• Interview: AARKE – Redefining Home Essentials with Purpose and Passion

    Written by Jahwanna Berglund

    In this exclusive interview with Aarke co-founders Carl Ljungh and Jonas Groth, we dive into the heart of their design philosophy—one that champions simplicity, functionality, and timeless beauty. Drawing from years of experience in industrial design, Carl and Jonas share how their frustration with disposable, uninspired products sparked the vision for Aarke: a brand that puts people and longevity first. From the countless iterations behind their iconic Coffee System to their unwavering focus on sustainability, the duo opens up about their passion for creating objects that are not just functional, but truly loved. This is the story of Aarke—an exploration of what happens when thoughtful design meets real-life needs.

    Jahwanna Berglund: Aarke has a strong emphasis on integrating high functionality with aesthetics. How did your backgrounds in industrial design shape your approach to creating Aarke’s minimalist, premium look and feel?

    Carl Ljung and Jonas Groth: During our years running a design agency, we had the opportunity to work closely with many different types of companies, designing various products and solutions. This experience ultimately led us to the direction of starting our own brand—one where we could combine insights and ideas from all this work and create something new and something we felt was overseen by the design community.

    After years in the industry, we learned that the customer must always be in focus in order to create a good product. A product or solution may be aesthetically pleasing, but if it doesn’t function the way the user expects and intuitively understands, it misses its purpose. We also have experience of working with many types of materials, gaining insight into what is sustainable—not only for creating products that can withstand physical wear but also for visual durability, an aspect that is equally important if you want to create timeless and sustainable products.

    We felt a certain frustration over how many products are designed and how quickly their design becomes outdated. We felt that if we ourselves thought there was a lack of a certain type of products—true design objects to love, made from better materials with intuitive and delightful functionality and timeless design—then there was probably an audience that shared the same frustration. This was the start of Aarke.

    JB: Carl, you mentioned (at the press breakfast) that each product requires hours of iteration to achieve quality and user-centered design. Can you share insights into Aarke’s iterative process and any challenges faced in creating the Aarke Coffee System?

    CL: In all our development projects, we face challenges where our high standards for making even the simplest functions exceptional, are put to the test. We invest countless hours into solving what often appears to be the simplest functions. Ironically, it’s often that the seemingly simplest solutions are the hardest to achieve.

    The Coffee System is no exception. For example, developing a very advanced and finely tuned technology to achieve the best results with just one push of a button required at least 60 iterations of the software that controls the brewer. Solving the seemingly simple function of being able to use both a glass carafe and a Thermal Jug in the same Coffee Maker required many hours of consideration. Also, being able to create a solid stainless steel handle without making it too heavy is another example that took us many months to resolve.

    JB: Aarke products, such as the new Coffee Maker, prioritize ease of use. What are the key factors you consider to balance advanced functionality with a simple, intuitive user experience?

    CL and JG: The answer to this question is balance. There is always a balance between many good ideas and simple usability. We believe we have incorporated the essential and important features in our Coffee System without making it complex or hard to understand. The Coffee Maker and the Grinder work intuitively and seamlessly, without the user even having to think about it. The focus remains on the result and an elevated coffee brewing routine, with minimal effort and interactions.

    JB: Your products emphasize durability and quality, often using stainless steel. Could you elaborate the role of sustainable materials and practices in your production process and future goals in this area?

    CL and JG: In our designs, we carefully select materials that meet several criteria, each to serve its purpose in the best possible way. The materials we use are thoughtfully chosen to meet several criteria, each to serve its purpose in the best possible way. We use stainless steel as the main structural material since it’s both lightweight and long-lasting and the majority of the steel we use is recycled. For structural integrity, we use screws rather than glue, making our products highly repairable. When we use plastic it is because it is the best choice of material for the particular application and when we can explore and try to use plastic materials with less Co2 footprint and Ocean Bound Plastic, which is what we use for our Purifier Large. We constantly challenge ourselves to try to be better and better in all of those aspects. It is our core belief that by developing high quality, built-to-last products with a timeless design we can enable a more sustainable lifestyle by investing in fewer, superior products that will last for years to come. This philosophy is the foundation of our product development.

    JB: How do you address the expectations of customers who prioritize both high-quality design and functionality? Are there specific user insights or requests that have influenced recent product updates or features?

    CL and JG: We don't see a conflict in combining high-quality design and functionality. To achieve this combination in the right balanced way is our constant focus. We aim to avoid clutter, keeping the design clean and free of unnecessary buttons or screens. We believe that with the intricate craft of shaping steel in combination with the creating simple, intuitive interactions we achieve a result that is both a true design object and highly functional.

    JB: Having expanded from water carbonators to the Coffee System, where do you envision Aarke’s product range evolving in the next few years?

