket: Geltex 11 LS
Typography: Store Norske Leif Regular 9/13 pkt., Store Norske Gangster, Store Norske Skandia Condensed
Language: Norwegian
CMYK + Pantone 871 (gold)
The publication has received support from the Bergesen Foundation, the Fund for Danish-Norwegian Cooperation, the Arts Council Norway, and Societas Heraldica Scandinavica.
The author has received support from the Norwegian Non-Fiction Writers and Translators Association.
More documentation photos to come.
248 x 272 mm
288 pages
ISBN 978-82-93959-20-5
Livonia Print SIA, 2025, Latvia
Paper: Arctic Matt 150 g/m²
Endpapers: Munken Lynx 150 g/m²
Book jacket: Geltex 11 LS
Typography: Store Norske Leif Regular 9/13 pkt., Store Norske Gangster, Store Norske Skandia Condensed
Language: Norwegian
CMYK + Pantone 871 (gold)
The publication has received support from the Bergesen Foundation, the Fund for Danish-Norwegian Cooperation, the Arts Council Norway, and Societas Heraldica Scandinavica.
The author has received support from the Norwegian Non-Fiction Writers and Translators Association.
More documentation photos to come.
Morten Juvet
Grafikk 1969–2025
Morten Juvet had his breakthrough as a visual artist during a golden age for printmaking. Seldom before or since has printmaking played such a prominent artistic role, not least among a large and youthful buying audience. Juvet holds a secure place in art history due to his significance during the 1970s and 1980s, at the transition from pop art to postmodernism. Whether viewed in the context of one movement or the other, we are left with an impression of an unmistakably distinctive character.
[…]
Juvet’s preferred techniques have been woodcut and screen printing, with only a modest output in other methods. By employing simple and affordable graphic techniques, artists of Juvet’s generation were also able to take control of the entire production process. Through edition printing, the art could reach beyond the gallery wall. On his farm in Holmestrand, he has set up his own printmaking workshop with a press, and the graphic work he carries out there today can be seen as part of his approach to creating art as a form of cottage industry aligned with the green transition. This has helped to maintain one of the few remaining farms in the area and has prevented the land from being expropriated for other commercial purposes—such as what would otherwise have been an ideal location for a furniture superstore. In this way, the societal role of printmaking is linked not only to form and subject matter, but also to the method of production and the category of goods.
(From Øivind Storm Bjerke’s text in the book)
Galleri Galleberg
Hortensveien 231
3157 Barkåker
+47 921 12 721
kjetil.galleberg@gmail.com
Text: Øivind Storm Bjerke
Cover: Woodcut by Morten Juvet, 2024
32,5 x 32,5 cm
Photography: Tomas Moss, Thomas Widerberg, p. 61, Petter Brønn, p. 6, Halvor Bodin, p. 2, 182, 183, endpapers
Graphic design: Halvor Bodin
Design intern: Caroline Rognan Aasen
Printing: TS Trykk, Oslo
Bokbinding: Bokbinderiet Johnsen
Morten Juvet website
2025
24 x 28 cm
184 pages
ISBN 978-82-93233-37-4
TS Trykk, Oslo
Paper: Arctic Volume White 130 g/m2
Endpapers: MultiOffset 140 g/m2, FSC
Cover: Geltex 11 LS 150 g/m2
Typography: SN Skandia Condensed,
LL Ruder Plakat Var
Language: Norwegian
24 x 28 cm
184 pages
ISBN 978-82-93233-37-4
TS Trykk, Oslo
Paper: Arctic Volume White 130 g/m2
Endpapers: MultiOffset 140 g/m2, FSC
Cover: Geltex 11 LS 150 g/m2
Typography: SN Skandia Condensed,
LL Ruder Plakat Var
Language: Norwegian
The September When
Hugger Mugger Live 2024
Songs by Morten Abel except SometimesSerious and Leave To Wonder by TSW
Recorded at Grieghallen, Bergen on 11 October 2024
by Frank Østebø Lunde
All songs mixed & mastered by Jørgen Træen
Band photos by Håvar Goa
Design and photomicrography by Halvor Bodin
Cover photos ©Lennart Nilsson/Science Photo Library
From the book A Child Is Born
THE EARTH BELONGS TO THE ANIMALS
Documentation of the original CD release from 1994
Hugger Mugger 2025 reissue
2025
2LP, black vinyl
Digital single cover for Cries Like a Baby Live 2024
5021732724540
℗ & © 2025 WARNER MUSIC NORWAY AS.
A WARNER MUSIC GROUP COMPANY.
2LP, black vinyl
Digital single cover for Cries Like a Baby Live 2024
5021732724540
℗ & © 2025 WARNER MUSIC NORWAY AS.
A WARNER MUSIC GROUP COMPANY.
Cries Like a Baby digital singlecover 2025
The September When
Hugger Mugger (reissue)
Songs by Morten Abel except SometimesSerious and Leave To Wonder by TSW
1994 design by Marius Renberg and Halvor Bodin (Subtopia),
2025 design and photomicrography by Halvor Bodin
Type: Flexure (Stephen Farrell, T-26, 1993) and FloMotion (by Peter Saville, FUSE 5, 1992).
Cover photos ©Lennart Nilsson/Science Photo Library
From the book A Child Is Born
Band photography by Bjørn Opsahl
Styling by Hedda Solløst
THE EARTH BELONGS TO THE ANIMALS
Documentation of the original CD release from 1994
2025
LP, transparent vinyl
5021732636751
℗ 1994 © 2025 WARNER MUSIC NORWAY AS.
A WARNER MUSIC GROUP COMPANY.
LP, transparent vinyl
5021732636751
℗ 1994 © 2025 WARNER MUSIC NORWAY AS.
A WARNER MUSIC GROUP COMPANY.
Hugger Mugger is one of the record covers printed on white glass at the rooftop box at Rockheim in Trondheim.
Rockheim is part of the Norwegian Museum of Music – which consists of Rockheim and Ringve. Since the museums's opening in 2010 there has been a steady stream of visitors eager to learn about this music and its history. Rockheim is located at the harbour in Trondheim.
The visit to Rockheim begins in the spectacular “Top Box”. From the main exhibit on the 6th floor you proceed down floor by floor. The music and stories are communicated by means of interactive exhibit technology and objects from the museum’s collections.
For the rooftop box housing the permanent exhibitions, the architect (PIR2) has given the façade a decoration and lighting scheme that provides the building with a distinctive identity. With more than 160 of Norwegian pop and rock’s most important album covers printed on white glass as the prominent feature in daylight, and 14,000 individually controlled LED lights when day turns to night, the possibilities are endless for Rockheim to transform from one day to the next. In the nearly 10 years since it was established, Rockheim has become an architectural icon for both Trondheim and Norway, with visitor numbers about three times higher than estimated.