We believe our projects are a success when we improve social interactions. Whether if it’s for the few or many, in large projects or small. When we create stronger and better brands, when we build vehicles for communications global or locally. We believe in diversity in disciplines working together. We are an organisation with over thirty nationalities, with four design disciplines collaboratively working together on projects. This is one of our strong assets. We hope that the following will create a base for further dialog and discussions on building a strong brand  – together.


Our projects are built in a global context with a process highly connected to the values from the Nordic model. We work with branding for OECD and Oslo Urban Peace Week, Stockholm Art Book Fair and the International Museum of Children´s Arts. We create physical and digital appearance for Olympic Application City Oslo2022 and The Munch Museum. But we also consult and design for highly commercial clients. We designed the visual identity for the biggest financial institution in Norway, DNB. Sapa, a Swedish and Norwegian merger, commissioned us to develop their new identity for a global marketplace with a high demand for strategy, structure and solidity. Norges Bank (the Central Bank of Norway) chose us as co-partners for creating Norway’s new bank note design, which resulted in one of Snøhetta most renowned and published projects. We think that our diverse experience will benefit our process with you, creating one of these times probably most important brands.

Based on our range of experience, we have learned to identify the determining success factors of our projects. We understand that the decisive element is not the type of project or a design-driven category, but the type of client. A client that shares a common set of values, a philosophy built on common ground and a shared understanding of what makes the world ‘tick.’ We appreciate clients that support open lines of communication, creating a culture of conversation that leads to extraordinary creativity. We believe the Nobel Prize and you are that type of client. We believe you can see the value of a constructive dialogue and a joint walk in references.


Our method

In 2012, Snøhetta was the subject of an academic research project titled Idea Work that studied the design methodology of a selected group of creative practices. We use the expression “Singular in the plural” to emphasise the value of the individual and one’s interests in the performance of a group. These interests need not to be found within the professional framework of design, architecture, or coding, but just as much within the different passions in life. Rather than fitting an individual into the group’s philosophy, the individuals themselves define the dynamics of the group. Someone’s unique perspective, background, or personal interest such as literature, technology or art can be valuable in informing the creative process. Further, our inclusive design approach means that certain conditions such as gender equality and a diversity of nationalities, ethnicities and ages, are fundamental to our process.

Our design projects are spread all over the world. We have projects in New York and Norway, San Francisco and Stuttgart, Busan and Brunei, Abu Dhabi and Aberdeen. We believe in transparency and a collaborative process with people from both The Nobel Prize and Snøhetta. We have long term experience from driving workshops at our premises in Oslo, Stockholm and New York. We will set up a tailor made concept workshop and outline an engaging design process for you.

About Snøhetta

Snøhetta is an award-winning international architectural and design firm formed in 1989 and based in Oslo, Norway, and New York City. As of 2017, the firm, which is named after one of Norway’s highest mountain peaks, consists of 110 persons in Oslo and 58 persons in New York from 32 different nationalities including graphic designers, interior architects, landscape architects and architects.

Although very international in its approach, there is a strong and common company culture firmly rooted within a Nordic Social Model. This is based on equality, openness, generosity and environmental conditions. Our attitude implies researching a wide variety of subjects within our design projects, both challenging and confirming the developments of our society.

The practice is centred on a transdisciplinary approach where multiple professions work together to explore differing perspectives on the conditions for each project. A respect for diverse backgrounds and cultures is a key feature of the practice, reflecting this value.

Whatever size, each project is unique, and deserves a unique process. Opinions on history, culture, representation, climate, topography and landscapes, social environment, ethics and functions all represent layers of complexity to be embedded in a final result.

You can learn more about who we are and how we work, and see a broad range of case studies on our website.


We have chosen to forward a selection of projects executed by Snøhetta that we believe are relevant to you. We have chosen a combination of references to highlight our motivation to enable projects with a clear social profile, and at the same time show our competence in complex brand strategies and large visual identities. For a complete overview of the breadth and scope of our work, please refer to our website.

Aesop brand stores

We have developed seven Aesop signature stores around the world. Aesop’s very first signature store in Norway was opened in Prinsensgate in Oslo. The store, designed in collaboration with Snøhetta, is the 100th Aesop store to be opened worldwide.

Inspired by the sensory experience of the Aesop consultation process, the architectural exploration began by revealing materials and surfaces that have been hidden and covered within the space, some dating back to the 1800s – a process of archeology. Once revealed in the renovation process, the cosmetic of the new materiality was added to the interior’s existing surfaces, contemporizing the old.

