About Ramme's architecture

Petter Olsen's words:

The place. Ramme.

Ramme is a farm, or a very small town in a village in a hilly forested terrain with wild animals, in the middle of the Nordic countries. We are on the east side of the narrowest strait in the Oslofjord that gives direction to the landscape. The place is located between cliffs that frame the farm with the buildings, associated fields and lands.

Animals and people live here, safe and protected.

Building style. Building customs and Identity.

Most of the buildings on Ramme are built in an older architectural style and built in my time by me. They are old buildings that have been moved here, or built after models, existing or lost.

Something is innovative, but with familiar vocabulary and grammar: Antiquarian correct. All details are accurately transferred from buildings from the past. Even the National Agency for Cultural Heritage has thought it is old. We are combining, perhaps for the first time, the antiquarian with current building regulations for new buildings.

All of this is thus new, but old and tradition-based. We also find the present, but mostly underground. We encounter it everywhere else in society, more and more alike all over the globe.

Security and home base. History.

One should be able to let oneself be carried away and experience an atmosphere: Beauty and harmony, symmetry and balance. Building a place and giving it meaning and belonging. One understands or senses something, remembers and recognizes oneself. Having seen and experienced something before makes you associate and understand references: Style, eras and historical events. The more you have seen and learned, the more exciting it becomes.

The beginning. Swiss style and the Baroque.

Only Øvre Ramme's old farmstead was here when I took over the place in 1966. I was 18 years old then. I gradually began to register, renovate and restore the buildings.

County conservator Kjell Magnussen gave a course at Ramme for ethnography students in surveying in the summer of 1974. The main house in Swiss style from 1880, which was very fragile, was demolished in the architectural protection year of 1975. The same Swedish type house can still be seen in several places in Hvitsten. It had been lying there blocking the view of the older small Akershus living room behind. My great-grandfather's uncle Fredrik Christian Olsen had lived there from 1857 during the summers. During the winter he and Marie lived in the center of Hvitsten in the Merchant's House behind the sea sheds. The yellow barn is still there. At that time Ramme was a sloop or a setter. He was the stoutest and oldest of the three skipper brothers.

I have my den in his living room.

The greenhouses. Geothermal heating and woodchip heating. Landscape care.

The greenhouses are one of the things you see when you first arrive at Ramme. We grow in open fields and in greenhouses heated by the sun and water-borne heat from 25 75-meter-deep energy wells. Woodchip heating takes the tops with woodchips from clearing our pastures and field edges.

The Café, the Farm Shop and the Universet. Factory architecture and Swiss style. Prayer house.

The Café and the Farm Shop are glass houses. The Universet, the arrival building, is made of brick with a wooden porch. It is a community center, which with the Christian cross in the carpentry above the entrance door, the small angel sculpture, the tower with a church bell from Nauen and the rose windows, is like a country prayer house.

It can be rented for confirmation, courses for children, adult education, discussions and leadership development and more.

The Energy House. Sculptures. Antiquity, the Renaissance, the Baroque and our time.

Next to the Universet we have the winter garden, the Energy House, a glass extension with a copy of Michelangelo's David in white marble. In the park there are many more sculptures, iconography and mythology with gods from far and near. Ægir, Frøya, Venus, Amor, Bacchus, Pan and Apollo and more, all have their own territories. Peter Linde's bronze horse appears at the bottom of the arrivals alley. The Archangel Raphael comes to us with life-giving water floating on top of an Ionic column.

Havlystparken. Garden art. Paradise.

Garden art has always been a constant search for the ideal place out among plants and animals. One wants to create paradise on earth before and during the fall. On Ramme we have The Forbidden Garden with the Phallus from Delos, the Love Grove, Cupids who kiss and more.

Havlystparken. Garden history.

The foundation of the demolished main house provided the starting point for what became Havlystparken, begun in 1981. It has been built from rudiments and lines from previous garden structures from 1880 and 1920 to a new whole in baroque style, with romantic and picturesque elements.

Here in Havlystparken, garden history unfolds.

Korshaven. Antiquity and the Middle Ages.

Korshaven is a classic square patio in a Roman villa. It is cruciform with pergolas, hedges and pyramids of apples and pears with a well in the middle. Fragrant roses complete the picture. In the Roman villas, Christians moved in and formed their monastic communities.

Havlystparken. The Baroque.

