The man behind several of Stockholm’s most exciting architectural wonders at the moment is Andreas Martin-Löf, a young architect with a mission to beat some sense into a conservative public opinion on what an aesthetically pleasing skyline entails.

A strong advocate of high-rise buildings, a diverse cityscape and daring and bold design solutions, Martin-Löf has been involved in the acclaimed HG7 project in Hammarby Sjöstad.

The architectural firm bearing his name was recently rewarded by the Stockholm County Preservation Society for having executed the best renovation in Stockholm in 2012, through their efforts redesigning and converting the historical Rügheimer & Becker Hat factory into residential housing units.

In the midst of it all, the 35-year-old has opened a web shop, selling hand-picked modern classics as well as his own works. We recently had a short chat with this prolific creator.

Your work as an architect has gained quite a bit of recognition lately. What is the drive and inspiration behind it all?

In the last few years my work has revolved a lot around converting old factories into residential living space. During such a process it is crucial to understand and appreciate existing buildings and the history that surrounds them. I find a lot of inspiration by rummaging through old archives.

I also enjoy reviewing new buildings and trends happening in other cities, and of course taking into account new ways of life and how evolution creates new needs as well as possibilities.

What do you want to achieve in your projects?

I don’t have a significant signature style. But I have a great interest in creating sustainable buildings – buildings that will be with us for a very long time. I value high quality in materials and solid craftsmanship that works and functions the way it is intended to. I also want my designs to be clear and concise without being intrusive.

What would you say is the greatest challenge, working as an architect in Stockholm?

This town has a solid history of conservative and homogenous architecture. A considerable part of the population disapproves of any new construction that doesn’t look similar to what was produced fifty or a hundred years ago. I am personally challenging the sceptics by presenting new and different ways of thinking. These thoughts have now started to resonate more favourably in the eyes of the public.

If you were given free rein to envision the architectural development in the Stockholm of the future, what would it entail and why?

I would like to let small and independent contractors have access to available land and let their playful and innovative ideas drive development of new architecture and new styles. Sites and plots are presently sold to the highest bidder, which in practice excludes anybody but larger developers.

Had things been different we would all benefit from a new, exciting and a more varied cityscape by way of innovative and forward-thinking architecture.

If you have to pick a favourite project that you have been involved in so far, which one is it?

I would choose the HG7 project that was assigned to my firm, by local developer Oscar Properties, in collaboration with six other young architects. Each studio was given a carte blanche with a no-boundaries approach to create their own take on seven different residential buildings in Hammarby Sjöstad. The project is in itself unique for Stockholm, considering its boldness and multifaceted design.

After recently redesigning an old hat factory and converting it into residential housing on Kungsholmen, can you name some significant differences in reinventing something old versus working from scratch?

It is generally considered being more difficult to redesign than drawing something entirely new. In the case of Rügheimer & Becker Hat factory, the structure consisted of three individual parts. To redefine or re-use is all about understanding and appreciating the existing structure, with respect for the integrity of the original design, all the while having the guts to add something new.

words // Micha van Dinther & Magnus Wittbjer