Olympic Games Oslo 2022

The world’s largest event for winter sports meets nordic simplicity.

Similar to the Nobel Prize brand, the Olympic brand is one of the strongest globally.

In 2014, Snøhetta was commissioned to design the visual identity and a feasibility study for Oslo 2022’s Applicant City bid. The identity of Oslo 2022’s visual language honors the inherent simplicity and openness in Nordic culture, while at the same time maintaining the international legacy. By balancing playful graphics and strict geometry, the identity represents both the celebration of the Games and the thorough planning of the Norwegian bid. The ambition for Oslo’s 2022 Winter Olympics bid was to share the genuine passion for winter sports, and invite the world to an open, friendly and sustainable celebration of sports.

Under the concept ‘Games in the City’ we developed an identity that could work well within the family of olympic identities. And through this legacy, we could express many of the key factors in the Norwegian bid. The design feels contemporary, but pays homage to the 1952 Olympic winter games in Oslo, attempting to rekindle the purity of these games.

We developed a website with a responsive, modular design that would adapt to different phases of the process. Keeping the same look and feel as environmental and printed implementations of the identity.

See more about the project here

Norway’s New Banknotes

The Beauty of Boundaries

Designing something with as much value as the national currency is a precious and humbling task to take on, which is why we consider this project relevant for the Nobel Prize. It required a large research and insight study to understand fully what the ocean means to Norwegians and to Norway as a nation, both historically and in the present. An interesting aspect is the strategy to connect the design to the people and not just to one person as was customary. Norges Bank, the Central Bank of Norway, chose the ocean as the theme for the entire new banknote series divided into five sub-themes, one for each denomination. It is the first series of banknotes without portraits in Norway.

The five themes illuminating the ocean from different vantage points with focus on the importance for Norway’s development as a nation. The new design was to create engagement and pride, and at the same time a business card for Norway internationally. A focus on universal design through tactile elements, colour and typography play a big role in the identification each individual banknote. For Norges Bank it was important with a combination of a creative design expression combined with authority and security. We developed our concept ‘The Beauty of Boundaries’ around the idea that life occurs where land meets the ocean, the ocean meets the sky, where the past meets the present. The horizon is connecting all the notes, and the front and back displays the past and the future.

Banknotes go from hand to hand, they are being used only in physical meetings unlike digital transactions. This is perhaps one the most social oriented projects we have worked with.

We have continued to work with Norges Bank on the campaign to launch the new banknotes. For this campaign we have developed the visual identity, exhibition design and design for social media. The Press launch and exhibition was held at Vippetangen in Oslo in November last year. The new banknotes will be set into circulation between spring 2017 and 2019.

See the whole project here.


Sapa is a global manufacturer of extruded aluminium profiles. In 2015 Sapa was looking to optimize its current brand identity.

We want to focus on the design manual we created for Sapa as a case for The Nobel Institute. Any organization with a diverse offer and different locations is in need of a centralized brand management tool.  The Nobel Prize has different needs for creating relevant communication in the world, and at the same time, create a holistic brand experience. This online toolbox meets these demands. We think The Nobel Institute can build great value by using this tool.

The online toolbox is a versatile and user-friendly digital brand manual, designed and developed by Snøhetta in Oslo. The digitalisation of the brand standards has helped Sapa to convey and communicate the optimized brand even further – both internally and externally.

After three rounds of Snøhetta moderated workshops, that produced 11 sub-concepts from the minds of Sapa participants from all over the world, we co-created a unifying concept – Flexibility – on which to build the Sapa story and our new optimized visual identity.

The design work that commenced after the workshops included the new Sapa vision, an extended brand identity manual, a complete online identity toolbox, updated and optimized brand colors, corporate typography, brand illustrations, re-designed work wear, indoor- and outdoor signage, corporate stationery, and a versatile and unique brand image system.

To accompany the new optimized identity, Snøhetta, in close collaboration with Sapa, launched an unconventional specially designed brand book – Sapa the Book. In the book, you can read about what Sapa stands for as a company and get an introduction to the new optimized identity. The book features over 200 pages filled with unique images, supporting business case essays, simplified identity guidelines, color guidelines, typographic samples and much more. The book uses simplified aesthetics and a narrative educational language to engage and inspire the reader. By using only aluminium as the main color, and utilizing the new style, the book gained a unique look, nonetheless keeping the focus on the business objectives and the brand.

To further enhance the new concept and identity, Snøhetta in collaboration with Racecar (a motion graphics design studio), designed and directed a brand film, Sapa the Movie. The film showcases aluminium in an innovative, inspiring and enigmatic way.