In the Baroque, people sought to subjugate nature. Axes, symmetry and geometric fountains, bushes and trees. We have terraces, parterres, avenues, alleys, canals and walls, yes, an entire facade in three floors of trelliswork or trellises of impregnated wooden battens called trelliswork.

The Baroque was magical. Man controlled the wild with his will. It was very good and adventurous, for a while.

Havlystparken. Romanticism and the picturesque.

But then nature fortunately made a strong comeback and was admired. Man cultivated and lived in harmony with nature in work and leisure. People enjoyed themselves and celebrated outdoors. Indoors, the halls could be decorated like leafy halls. The shepherds were admired as those who lived the ideal life. But feel free to see a classical temple or a ruin in the open air. This is romanticism. Listen to Beethoven's powerful 6th pastoral symphony, preferably outdoors and in Havlystparken.

In the park, wild nature is constantly brought into the formal, in several places, as a thought and reminder of nature and its importance. We are part of the whole.

The canal in Korsdammen is slightly "destroyed" by a cove with reeds. That's where the swans live. In Bekkedalen, the formal, geometrically stylized and symbolic, begins, but transitions into a wild Norwegian mountain stream. Likewise with Havehusbekken. The water garden by Tårnbroen and Stupaen is picturesque or painterly. This is three- and four-dimensional landscape art. A bit like in a dream, garden art can transport you into another reality.

Ramme has shown Shakespeare and Ibsen and invites you to concerts in the Havlyst theater. Parties are arranged in the park. 200 can sit in the amphitheater and at round tables on the Paléhaven terraces. 13 can sit in the Orangery. The Pentagon kiosk in trolleywork is also completely my own invention and innovation. Refreshments are served from there when there are breaks in the entertainment.

Pavilions. Antique, Baroque and Swiss style.

Various gazebos were rescued, moved and placed in the emerging park in the 1970s, 80s and 90s. We have, among others, the Clock Tower, the China Bridge from Tomb in Råde and a circular Venus temple as an island, Kythera, in a cross-shaped canal (albeit a catalog item from the UK).

The playroom is from Greåker and looks like it was designed by Hans Normann Dahl in the vertical Swiss style. The half-timbered garden house from the mid-19th century was moved from a property in Lovisenberggaten to Ramme in 1988. There you can get by: Well, outdoor toilet under the stairs and wood-burning stove.

The palace that will become a classic Trianon à la Versailles has been designed where the sun is furthest east in the park. A place to eat for twelve, summer and winter in stylish surroundings.

Architect Geir Helland and I have worked on most of the architecture in the park and at Ramme for over thirty years. You can rent the Garden House, the Pagoda or sleep outside in a tent on request. There are showers and toilets behind the walls in Korshaven.

Granada. Islamic.

An octagonal Moorish viewing pavilion has been started in the forest towards the fjord to the west, Granada with a Granado. This will be the perfect wedding suite with a kiosk on top with details from Ole Bull's Lysøen and tiles from the Alhambra in the bedroom downstairs, a light fireplace and a marble hot tub under the bed.

The stupa from the Himalayas. Buddhist.

A Chinese army penetrates the park in the south by the pagoda. A stupa from Tibet in red Ringeriks slate built and consecrated by a lama from Nepal guards everything.

The main axis of the park. Neoclassicism.

The central axis of the park ends at the top in the middle of the door in the Garden Room closest to the original living room. Thus an important architectural question was solved. From the starting point, the axis continues downwards through the bust of Hadrian in the private Solarium and the Portal of Honor. With the avenue of red columnar beeches, the Triumphal Arch is completed. It ends at the bottom of the Pagoda, a custom-built playhouse that has been there since 1920.

People thought classically back then.

The Portal of Honor. Baroque.

The Portal of Honor, with its magnificent tribute in Latin to the ancient gods of antiquity and the Nordic countries, stands in the Triumphal Arch in the park. It was originally placed in Bergens våg when the young royal couple arrived in 1733. It was designed by the Danish court architect Lorents de Thurrah, and is an exact reproduction from the Norwegian Road Museum. It was moved to Ramme in 2008.

Therefore, it is a gift from the state set up for my 60th birthday.

Coachman's House and Inn. 1750 and 1780. Baroque.

Up on the farm you will find the small yellow Coachman's House, modeled after the one on Frogner main farm from around 1750 and built on Ramme in 1993. This is a copy.

