2017. Terminal B is the new Barents hub for genre and border crossing art projects. A place where both establishing and experienced artists can share their interests in the High North with art connoisseurs, an engaged local public as well as visitors and tourists to the Arctic. It is a point of departure for exploration of the Barents borderland in transition – and for discovery of alternative solutions to existing conventions. It is a gateway into and out from the Barents region – showcasing exceptional home-grown productions.

The Terminal is about uncovering layers, displaying its naked structural concrete and infrastructure. By adding custom-made furniture in cardboard and birch the space becomes personal.


2017. A large open space is framed by a two-sided trussed glassed wall. Qualities of daylight are given to the space during the hours of the day and the seasons of the year. The drama of the rain, of hunting birds and shifting shadows are among the daily rhyme of the room. Constructed of slowly growing pine and locally picked fieldstone. The building contains in addition to the observation room a garage, a bathroom and a small loft reached by a ladder. The insulation used is  compressed wooden fibres.


2016. Located on a hill the summerhouse has a view to the sea and the surrounding forrest. With a central atrium the house hovering the cultural landscape between old oak trees. The plan is optimized in order to stress daylight qualities and the number of walls are therefore limited. The open space circles the atrium if future plan is to establish oak trees also here. All indoor surfaces are plywood of birch.


2016. Single family house built into a small ridge, in spectacular Fjærland, Sogn og Fjordane. The house has a rectangular shape with a carefully planed interior and placing of windows, giving view to Supphellebreen and the mountains around. The roof and the floor inside, following the inclination of the hill. The house has a lowtech ventilation system and a massive wood construction with a concrete core with bathrooms.


2017. The farm-related multi use building facing the north sea is based on an old norse type of housing dating 2000 years back; The longhouse. Traditional such houses contained one part for the farmers and the other part for the animals. The house shared temperature, materials and was better suited for the harsh nordic winters and the strong winds. With a panoramic view the wooden building is locally adjusted on an agricultural field, among cultural traces dating thousands of years back. Sandswallows nest in their own hotell at the  northeastern wall in tubes made of steel, also functioning as a sundial. The observatory for seabirds, the two studioappartments for rent and the barn is all designed with an interior of pine with a detailing of galvanized steel. 


2016. The house from the mid 1700 was moved from Lista to Feda and fully restored according to conservation principles. All new materials are accurate selected by their qualities. The window glass are handmade and from the 1800s. The original colors are repainted in some of the rooms. 


2015. Summerhouse with a view towards the fjord of Lyngdal, placed beetween oak trees in a steep hillside. The renovation of the cabin from the 1960s resulted in an additional annex with a glassed wall facing the world of insects and wild flowers. Large custom-made window niches gives room for sitting benches while a central fireplace concentrate the rooms view during the night. All materials where accurate selected, and the steep site gave the premisses of the section.


2016. Garden pergola. Construction in pine with detailing in steel.


2016. Single family house facing the Sognefjorden. The house is located in a steep hillside with an inner flower courtyard. The main volume is made of concrete and wood. Under construction.


2017. The work of Jan Gunnar Skjeldsøy displays three delicately layered ice cubes of water and crushed wooden coal. The construction melt and connects gradually while leaving its traces in a copper pool. The work is ephemeral; It relates to the fugitive. 


2015. Sauna adjacent to the old bath house in Farsund. A layered construction in untreated wood, burnt wood and textile, detailing in copper.  Containing showers, sauna room and a salt water cold pit. The sauna is a result of a workshop together with architect students: Elin Maria Samdal, Beatriz Garcia Bescansa, Kristine Glenna Kragset, Halvor André Saga and Pedro Henriques.

Carport/ Ammerudgrenda

2013. A carport in an atrium of a 1960s house. The narrow space required a transparent and light structure. The construction is in oiled oak with steel detailing.


2014. The Children´s Art Museum is a section of SKMU dedicated to children and their way of perceiving and experiencing art. In a unique interior world they can explore their own spaces and meet art in a different way than in a traditional museum. Kids can play and examine both individually and collectively instead of just seeing and analyzing. Parallels can be drawn to the antique Cabinets of Curiosities from the Renaissance period.

/// NRK
/// Kristiansands avis
/// Kunstløftet
/// Periskop
/// Architecture Norway

Arkitektur N/ The Norwegian Review of Architecture No. 01, 2015

Single Family house/ JUSTØYA

2011. Single family house with an integrated atelier. The house is situated on a hill facing the Skagerrak Strait. All domestic functions are on the main floor. Kitchen, living room and atelier are situated in front facing the south and the seaview, while bedrooms , library, office and bathrooms are located to the north. A carport, workshop, storage and entrance make up the ground floor. The facades are untreated weatherboards of pinewood.