Gold for book design Visuelt

Gold for motion graphics in Visuelt

See more about the project at our website.


As the Nobel Prize, DNB has established a one brand strategy. We helped them in realizing this strategy and creating a modern and simplified identity.

DNB, the largest bank in Norway, aims to get a closer and more personal connection to the clients. With that in mind, together we developed the concept “The Line”. The line connecting the bank to the client – from mind to mind and from heart to heart.

Based on the concept we developed a visual identity system defining the guidelines for flagship stores, website, signage, annual report, sponsorship guidelines, uniforms, credit cards and stationery. The DNB logo itself is a visualization of the line. The identity process united all five former DNB brands into one.


Gold in Visuelt

Gold in Gullblyanten

See the whole project here.


The Norwegian airport authority, Avinor, owns and operates the majority of Norwegian airports. Increasing competition from EU, challenges within the organization, as well as  a need for modernization, was the starting point of Avinor’s close cooperation with Snøhetta on their new visual identity.

Avinor is chosen as a relevant example of both process and design approach for The Nobel Institute. It is a state owned organization and the need to understand the complexity and use our process to create change, was paramount. From the beginning, Snøhetta worked closely with Avinor to understand the organization’s interests through collaborative workshops. This process gave the designers useful insights into the companies work and their important national, public mission of connecting the Norwegian people and businesses, to the world. In cooperation with Avinor, we developed the concept of “Connections”. Based on this, all design and communication was created.

Avinor’s logo and symbol is a consolidated statement describing connections in the simplest form, an abstract Norway – connected from north to south. With a specially-designed typeface, a unique brand image style, wayfinding system, employee uniforms and digital platforms, Avinor aims to cement their market position as a full-service provider in the aviation industry and support strategic changes happening within the organization.


Design Excellence Norwegian Design Council

Gold in Visuelt

See the complete project at our website.

Living The Nordic Light

Zumtobel Group is a leading player in the field of innovative lighting solutions. Snøhetta was invited to design their annual report for 2013/14.

The project is chosen to show how we always seek to maximise the potential impact of our work, and thus the value to our clients. The way we see it, our design projects – whether it’s a visual identity, a website, or as in this case, an annual report – should also be management tools for brand growth. In the case of this project, through our transdisciplinary process and close collaboration with the client and external resources, the annual report also became a profound and poignant research, artistic, and cultural project – resonating with a much broader audience than the quite narrow target group for which it was intended.

Snøhetta explored the effect of living in, and in the absence of, Nordic Light, by interviewing four centenarians who recount their lives north of the Arctic Circle. They are the last living generation to have witnessed two world wars, worldwide changes in transportation, power supply transitions, revolutions, industrialisation and the overwhelming introduction of the digital era.

The annual report focuses on irrevocable and inherent relationships of light and darkness, lived time and individual perceptions of these relationships. In the process we reviewed five centuries of efforts by scientists, artists and photographers to unlock the secrets of Nordic Light. is an extension of the annual report which challenges the digital format and completes the message of the book. By placing special light sensitive cameras on the locations of the centenarians, we transfer the light in real time through the website. Visitors can use the “explore the light” functionality to see how a year of light evolves above the Arctic Circle.

The massive interest generated by this project also lead to an exhibition at Aedes Architectural Forum in Berlin. In addition to showcasing the photographs by Sølve Sundsbø and 3D printed portraits, the exhibition offered insight into Snøhetta’s investigation through real-time observations, essays, and photographs.

– a tribute to the 100 year olds of the North

Red Dot: Red Dot Award: Visual Communication
Visuelt: Gold
D&AD: Wood Pencil
DogA: Award for Design Excellence
Most Beautiful Book in Norway 2015

See more about the project at our website

Faust brand store and visual identity

Located in Oslo’s Barcode-area, the 20 square meter space consists of five custom concrete niches with massive carved wooden doors. The five niches and their vaulted shapes each have their own specific programmatic purpose; the designer’s personal cabinet with tools and materials, a place for sitting, a display niche, and two storage niches.

For the high-end shoemaker Faust, Snøhetta has created a complete visual identity and the brand’s very first signature store. With a truly interdisciplinary approach, Snøhetta presents a coherent design including retail design, web design, signage, and brand design for everything from business cards to shoe boxes, as well as a customized typeface bringing all the elements together.

Coming from a family of shoemakers, Faust founder Álvaro Miranda started up his Oslo-based bespoke boutique earlier this year. The store offers both tailor-made shoes as well as handcrafted ready-made shoes. Customers are invited into the mysterious world of Faust to be part of the long-established craft of shoemaking – from the measuring of the feet and carving of the last, to the final sculpting and sewing of the shoes.