    CL and JGThere is a lack of really good working AND beautiful, long-lasting design objects in the space of domestic appliances. This was the frustration, or insight, that pushed us to start Aarke. So far our field of focus has been the kitchen and kitchen products, however we do see a lot of potential in the rest of the home as well. There are really no limits other than time and resources for what Aarke could become.

    JB: Since you both founded Aarke, has your design philosophy evolved with the brand? Are there any core values that you’ve maintained from the start?

    CL and JG: From the very start, we believed that the true story should be built into the product and this is something we still strongly believe. We don’t believe in cutting corners to save costs—our focus is always on the product itself and how it’s built and experienced by the people using it. Perhaps we’ve learned even more about the importance, as designers, of truly listening to our customers or core users. We wouldn’t have come this far without our Aarke fans!

    www.aarke.com

  • Release Party Odalisque x Blique by Nobis Part 1

    Written by Sandra Myhrberg

    Thank you for an unforgettable evening at Blique by Nobis!

    We want to extend our heartfelt gratitude to everyone who joined us for our release party at Blique by Nobis in Stockholm. Your presence made the evening truly special, and we’re so grateful to have celebrated this milestone with you.

    A special thanks to our cover girl Cherrie.

    DIG Snacks, Essence, Uniqlo and HAY for contributing to the fantastic goodie bags that our guests adored. We also want to thank Divine, Angeline Vineyards, Carlsberg Sverige and 1664 Blanc for elevating the night with your exceptional beverages – we enjoyed every sip!

    Stay tuned for more updates, and thank you once again for being part of this incredible journey.

    Print is not dead!
    Odalisque Magazine

  • Jordana Loeb: "Each Process Has Its Own Dimension"

    Written by Natalia Muntean

    Jordana Loeb's practice bridges printmaking, sculpture, sound, and movement, creating deeply transformative works that connect natural materials with themes of memory, heritage, and interaction. Her experimental approach—most recently exemplified by her ongoing project Wooden Feedback—demonstrates an innovative fusion of traditional techniques with contemporary performance and sound. The American artist, who is based in Stockholm, has been awarded the Ann-Margret Lindell Stipendium by Grafikens Hus, in recognition of her contributions to graphic arts.
    In our conversation, Loeb offers insights into her creative process and the evolving dialogue between materials, movement, and sound.

    Natalia Muntean: Your practice merges printmaking, sculpture, and sound with influences from dance and movement. How do you ensure these elements communicate cohesively in your work?
    Jordana Loeb:
    One aspect that has tied printmaking, sculpture and sound together in my practice has been the material, such as wood. Through hours of repetitive carving, I started to question the material. Does the tone of the wood change from carving at different depths? How do the density, hardness and type of wood also affect the sound? In the ongoing project, “Wooden Feedback”(2022-), a series of carved resonating boards, I have combined relief processes, sculpture and sound in connection with the moving body. Each of these processes has its own dimension, and the combination of the four, as seen in this work, allows for them to coexist. I am drawn to letting the material speak for itself and giving it the space to do so. This has been important as it shows the cause and effect. Specifically in how the sonic feedback loop is driven by the interaction between the body's movements and wooden boards.

    NM: What inspired you to merge your background in movement with traditional graphic techniques, and how has it evolved?
    JL:
    During my Bachelor's at Syracuse University, I first thought I would major in Communication Design, yet I found myself stuck at a screen. By chance, I took a printmaking relief course and realised that I was spending more time in the studio as I was constantly moving. I think the lack of movement from my every day started this merge with printmaking. As I reflect on previous and current works, I’ve noticed a pattern of focusing on movements of balance, weight and tension. Especially in my sculptural work “Apple pillars: echo” (2024), a series of carved apple logs fused in steel, balancing from its own pressure and force. I find myself swaying between sculpture, print, sound and performance as each document the process from its own angle. I think this way of working helps me to understand what I am doing and to get closer to my work.

    NM: What does receiving this scholarship mean for you, both personally and professionally, and how do you see it shaping your future as an artist?
    JL:
    I’m very honoured to have received this scholarship and to be recognized by fellow printmakers. Already this grant has helped me look forward and realize future projects. Specifically, helping with the new recordings and video documentation of the ‘Wooden Feedback’ performances, which will be later released as a tape with the Stockholm record label, Irrlicht. The funding will also assist with studio rent and give me the time to dedicate towards my practice.  

    NM: The stipend celebrates excellence in graphic art. What do you think makes your approach to graphic art unique, and how does it align with the values of this award?
    JL:
    I’ve always been proud of my printmaking background and the community that I’ve been a part of in the States and Stockholm. My approach to printmaking has been motivated by other artistic fields, such as being a member of a Swedish cultural art space, Tropiska Föreningen, for 12 years. Being in this collaborative environment with musicians, artists and dancers, I’ve developed new skills and honed in on my own. My practice has also been influenced by the structure and rhythm of printmaking, where I’ve been encouraged to simplify, not dwell on the right or wrong way, and embrace the mistakes.

Pages