The Inn with its 27 hotel rooms is also in the style of 1750, but "modernized" in 1780 with new wallpaper and fashionable furniture: Louis XVI and Gustavian. The models for the Inn are historical, but the architectural composition is new. The building is therefore not a copy, but the timber-framework and details are antique-style. You can find a mid-risalit with and without a hip, a mansard roof with a hip, a piano nobile, a gallery and arcades.

Is this an innovation?

Skysstasjon and Den Blå Porten. Baroque. Scenography.

We have a large and beautiful stable, horses and drivable historic carriages and sleighs. The entire Gildely is built like a royal Nordic carriage station. The coachmen can go straight into the rooms on the ground floor of the Inn with their boots on and take a bath after the hardships of the Småland country roads. Copper tubs. No marble or gold here. It's nicer up there.

For the Stallgården we have rebuilt the Blue Gate from Djurgården in Stockholm. It kept the king's deer out of the city. Just beyond the place where it stood, we still find Kajsa Stina's inn, in Grøna Lund. High and low, Gustav III and Bellman, frequented here.

Axel von Fersen spent most of his time in Versailles.

The distillery, the carriage shed and the Guildhall. Swiss style.

The other building that houses the hotel is called the distillery. It is connected to the Inn via a bridge. The distillery is in late 19th century German factory architecture, which we find in many places in Eastern Norway. Not least along the Akerselven River. Down at Stallgården is the entire Guild Hall and the Carriage House, from this era. You can see a bit of the self-grown Christiania, a bit like the burnt-down inn Den Blå Porten in Stockholm, together with traditional farm buildings and a stable with a balcony and corner gable taken from a backyard in Fredrikstad.

Here is also the entrance loggia to the picture gallery with two shiny Roman-Doric granite columns as guides. The red granite is from Vånga in Sweden.

The distillery. Factory architecture from 1880.

The building houses the hotel reception. You arrive from the forest and are greeted by the animals. They are festive and appear in the art of Therese Nortvedt. The inspiration is otherwise the Theatercaféen. The foyer is called Kristiania. The common rooms in the building are named after places where Edvard Munch lived. In the hotel rooms hang reproductions of paintings Munch painted when he worked at Ramme.

The beds are iron beds from the 1880s.

The Guild Hall. Interior. The Hall, the Buffet, the Salon, the Gilde Hall. Peasant romanticism, maritime and colorful.

The hotel has a salon and halls in the Guild Hall decorated with art by Christian Krohg and others who worked locally. The buffet is peasant romanticism. In the Salon we are at sea. We follow Fred. Olsen with sails, steam and diesel. Chr. Krohg depicts pilots and fishermen. My uncle Knut was the model. You can sink into leather sofas or sit on the deck in a bench from one of the boats. You can entertain yourself from the piano.

Two double doors lead into the hall next door. Anders Frøstrup supplied the scaffolding with French locks for it. We are in a traditional barn with the right dimensions. Anders and I worked together on the Ash Tree that supports the roof of the bar. It is a work of art in itself.

Is it alive?

The Atlanteans by the Stage Wall that supports the proscenium with the temple gable stood outside the cinema in London when the first Ben Hur film premiered in 1933.

The Guild Hall had to be fire-painted and was given colors from Frans Widerberg's painting The Ball Anchor that hangs in the stairs. It doesn't get any more gilded.

The wine cellar door was designed by Gerhard Munthe. It is the door to the troll's treasury and is solidly executed.

Interior follows exterior.

The underground. Gneiss. The present and the place.

Under the ground we encounter the foundation of the place. It is the rock itself that forms the wall surfaces, diamond-cut, polished and polished. It is called gneiss and depicts and tells the story of everything that happened at the time when the earth's crust was created.

The Ramme Room. The present.

The big surprise below ground is the large square room measuring 16 x 16 meters with a high ceiling. The Frame Room is our most important room for exhibitions and functions. Here we encounter the present. We see capitals from antiquity, but in the center a technical capital with speakers, spotlights and cameras as decorative elements carries the entire volume and weight. The flat dome is illuminated by RBG LED lights and gives a ceiling effect. This is a candy store!

Inger Johanne Rasmussen's Stage Carpet decorates the west wall when there is no exhibition there. It can seat 200 for a banquet or fewer in horseshoes for a conference. The place is well secured.

The Aula Room. Neoclassicism.

