We’ve been dealing with the duality of holiday and weekdays, mostly with the question, that why the society have to highlight some days in the year. The most of our common holidays are connected to a natural event or, some kind of changing in the year, that are mostly forgotten, and only the tradition and the feast remains. So we started to think about if we can also create new feasts and holidays today. The Spring Wind House was an experimental try for this, where we wanted to celebrate the arrival of the spring wind, and the spring itself. This building is actually the inverse of the house in function, instead of closing the wind out, it lets it in, it is actually formed by the wind. 
Our question was, if the feasts based on natural events are formed because ancient people did not understand and feared the nature, or on the  contrary, they understood and worshipped it.
The wind itself can never be seen, only its consequences, the movement of the clouds, the trees or the waves of the ocean. So we thought about something, that can show the essence of this natural element, this is why the house consists of a wooden frame, and a light textile, that moves in order to the wind.
This is a place where one can be in the same space with the wind, where we can “meet” and understand its nature.  This way – we hope –  we can understand our human relationships easier as well.
We thought about the “Oslo wind house” as a more permanent thing, because here, next to the Sea people have to live together with the wind all year. The frame of the house and the textile should be colored, as the traditional Norwegian wooden houses. The new structure for Oslo was inspired by a coincidence. On the bookshelf of the architects’ office, there was a book about the painting of Hanne Borchgrevink. Initially, they started to turn over the pages of a book and looking for inspirations from the paintings but after all they collaborate to construct the building together with Hanne Borchgrevink. They involved the artist to design the colour and the shape of the building. The oeuvre of Borchgrevink formed by the sematic form, the image of the home with clean prime colours. This formal and imaginative simplicity was the inspiration for the architects. One painting was the basis of the Oslo Wind House called Løe from 1998. The structure mirroring the golden and black colours of the house on the painting and the shape of it also following the form. The green colour of the background was given by the Ekeberg Park where the installation was erected during the opening week of the Triennale. It was positioned between the greenery and the famous contemporary sculpture park. In-between situation and in-between object. It is not even a house,  a sculpture, or a building, but it is architecture. The ritual of architecture. With building the Oslo Wind House the architects wanted to bring a new celebration for Oslo. The Wind House is a gate where the people can interact with the wind itself. As nature also the people have a metamorphosis. The interpretation of the Wind House based on personal intention. Now the Oslo Wind House stands in the garden of Hanne Borchgrevink, between the norwegian and svedish border. As it got a new location and function, it got a new name as well, called the Nordic Wind House.