Renovation of an old fisherman's house/ Borhauggarden

2013. The house was built in the 1850´s and is a typical house found in this area. The entrance and kitchen is in the middle, with two living rooms, one on each side. At the back the kichen is flanked by two smaller rooms. In the attic there is 4 small bedrooms. In the phase of renovation we added enviromentally friendly wooden fibre insulation on the outside and exposed the characteristic timber construction on the inside. The ceiling and walls in the attic are all in plywood of birch which gives the interior a bright atmosphere. The new windows, the kitchen and sofa bench are all in solid wood/plywood of birch. The floors were painted in original colours.

Nytt Rom/ Scandinavian Rooms No.44

Annex/ Lyngsvågstrand

2014. The annex is built as an unacclimatized structure adjacent to an existing house. The base is cast concrete which forms a bench, storage and a fire place. The main construction and weatherboarding is untreated pinewood. Sliding doors in glass open up towards the house and courtyard.


2009. International competition with the aim to reorganize Vardø.

Vardø is requesting innovative tactics that may generate fresh vitality inside the city proper, while simultaneously rejuvenating the harbour areas. The embrace of land and ocean, as well as the many abandoned buildings in the city, are ephasised as potential resources in this endeavour. They also mention the desire for creating new social venues in the city.

In our opinion, a successful strategy must accord with the unique properties of the location in question. This project is based on a personal encounter and dialogue with the people and natural resources and phenomena of this territory. The great tidal fluctuations, the gusting winds and the contrast between the light and dark seasons of the year, are natural qualities defining Vardö, while birdlife and fish are for us the most essential natural resources. In our analysis, these will be considered the most basic factors structuring Vardö as a place, as well as the conditions sustaining human inhabitation.

Renovation of A harboUr area/ Borshavn

2011. An old harbour area was transformed into several new meeting places for local inhabitants, caravan- and fishing tourists. Large steel plates shield against the strong northwestern wind and divide the open space into smaller zones. Two steel poles define a portal of light where the boats return from the sea.

annex/ BÆRUM

2011. An addition to a single family house from the 1970s. The annex is made of black painted timber boards with a visible construction. The aim was to connect the main living room to the garden.

annex/ BÆRUM

2011. Addition to a single family house. Cast concrete defines the heavy base in this project. The walls and ceiling are in bright panels of birch. The exterior weatherboards is untreated pine.

/// Aftenposten Bolig

Workshop: The art of change/ HAUGE

2007. Workshop with students of architecture and anthropology. The aim was to excavate an old bunker from WW2 and secure it for the public. A yellow fluorescent line both secure the area and leads you into the dark structure. Some of the empty space inside the bunker was filled with wood, a strategy for storing carbon dioxide to compensate for the methane emissions from the grassing cows.

On the Lista peninsula there are approximately 4-500 bunkers and other concrete structures left behind after the German occupation during the Second World War, an extraordinarily high concentration of remains of the Atlantic Wall - a continuous line of fortifications stretching along the European coast from Spain to the north of Norway. In addition to their role in the history of the war, these bunkers are expressive of a particular architecture, temporary structures that have so far lasted 60 years and by now are regarded as part of the agricultural landscape. Around Lista many of the bunkers are in use as tool sheds, stables, vegetable storages, playhouses or incorporated into new buildt structures. The Bunkerology Project (2005-2008) was an attempt to see the bunkers in a longer time frame, as a future resource for new functions and a new architecture.

Byggekunst/ The Norwegian Review of Architecture No. 08, 2006

renovation of sports hall/ sogndal

2012. Renovation of a sports hall. By opening up the facade with large windows and by painting the roof and main beams black, we accentuated the play of light and darkness.


2017. An additional kitchen annex gives shifting daylight qualities to the room. Custom made cabinets gives the identity to the space and contains kitchen devices, tomatoes and shadows. A tumbled white marble floor without joints gives a spatial dept and a makes a mineral floor feels soft. The Pinewood are self-cut from a family forrest.


2007-2008. Model of experienced space explores the memory of Anders Eik Pilskogs childhood home. Using collages and models, the realm of his childhood is rediscovered in white cardboard. An abstract, fragmented representation of a space experienced over time, from a toddler a grown man. The object´s shape and the spatial experience remains.