The Aula Room is modeled after the University of Oslo's banquet hall, the Aula, and houses, among other things, Munch's art. Classical concerts are held here and the Oslo Philharmonic plays. You arrive via the Frame Room.

The shelters. Bunker romance.

Down there in the basement there are also shelters well suited as small meeting rooms T1 and T2. They are realistic and functional. Pushwagner and Svein Bolling decorate. Christopher Rådlund painted dystopian canvases in black, white and grey that hang in the bare hallways.

Class A and ready to use.

Gildely. Hostel, coach station and distillery. Writing history.

The Gildely complex, with gallery, museum and hotel, started in 1993 is now complete. As in a city, it has been an organic building process. It has not been linear chronologically in terms of the history of style. The historical eras must be interpreted. The Baroque was before the Swiss style. So the Hostel is the oldest. Then came industrialism with the Distillery. Spirits were enjoyed in the countryside. A new and large stable and carriage shed were built at the same time as the railway advanced. There is a development going on here. Some opted for steam. Others relied on sail. And then came the automobile. An era that was thousands of years old was over. The wheel had been given new legs to walk on.

The barn. Swiss style.

The large farm building, the barn, was completed in 1991 and is an outbuilding with a barn and a barn like they were built here in Eastern Norway at the end of the 19th century. The universe with the café, the Lighthouse, and several of the outbuildings are in the same style, called the Swiss style. The nearest brickworks was right across the fjord. We sourced granite from Røyken. Hvitsten is an old shipping port for planks and beams.

The garden room. Swiss style.

Øvre Ramme's old farm is built in the Swiss style. In 1880, Hans Pettersen built a new large main house and modernized and raised the roof of the old living room at the back.

So in 2003, the Swiss style was further elaborated by me with the addition to the old living room of the square Garden Room with arched window doors taken from the octagonal pavilion from Grønli on Jeløen, from the mid-1800s, moved to Ramme in 1985. The Garden Room has two times three doors with glass and a coffered ceiling like in the demolished main house. It is oriented directly south out to the fjord towards the horizon. The balustrades to the roof terrace above are similar to those on the walls of the pavilion. There are carved stars, squares and tulips. Pure carpenter's delight.

The windows in the Rammestuen have pendants with the tulip motif at the bottom of the frames according to local custom in Hvitsten.

Stabbursloftet and Dragon Tower. National Romanticism.

In the original farmyard we also find Stabbursloftet, which came as a kit to Vestby station in 1891 from Strømmen trevare and was erected by Calmeyer. It is a prefabricated house in machine-built timber, brown-tarred and Norwegian. We are approaching the dissolution of the union. We have become national romantics.

Perhaps the most remarkable building on Ramme is found up on the mountain to the west. It was my first major building project, Dragon Tower, which came in the years 1977 to ʹ80 from Snarøen, built by Amandus Schibsted there in 1902. The architect is Holm Munthe, the father of the dragon style, who designed Frognerseteren. We had found Viking ships and valued our stave churches back then.

Dragon Tower looks up over the pine tops. From there we can see the entire Oslofjord from Drøbak and Askeråsene in the north to the horizon and Færder in the south. You can also live in the tower. Ramme Fjord Hotell accepts your order. There is a Dragon in the forest.

Muncheramme. National Romanticism. Vitalism. The hall decorations.

Petersminde (Peter is the Olsen family ancestor from Kvam. Hans Pettersen who built the house in 1891 was his grandfather's third generation), also called Muncheramme, was owned by Edvard Munch from 1910. The house was originally painted brown in keeping with the time with a similar interior, but the builder had become a Francophile and therefore built it in a French self-designed chateau style with pointed roof angles. It is a romantic little castle in wood, which has now been released in a light yellow color that I think Edvard would have liked.

Jappe Nilssen described dragon heads on the gables in 1912, but that was not true. It is a spire.

Munch himself painted over the brown stencil decoration in the living rooms with a fresh lemon yellow. We have uncovered it and got it back. We show the pictures he painted of his life there with his housekeeper and model Ingeborg. He kept those paintings until his death. They all have the yellow background. He mentioned the yellow color in letters. This may have been the happiest time of his life. One of two preserved photographic images of him smiling is from the meadow at Ramme with his horse Rousseau and a neighing manager Jensen in the background. The photographer must have been Jappe Nilssen, his close friend, who used Munch's camera.