Høyskolen Kristiania

We want to present our work for this University College to The Nobel Foundation because of its process of vast transparency and inclusivity. Together we created a tailored collaborative work method, where management, administration, teachers and students were engaged to create a meaningful concept. At one point everyone in the school was included in the decision process. We used our blog technology and analog presentation techniques at the same time in the process. For The Nobel Foundation we think elements of this learning could be relevant to discuss.

Kristiania University College (Høyskolen Kristiania) is a merger of four schools, all part of The Ernst G. Mortensen Foundation. The merger aims to strengthen their competitiveness and build a stronger, united brand while highlighting the different disciplines.

The identity is based on the concept “Transformation”. Transformation describes the development and progress a person experiences through his or her studies, both on a personal and a professional level. It further describes the school’s holistic focus on the individual rather than education alone. In this way the identity becomes a tool for activating the school’s strategy: “We develop people”. Transformation becomes an image of something that changes without losing its starting point, and it happens continuously in our surroundings.

The development of what is arguably human kind’s most important innovation, the written language, has made it possible to share knowledge across generations. Its transformation throughout history up until today’s Latin alphabet became the foundation for the visual identity and the start of the transformation into a unique written language for Kristiania University College, Kristiansk.

By letting basic shapes create the essence of each letter the school now has its very own “tribal language”. The alphabet balances between typographical forms and graphical patterns. It creates a democratic link between students and employees as everyone has their own “kristianske” name used on ID-cards, t-shirts and business cards. There is also a shared understanding for how the language should be used online, on signage, in catalogs and in other forms of communication.

See the complete project at our website.

Norway’s National Parks

This is also a state owned, public service project. As with Avinor, we believe our inclusive methodology proves its positive effects to create common ground for branding and communication. Snøhetta has developed the new visual identity and a brand strategy for Norway’s National Parks. This encompasses 44 parks, visitor centers, national villages and municipalities. The strategy and design aim to tie stakeholders closer together, as well as to communicate the important message of both visit and protection to users and visitors.

The visual identity is built on the concept of a portal. A portal is an entrance, or a gate, which symbolizes the transition between two dimensions; the traversing between the cultivated and the natural. The new, unifying visual identity opens a gate to these experiences, it lowers the barriers for visiting, and facilitates the increased knowledge of our precious surroundings.

Nature has an important place in all Norwegians souls – the joy of ascending a mountain, experiencing nature’s silence, or feeling the power of the untouched surroundings. The national parks represent some of our nature’s most beautiful parts. It should be experienced, but at the same time be protected.

The logo represents the portal – a protective frame shaped by a natural landscape curve. It shows the interaction between culture and nature, as well as the balance between visit and protection. ​By gathering all stakeholders under one symbol, the portal, a clear common identity is created for all national parks, visitor centers, as well as national villages and municipalities.  The portal further more gives room for individuality through the landscape dependent curve.

See more of the project at our website.


Snøhetta always works as a cross-disciplinary team in the concept phase. However, when the design process starts, we will ensure relevant and experienced competence. We set up a team of

  • Senior Designers
  • Senior Architects
  • Senior Interactiondesigners
  • Senior Brand Strategists
  • Senior project manager

Snøhetta will also commit certain key staff to follow the project and provide additional professional input and support.

Martin Gran

Managing Director

Partner Snøhetta Brand Design

Martin is partner and Managing Director in Snøhetta Brand Design. Prior to this he was Scandinavian Design Group’s New Business Director and Strategic Advisor, responsible for major brands in Europe and the Nordic region. In 2006, he worked at McCann Ericsson New York with clients like Master Card and Air Canada.

Martin began his career at Leo Burnett Insight in 1998 as a Strategic Planner.

In 2001, he became Head of Advertising in Rimi (ICA Ahold) Norway. From 2000 to 2003, Martin was an Account Director at Leo Burnett Advertising Agency. Some of his advertising clients include McDonald’s and CocaCola / BonaAqua.

Martin’s design clients include Carlsberg, The Norwegian Postal Service, Coca Cola, TV2, The Norwegian Bank, Avinor, ResMed and FMC Technologies.

Mattias Frodlund

Senior Designer

Mattias Frodlund has worked as a Designer and Art Director for over 14 years, gaining experience in the field from around 6 different countries. He has been involved in some of the largest advertising networks in the world, Leo Burnett in Chicago and BBDO in Dubai. In Stockholm he was a long time employee of Leo Burnett as Creative Director and has many years of experience in brand strategies, communication strategies and visual language. Mattias studied at Berghs School of Communication in Stockholm. He also studied marketing, art history, film studies and economics at the University of Stockholm.

