I am prepared to be your sexual Vietnam.

Dingle Peninsula, Ireland

Though a lesser acknowledged work, Villa Stenersen in Oslo is a true celebration of functionalism. It’s an especially interesting site to analyze because the villa’s architect, Arne Korsmo was commissioned to create a building with two clear and potentially opposing purposes: a family home for the Stenersens and an art gallery for their large and impressive collection. When Korsmo began designing it in 1937, it was this duality that beckoned such thoughtful consideration of each element, from the architecture to the interior color palette. 

Considering the aforementioned, take the single rounded column in the main room. It functions to soften the rest of the room’s stark angles, but doesn’t cover them up or overwhelm them. It’s used resourcefully in communication with its neighbors, but leaves room for art. This level of restraint is what makes functionalism work so well. Where there are hard and practical materials employed, there may also be vibrant colors and rounded edges to suggest that a balance must remain between function and decoration. Another example of this duality comes in the form of the glass bricks that comprise the windows. Just the right amount of filtered light shines through for viewing the art collection, but they also afford just the right amount of privacy for a family. In fact, the light and openness of the space is something that Korsmo emphasized to serve both of the building’s functions maximally. 

The former home was donated by its original owner, Rolf Stenersen, to become a national museum, and has been restored over time to its intended glory. Aside from vintage pictures and Korsmo’s original drawings, the photos shown here come from a series of photographers (Ake Lindman, Tekla Severin, Mikal Strom, Federico Covre) who have visited the space at different times within the restoration process. 

Arne Korsmo dancing with his wife, Grete.