Munch had returned to Norway after a spa stay in Copenhagen. From the summer of 1910 he worked outdoors on the Aula Decorations at Ramme. He never quite finished the main motif, The Scientists/Alma Mater. He was not immune to criticism. Scientists were nothing more than curious children back then.

Our major initiative is the exhibition Munch and the Aula Decorations back at Ramme. Then the Aula Room will come into its own with Munch's composition for the Aula Decorations in a scaled-down size that he completed at Ramme in 1912 in an open-air studio behind the house. Will this be in 2025?

He painted workers and strong naked bodies taking a dip in the sea and sunbathing.

A painting is called On the sofa. A mischievous Ingeborg in a red dress lies lightly writhing. Has she just made love? Munch's sketchbooks from this time show many studies of female genitalia. We plan to exhibit his drawings on the walls of the outdoor toilet. We will also unveil a three-meter-high bronze sculpture of Solveig reaching for an apple as Munch has depicted her in the Aulaen.

You can rent the entire house and stay in four rooms: Hans, Gustav, Jappe and Edvard. There is a bathroom with a shower and a water toilet for each room. The house has a pleasant outdoor terrace with plenty of room for thirty guests at round tables. The grandstand benches facing the fjord in Munch's open-air theater form a gin and tonic terrace in a special class for at least 200. From here you can enjoy the sunset.

We hope to soon complete the pier in the bay and perhaps recreate Munch's studio in Kullboden. There may be a boat dock and catering here in the future.

We're talking vitalism.

Ramme Sanatorium. Dr. Kneipp. Vitalism.

In 1906, Einar Møinichen opened Ramme Sanatorium on Øvre Ramme and operated it until 1910-11. Møinichen started Midtstuen Sanatorium in 1909, which later became Akershus County Hospital. People went barefoot and took sun and sea baths, among other things. Alcohol was to be avoided and the diet was lacto-vegetable. Vitalism and health.

Munch, Møinichen and Olsen. Neo-vitalism.

These are the trends in Central Europe, Austria/Germany towards the end of the 1800s: A neo-romantic relationship with nature: Munch and Møinichen both came from Germany to Ramme with this train of thought and were successful. A few years before the world wars they crossed paths at Ramme. – Maybe they met on the beach?

Then came the “hippie era” and Petter Olsen returned from four years at Stanford University in California in 1973. Vitalism had been renewed.

Frithjof, Colin Archer and the Stallgårdsteltet.

At the same time as the Dragon Tower, I also got Frithjof, a 37-foot pilot boat, built for Ulabrand’s eldest son, Thor, in Larvik by Colin Archer in 1891. It was called Christian Krohg when it was owned by an artist consortium in the thirties. I completely restored it and it is a floating Ramme that I have sailed for 40 years.

In Stallgården we find the same technology as on the sailboat. A series of seven up to twelve-meter-high masts in pine and one in steel hold a stretched canvas that creates the largest room in the place at a total of 645 square meters. We have festival benches and tables for at least 150 guests and standing room for more. Maybe there will be an Oktoberfest here? In that case, a warm welcome!

Ancient times.

The most retrospective is the Festscenen up on the farm. Is there a proto-Greek temple in wood that you see? On the rock on the headland two hundred meters directly west down by the fjord, there are cairns from the Bronze Age. A three thousand year old bronze dagger from this time is from Ramme. You can find it in the Antiquities Collection. It is the finest in the country. It was probably cast in Denmark. There was trade back then too. At Hurum there is a woman's grave from the Stone Age with a piece of amber jewelry. Amber was the gold of the Nordics. It came from the Baltics. People sailed the seas a long, long time ago.

The inn. Double tetrahedron.

The inn is a hexagonal church-like building with a ditto onion dome. It is a signal building. Frederica Miller, Gaia, is the architect, but I have been in charge and as usual found most of it. Anders Frøstrup was the carpenter. The plot is triangular. Hence the hexagon. You can find the triangle in several places in the inn building. Outside we have the Star Scene; it is a Star of David. The Star of David is composed of a triangle that points towards the sky, God, the other down towards the earth, us. Three-dimensionally this becomes the star sun that we see in gold on the spire. A double tetrahedron that symbolizes the union of opposites: Man + Woman = child, thesis, antithesis and synthesis.

From dissonance can arise understanding of wholeness and truth, unity and peace.

