Stone is one of the most site-specific materials in our natural world. Although it can be moved by humans and natural forces, it always tells a unique story about the exact place and landscape to which it belongs. Much like stones found in landscapes shaped by nature, discarded industrial stones bear traces of their past. However, due to their recent history, they have a distinctive character – half machine-processed, half untreated.



Exhibited as part of the Oslo Architecture Triennale in Sofienberg is a collection of sorted and categorized waste stones from Lundhs quarry in Larvik, accompanied by a soundscape from their landscape of origin. Each fragment was selected based on two criteria, requiring it to be liftable by two people and to have at least one machine-processed face. The title reflects a spatial and material duality, bridging the man-made void in the quarry and the physical fragments displayed.

As part of an ongoing process, the initiative explores potential uses for surplus stone and invites the public to reflect on its future as a building material through sustainable resource management. 

We ask ourselves: How can these byproducts and partially processed stones breathe new life into traditional building methods and be incorporated into new contexts?


Echo

Løkka was one of three finalists in the competition for transforming Arkitektens Hus in Oslo.

The project is as much about subtraction as addition. The main intervention at Løkka is the creation of two new entrances from the current courtyard, forming a natural gathering point and smooth flow between buildings, along with the creation of three distinct garden rooms. These new entrances, placed directly opposite each other, create a clear outward axis that intersects with the axis connecting the courtyard to Josefines gate.

Another key aspect of Løkka is the creation of three gardens with unique qualities: the front garden facing Josefines gate, the winter garden in the foyer, and the villa garden in the courtyard. The goal is to make each building feel as if it stands within a garden, allowing the greenery to extend to the sidewalk, thus connecting the entire site with the outside world.

Our focus has been to enhance the site's qualities through a strategy where the elements we work with follow a set of rules. These rules guide us on how to perform operations on existing walls and floors and how to treat the buildings as a whole. This approach gives the interventions and additions in the project a signature and a clear reading. We believe that this clarity in the changes creates a tension between the present and the past, adding new layers to the stories the buildings tell.

Løkka

Sjávarmál is an outdoor artwork located along the Sculpture and Shore Walk in Eidsgrandi, Reykjavik. The project was chosen as a winning proposal in an open competition among 70 entries in 2020. It was completed in 2021. The artwork was commissioned and funded by the municipality of Reykjavik. The work consists of an is an in-situ concrete cast sound-mirror. The dark colored concrete is a result of the aggregate and pigment used from the local basalt rock in Iceland.

Project done together with Baldur Helgi Snorrason in collaboration with Andri Snær Magnason

Sjàvarmàl

Landscape design with focus on reusing the existing hard surfaces. The previous layout included a lot of asphalt which led to lots of parking and not a pleasant environment. 50m2 of asphalt was removed to make room for new bushes, perennial beds and 20 new trees. 6 benches made of pine logs up to 3.5 meters was spread over the area. New light bollards outside each entrance was set up, and a buried waste facility. As a main concept, 11 large red granite blocks of the Røyken and Bohus type were set up. The handpicked stones from Johansen Monumenthuggeri was residual stone, and was either used in its found form, or cut with a limited number of cuts. The blocks divides the backyard into zones, and serves as benches and oversized curbs.

Courtyard Sagene

Langeleik was one of four finalist in the open competition for a new Visitor Center and Exhibition Space for the artist Nikolai Astrups home in Jølster. The motto for our project is ”Langeleik”, a traditional Norwegian string instrument;

‘Compared to other instruments, the langeleik is low-key. The Langeleik is an instrument with a long resonance box, around one metre long and ten to twelve centimetres wide. Old wooden tables provide good resonance and help to amplify the sound even more.’

The concept behind the viewing center was to create a building that resonates with the nature, site and cultural landscape: Like the Langeleik, the building exists by virtue of its surroundings.

Langeleik is 80 metres long and 8 metres wide, with a roof that merges with the terrain. A long and narrow volume gives the building a landscape-like character that emphasizes the qualities of the site, while at the same time introducing new and unexpected architectural elements. The landscape that Astrup captured in his dramatic fjord motifs is introduced as various spaces, views, different lighting conditions and materials. The excavated moraine soil from the site is sorted and used as a load-bearing material in the form of rammed earth walls, aggregates and in the shaping of the surrounding landscape.

Two different arrivals are connected through an outdoor passageway with a main entrance on the south side. The arrival from the main road leads through a tunnel to a light well and a stair. The entrance from the south is on a sloping ramp. Small paths and walkways traversing the landscape encourage the visitors to experience both landscape and building. The different ways of entering the building enhance the overall experience of walking in the landscape.