Before Mattias came to Snøhetta, he ran his own design studio in Stockholm; Morris Pinewood Design Studio. For design and consultancy work that Mattias performed in Morris Pinewood, he was rewarded in 2011 with one of the design industry’s most renowned awards – The Red Dot Design Award. Mattias is Head of Stockholm Operations, Senior Designer and Partner in Snøhetta Brand Design AS. During his years at Snøhetta, he has won numerous awards, including Norwegian Award for Design Excellence and Gold in Grafill – Norwegian organization for visual communication’s award.

Sofie Platou


Sofie is a award winning designer with a broad range of projects in her over 5 years in Snøhetta. She has led many of our large design projects and uses her competence on almost all of Snøhettas design disciplines; graphics, products, architecture and digital applications. After her diploma from Westerdals School of communications and a longer period in an international design firm, she joined the design team in Snøhetta. Sofie is now dedicated to Snøhetta’s working method with a deep passion for improving social interactions.

Sofie is leading design projects in the Nordics, USA and Canada. The projects are both in commercial, cultural and educational sectors. Sofie is giving lectures and talks around the world and is engaged in several jury’s for design competitions.

Marius Sunde


Marius, graduated from Westerdals, is an award winning designer who works in the intersection of analog and digital projects, focusing on branding, brand management and experience. In addition to having worked with clients as The Norwegian Environment Agency, Asus, Grette Lawyers and Wilhelmsen, Marius has been leading up-scale digital projects for Sapa and The Norwegian Postal System. Marius is on the board of Grafill Interactive, Norway’s professional organization for digital design.

Kim Andre Ottesen


Kim Andre earned his BA at Westerdals in 2013 after winning national and international awards for explorations of design solutions in the interface between analog and digital media.

Together with a passion for interactive design, he co-created an highly analog exhibition at R21 gallery, and is organizing lectures and exhibitions as a part of Grafill Interactive. Kim Andre held lectures at INMA and Westerdals in 2014 and 2015.

Kim Andre was one of the lead designers of the Oslo 2022 Olympic Candidate City.

Pia Falk Lind

Senior Account Manager

Pia has extensive experience with project management of design projects and has dealt with big complex processes as well as smaller niche projects. In addition to many years in the design and advertisement industry, Pia has also worked on the client side with known brands such as Statoil and Pepsi, from which she has gained valuable insight into processes related to strategy, marketing and media. Pia is a natural connection between the client and the design team and takes a clear responsibility for the design process running according to the plan.

Pias design clients include Sapa, Høyskolen Kristiania, Wilhelmsen, OUPW and the Munch Museum.

Henrik Haugan

Senior Designer

After nearly 10 years of art education with an emphasis in painting and graphics from Oslo and London, Henrik was a teacher at the Art Academy in Oslo focusing on lithography and high pressure printing techniques.

From 1995 he worked on design projects of varying size a, web-based solutions and animation to identity programs and book design.

Henrik has designed numerous books especially in the arts at Hatje Cantz publishing house, Kerber Verlag, Skira Editore and Press Publishing in Oslo.

He has worked as Creative Director in the design agencies Rayon and Virtual Garden Design.

Henrik Eriksen

Senior Designer

Henrik has 14 years of experience as a graphic designer and art director. He started his career in advertising, working with strategic communication and campaigns for clients such as Harley Davidson, Škoda, Actavis, Nexans, AGA, the Norwegian Police Federation and the Norwegian Directorate of Health, to name a few. He earned his BA in fine arts (visual communications major) at Beckmans College of Design in Stockholm, and has also studied leadership at the Norwegian Military Academy.

Over the years his focus has gradually shifted towards brand strategy and design, and in 2010 he established his own studio in Stockholm, working primarily with the cultural sector, but also with big commercial players such as Pernod Ricard and Nike. In 2013 he moved back to Norway and joined an international design firm where he was the design lead and a strategic advisor on a broad range of visual identity and communication design projects. Clients include Discovery Communications (global), Stokke, Petter Northug, Infinitum and the United Nations.

Henrik joined Snøhetta in January of 2016.

Hanna Moe

Senior Designer

Hanna Moe has been working as a Senior Brand Designer at Snøhetta Architecture and Brand Design since 2012. She has ten years’ experience of graphic design, brand strategy and art direction. Since she joined Snøhetta she has worked on serval big branding projects, including Sapa, the Norwegian banknote design, Coca Cola, Avinor and ResMed.