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Underpinned by our Scandinavian design heritage, we bring you regular stories about architecture and interiors, exploring natural materials, acoustics, and the creation of safe and harmonious environments.
Many wood species that have long defined architectural interiors – such as teak and other tropical hardwoods – are today restricted or unsuitable to use. Requirements for sustainability, traceability and responsible sourcing have changed how materials can be selected and specified. At the same time, these materials remain present in our buildings. In historic environments, they are often what define the architectural identity. Replacing red-listed wood species in architecture is therefore not only a technical task – it is about preserving what already exists, without compromising today’s responsibilities.
For architects and clients, this creates a clear tension. The desired visual expression is often already defined, but the material traditionally used to achieve it is no longer an option. At the same time, the requirements remain.
Requirements for sustainability, traceability and responsible sourcing have fundamentally changed how materials can be specified. Certification systems such as FSC®, where materials can be traced throughout the entire chain from forest to finished product, have become an important part of ensuring responsible use of wood.
Replacing a material is not simply a matter of selecting another wood species. Without the right knowledge and processing, the result risks becoming a compromise – both visually and technically.
-Loss of depth, variation and material character.
-Inconsistent surfaces across large continuous areas.
-Reduced acoustic performance due to reflective materials.
-Difficulty meeting fire requirements.
In large public environments, this is not only visible – it affects the entire spatial experience.
In projects such as House of People, this challenge becomes very clear. The architectural ambition was to create a warm, expressive wood surface with the depth and variation of traditional hardwoods – without using them.
Instead of the red-listed species teak, the solution was to work with oak and develop a controlled process for colouring and finishing. By carefully managing pigmentation, structure and finish, it is possible to achieve an expression very close to the original – but with a material that is sustainable and available.
-Knowledge of wood structure, grain and ageing behaviour.
-Precision in pigmentation and surface treatment.
-Consistency across large-scale production.
The result is a material that appears natural and cohesive, even in complex environments.
To achieve this, the material cannot be treated as an isolated surface, but as part of a complete system.
The panel is not just a surface, but a construction where each layer serves a purpose.
The visible wood surface is designed to allow sound to pass through. Behind it, absorbing layers capture sound energy. The core provides stability and ensures that the panel maintains its shape over time, even with changes in indoor climate.
Reduces reverberation and improves acoustic comfort
Meets high fire safety requirements
Maintains its appearance and colour over time
Because the system is developed as a whole, its performance can be predicted – both acoustically and visually.
You can read more about how the systems are structured here:
In many projects, it is essential that new elements do not appear new. By combining material knowledge with system solutions, the architecture can remain intact while performance is upgraded.
– The visual expression is preserved.
– Acoustic performance is improved.
– Fire and sustainability requirements are met.
This is particularly important in public environments where both function and experience must perform over time.
This approach becomes especially relevant in restoration and transformation projects. New elements must integrate with existing structures – without creating visible differences or technical issues.
In projects such as St Per’s School auditorium and Stockholm City Hall, acoustic solutions are integrated into existing architecture with respect for both material and design – while fully meeting modern requirements.
This reflects a broader shift in architecture. Material selection is no longer defined by appearance alone, but by how well the material performs within a given context.
-Sustainability and availability.
-Technical performance.
-Long-term stability.
This requires closer collaboration between architects, suppliers and technical specialists.
It is no longer about replacing one material with another – but about working with systems, where material, construction and performance are developed together.
To meet these demands, Gustafs has developed alternatives to red-listed veneer species.
One example is Gemini, consisting of pre-coloured veneers that offer a controlled and consistent expression. In addition, natural veneers can be further developed through surface treatment, where pigmented lacquers are used to colour-match and recreate the tone, depth and variation of more restricted wood species.
By combining the right wood species with tailored surface treatment, it is possible to achieve a result very close to the original expression – using materials that are sustainable, available and suitable for long-term use.