The Inn and the Restaurant. The eco-style.

The restaurant is a Norse longhouse with a turf roof on the north side and a glass greenhouse facing the sun on the south. Originally it was intended for chickens. Symbiosis: Oxygen from plants and carbon dioxide from the chickens. But we got a new Høneri and thus a party room was created. The restaurant was built together with the Inn.

The inn has untreated aspen panels on the outside, with turf, shingles and pine shingles on the roofs of the tower. Earth floors inside and straw from the Vestby prairie in the walls. Ceilings are blue, walls are yellow and the pine frame is red. Here it is circular and sustainable. This was completed in 2003.

– Are we in Østerled or Vesterled? – Are we in the past or the future?

Outbuildings. The eco-style.

The circular Bird House, the Hen House, the Sheep Shed and the Pig House are primitive buildings made of straw, logs, turf and aspen panels. Built with, by and in nature. The Bird House is perhaps particularly architecturally designed. It must be seen from the outside and inside. The eco-style is signed by Miller and Olsen. From the early 2000s.

Ash Tower. Ecodynamic.

The farm's most organic building is the Ash Tower with its six floors built between the trunks of a regrown ash tree. Complete with untreated aspen panels and tree branches as balusters, made by a local skilled carpenter and me when the girls were little. Here there are sleeping, living and viewing floors, several balconies and a minaret-like tower at the very top. A bit of Taj Mahal and a bit of Neuschwanstein. Organically dynamic or ecodynamic?

It is a small experience to walk through this peculiar building. It disappears into ash leaves in the summer. Most people just walk past. 2003.

Four people can stay overnight glamping-style in two bunk beds. Contact the hotel.

A collage of Swiss style, neoclassicism and eco-style.

From an abandoned place with young cows eating Glava instead of grass, Ramme has been recreated.

The starting point was the existing building from 1880. Most new buildings are in the Swiss style.

A central axis in the garden from a reconstruction of the main house in 1920 is the starting point for the baroque park and the Triumfax. Neoclassicism and the construction of a large orchard with a central axis and the baroque have been carried up in the new yard with the Arrival Stable, the Horse's Place, the Coachman's House, the Herberget and the Empire Suite.

In 1966 I built a boathouse, the Strandhuset, in brown-stained wood. The sheep shed in pine and untreated aspen with turf on the roof and the rock as the back wall could just as well have been from the Iron Age, but was built after 2000 and signed Miller and Olsen.

The inn with its tower, symbolism and spire carries the past, but points hopefully into the future. Here the spirit of the place and creation is honored.

Wholeness, eternity, nature and culture. Holistic art.

All over, the sky, the view and the lighting, natural from the sun or artfully arranged in winter with torches and Bach's Christmas Oratorio from loudspeakers. Starry sky and moonlight.

Ducks fly low in formation between buildings and trees. Barn owls hoot at night and badgers stroll around. Birds chirp, fountains roar and the wind rustles in the trees. Or it is quiet. Mist, torrential rain or fog. Air from the sea. The scents of the sea. The calm of the forest.

The wholeness of nature and culture. Holistic art is what it is called and must include architecture, otherwise the spirit of the place can be very sad. At Ramme we respect and enjoy nature.

We thought it would last forever.

Creation. God.

Ramme is a country's universe. I love the earth, creation and everything we are a natural part of. I work, yes fight for our world to last. For as long as possible for us, our descendants and our friends, both animals and humans. Yes all life.

Without it – nothing. Then everything is over. No sapiens. No one to inherit anything.

Social responsibility.

I am happy for my lineage and proud of my ancestors. They have given me everything. I want to continue their work and visions. They were strong, wise, skilled, creative, far-sighted community builders. They embraced widely, took responsibility and were loved. They cared and took action. We must do the same for our society to last.

The “Ramme work” (Framework).

I have been the designer and have been in charge of Ramme for all these years, in big and small ways. Ramme is my invention and represents me. I am the place maker and architect: urban planning, landscape, building, interior and engineering.

I am now 75 years old, but I want to continue a little longer. Ramme is my work. The framework is now visible and recognized.

It is effective, but what will be the impact?

The vision for Ramme is: To raise awareness of our natural and cultural heritage, and show our possibilities to manage through the violent transition from abundance to deluge in a united Nordic region.

Welcome to a fairytale reality.

Statement from Petter Olsen