The building is mainly a roof with two façades, one to the south and one to the north. To the north, the horizontal landscape is accentuated. A long roof spans a continuous glass façade that lets in the soft northern light. From inside the building, the north-facing view of Jølstervannet appears as a magnificent landscape painting. To the south, the verticality of the landscape is dramatised.An external ramp and stair separate the building from the landscape. A solid wall of rammed earth cuts into the depths and opens up for a reading of the materials found on site. The openings in the wall provide defined views and allow the sun's sharp shadows to be drawn into the house.

Langeleik

The Scenic Routes road in Jæren is being extended south to Flekkefjord, passing through Jøssingfjord in the municipality of Sokndal. The area is known for its unique geology, barren landscapes, war history, and industry. The site is located on a hill above Jøssingfjord, surrounded by steep mountainsides. A small ridge encircles the parking area and shields the view to the fjord. The area around Jøssingfjord is part of the Unesco Magma Geopark. The anorthosite rock which is dominant on the site is called the «lunar stone» because of its presence on the moon.

We wanted to provide all visitors, regardless of mobility, the opportunity to move around the rock and experience the view of the fjord while gaining insight into the unique geology of the site. The project proposes a carved access path in the rock that facilitates the viewpoint and connects parking, rest area, and service building to the surrounding landscape. The path is created through careful wire sawing, and the extracted stone is used in the rest of the project. The edge of the cut becomes a natural seating bench along the curved path. The service building marks the entrance to the viewpoint and appears as a sharply cut block of stone. It has a polished concrete facade with anorthosite inserts and aggregate that will reflect the light from the sky. Two large blocks from the landscape cut are moved into the building and form the ceilings of the restrooms. The stone is only visible from the inside, creating a moment of surprise for the visitors.

Jøssingfjord

What happens when pieces of nature are modified and immortalized as cast aluminum? Constellations of branches are hung on the wall as markers of time, telling stories of what has been. The branches are composed of several smaller branches and are assembled using grafting techniques. The joints are visible and tell a story of grafting, of human modification, and of plant growth. Now that the branches are cast and in a kind of frozen state, a duality arises between the living and the dead.

Eladio Ramm has assisted artist Apichaya Wanthiang with the public artwork Timekeeper (2025), which hangs in the cafeteria of the new Drammen Hospital. The work consists of five large acrylic paintings, painted on plywood boxes, and six cast aluminum branches mounted directly on the wall. We have assisted Apichaya throughout the entire project, from idea to finished product. The main work has been the production of branches for casting, sketching and visualizing the work, as well as working to find the shape of the frame, distribution on the wall, where the branches should be placed, and hanging details.

Timekeeper

How to create a house that accommodates a large family without feeling lonely when you are alone?

Proposal for a summerhouse on the west coast of Denmark with a sheltered courtyard.

Lodebjergvej

Studio

Vragevigheia

Custom furniture and lamps designed and produced in our studio and workshop. 

Objects

For the 8th Oslo Architecture Triennale, Eladio Ramm came together with SKAUS to present a project that experiments with the hierarchies of public space. A temporary structure, (re)frames a linden tree by the entrance of the Old Munch Museum: taking a natural component of the urban landscape and elevating it to a place of sanctuary and stewardship.

The project was initiated by the artist collective SKUAS. Spatial design and architectural concept developed by Eladio Ramm. Soundworks by sound artist Yngvild Færøy.

Oslo Arkitektur Triennale

In-situ concrete cast workshop with carport in a garden. The structure resembles the simple tectonics of stacked elements. A roof slab with a water-mirror is resting on the workshop on one side and a granite stone and wall on the other.The stone carrying the roof slab marks the entrance to the garden. A stair connects the garden with lower level. The workshop has a skylight and a framed view towards the fjord. The sloping terrain covers the building from three sides making the roof become a part of the garden.The water mirror on top reflects the sky and adds a water element to the existing garden.

Bråtakroken

Factory Tøyen is an historic brick building and old textile factory in Oslo.

The project is a refurbishment and interior design for a 250 m2 office space on the second floor. The goal for the project was to merge a modern standard creative office environment with the existing industrial spaces, without erasing its traces and history.

A open plan with few added elements ensure flexible and versatile office environment that can be modified according to use. The material palette is focused around nuances in texture and different glossiness that highlight the contrast between materials. The colors palette is found at the site with a contrasting blue in introduced in toilets and furniture. Terracotta linoleum floor, galvanized steel, and different textures of white create a contrast the rough existing walls.

The project includes a bespoke kitchen in stainless steel, aluminum and granite.A large (4.8mx1.5m) wooden table workshop and lunch table made from Norwegian pine. Lounge table made of pine, and a custom lamp with a diameter of 1.2m.