Excavation is an unrepeatable and destructive process that removes in order to understand. The piece is not fully excavated; The trace of the original positive counterpart is left in the structure and gives a hint of what gave its form. The original counterpart  masks some of the underlying structure and pollute the piece. Excavation is an ambiguous piece of both destruction and creation, forming a symbiosis of the two.  Excavation is part of Anders Eik Pilskog´s artistic research exploring the grid and the destruction in creation. Its lines and cavities gives associations to the layered structures of modernist city planning and sci-fi megastructures, a reality of hierarchy and order.

/// artshebdomedias

/// Lister24


2009 >The Idea of the project is to confront our society with a building which directly takes part in the natural processes/territory of change – and remind us of the aspect of time through spatial qualities and interpretations of cultural habits. Since the north has no day in the winter, and no night in the summer, the concept has been structured in order to focalize different cycles. Tidal rhythms are periodic variations in water levels, and the arctic region’s strongest image of visualized time. Throughout history this cycle has regulated entire costal communities. Tidal flux dictates when vessels embark and disembark, and thus, in a place-based reversal of Western cultural conventions, it is the moon rather than the sun, that sets the Place’s daily rhythm. This rhythm is further adjusted through changeable outside parameters; such as high and low pressure weather systems, onshore and offshore winds and abrupt temperature oscillations. The situation between the Local and the Global nature always adjusts according to a complex draft, and the Space Calendar is continually referring to this.

The project of the architect Jan Gunnar Skjeldsøy is a result of several travels to Finnmark, the northernmost part of Norway. The project has been displayed at the Barents Spektakel festival in Kirkenes.

/// Space Calendar Project
/// Pikene på broen

Arkitektur N, The Norwegian Review of Architecture No. 08, 2009

Europe of Cultures, Vol. 4. Intercultural Crossings – Conflict , memory and identity

Immaterial Landscapes - Formulating the Intangible in Northern Landscapes. Alice Labadini. Phd-thesis. AHO 2017


2013 > The fieldwork and ongoing project of architect Jan Gunnar Skjeldsøy is a result of several travels to the Kola Peninsula and the remote village of Shoyna in the Nenets Okrug. Shoyna was founded in the 1930s by fishermen and their families. An abundance of fish in the White Sea and the river Shoyna led to prosperity within the collective farm organized there, and by the 1950s some 1,500 people lived there with a fishing fleet numbering more than 70 vessels. Shoyna was anticipated to become the new Murmansk. However as a result of the extensive industrial fishing and bottom trawling in the 1940-50s, Shoyna has turned into a Ghost of its past.

The project Shoyna Dissected is a research of possibilities for housing architecture in the demanding conditions dominated by sand and winds. The contemporary landscape of Shoyna is an alarming omen from the fragile Arctic nature. The project is also an attempt of accepting the Nature of Shoyna. Can the predicted future of such a place become a discovery of a new start?

/// Space Calendar Project

/// Nabroad news

/// Kunstkritikk

/// Life in Russia

/// Pikene på broen


2016 > The title of the piece is borrowed from the book of Paul Bowles, describing the 1954 nationalist uprisings in Morocco. The medieval  city of Fez becomes a political dark stage where outsiders witness the French as they infiltrate the Muslim society after they deposed the former sultan Mohammed V. The political situation of todays Middle-East can be related to the book of Bowles and his Spider thats is spinning a web that soon might be far to complex for us to solve.

The model is a squared surface under circular plates of glass; blue, yellow and red. The colored shadows change and create an unpredictable playground. Two surrounding pieces of beech wood are equipped with sound exciters that look like stethoscopes and question the privacy. The sonic landscape sums up a medina with its high naturalistic and optimistic tones, mixed with some dystopian technological frequentcies that could be related to surveillance by remote controlled devices. Past, present and future are summoned in a poetic and mystical way. It is a personal approach, witch relates to the friendship and collaboration of the artists over the last three years, including the same experienced room and scenery at different times Fez at the Dar Baths residency. The birds in the garden and the repetitive echoes of its surroundings are translated into spatial elements with eternal qualities.

The project of the architect Jan Gunnar Skjeldsøy is a result of two  travels to Morocco and the Sahara. The project has been exhibited at the galley AA1+N in Paris with the title COME HELL OR HIGH WATER. 

Sound/ ambient landscape by Magali Daniaux and Cedric Pigot.

The exhibition in Paris was financed by The Norwegian Embassy in Paris.

