Behind the Design

Quartile

Breeze blocks, or screen blocks, have a long history in architecture. They first appeared in the United States in the 1930s and were made popular among some of the country’s most prominent architects in the 1950s and 60s. The style was originally inspired by sun-shielding screens in Asia and Brazil and was a practical solution in warm climates, providing shade and ventilation. Embraced by so many mid-century design giants like Frank Lloyd Wright, breeze blocks remain an architectural motif that is still popular around the world and continues to add pattern and dimension to contemporary spaces. 

Inspired by the unique style of breezeblocks and mid-century modern architecture in general, Norwegian designer Lars Beller Fjetland breathes new life into this iconic motif with a contemporary twist―swapping concrete for the warmth of natural hardwoods and bringing the statement patterns indoors. 

We caught up with Lars to chat through the inspiration behind the Quartile collection, his continued focus on using sustainable materials, and the designers and movements that have inspired his aesthetic over the course of his career in product design. 

The aesthetic inspiration of these tiles stems from classic breeze block facades and the patterns found in this mid-century style of architecture. I first discovered breeze blocks while researching mid-century architecture. I fell in love with all the experimental three-dimensional designs and immediately started to explore how I could somehow reference these iconic building blocks in a future project. 

For me, it’s more about capturing the feeling of the breeze block, not necessarily recreating it. I transformed its essence into a modular wall tile by changing scale, use, and materiality. 

You mentioned the “squircle” shape in Quartile 2 during the prototyping process. What drew you to this particular shape? Have you spotted this motif in other areas of design?

To simply copy the old makes no sense to me, so I chose to work with simplified and muted forms that still reference the original. The squircle is one of these forms that I strongly feel belongs to the current. Sounding more like a Pokémon than anything else, it’s a portmanteau of the words “square” and “circle.” It’s a hybrid between the two and a form you find everywhere, from airplane widows to consumer electronics. Incorporating this form into one of the two tile designs felt fitting.

These tiles feature a rounded undercut detail. Is this detail integral to the design? And what specific benefits does it bring to the overall functionality?

The undercut feature is a scaled-up detail from the Lisboa tile. It’s a detail that I have always wanted to explore further, and  I was really curious about what it would look like when scaled up. I created a few designs that I was eager to sample and found that they add depth and dimension to the curved shape of these wood tiles.

Who are some of the most influential designers/design movements that have impacted your aesthetic? 

It’s hard to pinpoint a specific movement that significantly influences my work. I believe that I can find relevance and inspiration in a range of expressions and disciplines across the last decade. It’s usually all about the material, but I am intrigued by cleverness, innovation, and originality. 

My fascination with mid-century modern design is mainly linked to the optimism and playfulness that defined the period. I would have loved to experience being a part of that, and it is something I strive to revive through my work as an architectural designer.

I do have a soft spot for Alvar Aalto, a true genius, innovator, and master of form. My house is full of his work, and I am still amazed by his timeless and versatile designs. They are somehow still modern, even 100 years after their conception.