/// artshebdomedias

0/// Lister24


2016. Open call for a new art museum/ archive in Kristiansand, Norway. Honorable mention/ 50.000 NOK. Team: Anders Eik Pilskog, Jan Gunnar Skjeldsøy, Kristine Glenna Kragset, Joakhim Imset and Frode Jerdal.


2014. Based on a previous travel to Fez, the office was invited by the French Instiute to do a spatial mapping across the medina, which is one of the largest in the world. Fez was the capital of trade in the medieval North Africa and is a world heritage site. By renaming streets and city squares by spatial interpretations, the inhabitants of the medina will give another thought about their known enviroment.


2017. Family house built inn 1955 with a new addition, a new garage and a pig shed on the hillside of Hafslo, Sogn. Under construction.

annex/ lunnamyri

2015. A free-standing garden annex in oak with steel detailing. Under construction.


2012. Addition to an existing house. The annex gives a new entrance to the house and functions as storage for clothes and sport equipment. Natural light from both sides makes the entrance a welcoming zone.

workshop: nature vs culture/ LISTA

2011-2014. Listaverkstedet. Experimental workshops exploring different places and their inherent spacious capacities. 

1: A bare-foot walk from the inner city of Oslo to the forest surrounding the town. The workshop was an architectural and tactile experience of the earth and the surface that are part of our spatial experience every day. The walk was inspired by the etymologic meaning of the English word travel. Travel comes from the French word travail, which means work. The word travail has its origins in the Latin word tripalium, a torture instrument.

2: This workshop explored the spatial capacity of the complex ground in a planted forest of spruce. Carefully excavating a circular field exposing the system of the tree's roots defines a clear physical and symbolic space.

3-4: A workshop which explored the spatial qualities of an old way of curing tree trunks. Old sayings claim that by removing parts of the bark the wood will become harder. It is said that this technique was used in the main construction of the old norse stave churches 1200 years ago.This workshop explored how this method gives a place identity through light, scent and cultivation.

Workshop: Basecamp Nesheim/ LISTA

2005. A workshop with architecture students which focuses on a new use of a bunker from WW2. A black wooden box frames the view and complements the heavy bunker. The structure gives a different view of the bunker and the landscape it is situated in. It also offers hikers a shaded spot from the strong winds. The bunker was formerly used as a storage facility for sand.

On the Lista peninsula there are approximately 4-500 bunkers and other concrete structures left behind after the German occupation during the Second World War, an extraordinarily high concentration of remains of the Atlantic Wall - a continuous line of fortifications stretching along the European coast from Spain to the north of Norway. In addition to their role in the history of the war, these bunkers are expressive of a particular architecture, temporary structures that have so far lasted 60 years and by now are regarded as part of the agricultural landscape. Around Lista many of the bunkers are in use as tool sheds, stables, vegetable storages, playhouses or incorporated into new buildt structures. The Bunkerology Project (2005-2008) was an attempt to see the bunkers in a longer time frame, as a future resource for new functions and a new architecture.

Removed in 2016.

Byggekunst/ The Norwegian Review of Architecture No. 08, 2006

Workshop: DKS

2012-2017. A series of workshops for Den kulturelle skolesekken (DKS), with youth between the age of 13-16. A crash course in architecture using models and collages. 


2016.  Addition to a semi-detached family house. It was designed to make an inviting entrance zone and wardrobe.


2011. International competition with the aim to build a museum that presents the local history of geology and mining. Team: Eyvind Øgar, Jan Gunnar Skjeldsøy and Alf Waage.

Workshop: town centre/ HOKKSUND

2010. Workshop together with the municipality and local youth in Hokksund. The workshop resulted in a series of strategies for involving youth in planning processes. Read the report in Norwegian here.

STEAM TENT/ flekkefjord

2010. A construction of pinewood and white rainproof fabric. Based on the steam tent of the native americans a wooden structure with joints, inspired by traditional japanese handcrafts, was constructed in a backyard in the centre of Flekkefjord. The project was part of  Trebiennalen in 2010.


2017. The piece of Anders Eik Pilskog shows a construction of both Norwegian and Moroccan character. Inspired from the main bedroom, ghurfat nawm, in the traditional Dar and Riad in Fès. Linking the rich weaving traditions in both Norway and Morocco together with traditional wood work. The title refers to his research done in both Fès and Tissardmine, looking at the similarities between this particular room and the Berber tent. Both giving a sensation of being inside a womb or uterus, partly protected by soft tissue/textile. 


2017 > Massive. Constructions towards Security <------> Hollow. Constructions towards Fear. Ongoing research project by Jan Gunnar Skjeldsøy.