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上海大歌劇院正式開幕！Snøhetta 操刀黃浦江畔白色摺扇造型，打造 24 小時全天候開放城市文化客廳

Isabella Alveberg, CEO of Snøhetta, has had an unusual path. She moved from cybersecurity into architecture, becoming the first non-designer to lead the firm in its then 30-year history. Since taking the role in 2018, she has mixed a practical tech background with a clear focus on design that serves a purpose.<figure class="image"><img src="https://prd-cdn.jessicahk.com/Norwegian_National_Opera_and_Ballet_Helge_Skodvin_1_21a901ae9b.jpg" alt="Norwegian National Opera and Ballet_Helge Skodvin 1.jpg"><figcaption>Norwegian National Opera and Ballet. Photo courtesy of Snøhetta</figcaption></figure>Snøhetta is known for projects like the Norwegian National Opera and Ballet and the Bibliotheca Alexandrina. It works across architecture, landscape, interior, product, graphic and digital design. With Isabella at the helm, the firm has grown to eight cities, from Oslo to Hong Kong, while deepening its commitment to sustainable and community-focused work. While most CEOs in the field come up through design ranks, Isabella's background has helped the company tackle old problems: outdated business models, undervalued creative work, and a competitive race to cut cost.As a woman in a male-heavy space, her rise to Snøhetta’s top role signals a broader shift toward more diversified leadership in a profession overdue for inclusion. Her philosophy of “ethical profitability" - balancing financial health with social and environmental good - lines up closely with what Snøhetta has always stood for.Breaking the Blueprint: The Power of an Outsider’s Lens Isabella’s move to Snøhetta started in 2016. After 30 years in IT—15 of them at Microsoft Norway, then leading Avast Software—she hit a familiar wall after being passed over for a senior job in a male-dominated industry. Instead of stopping there, she took a mentor’s advice to heart: “Don’t be defined by barriers that others set for you. Define your own barriers that you want to break through.”<figure class="image"><img src="https://prd-cdn.jessicahk.com/Isabella_Alveberg_Group_CEO_Snohetta_AS_78a8169a31.jpg" alt="Isabella Alveberg Group CEO Snøhetta AS.jpg"><figcaption>Isabella Alveberg. Photo courtesy of Snøhetta</figcaption></figure>Her first step wasn’t toward architecture but inward. Before leaving Avast, she set up Women@Avast, a mentorship program uniting ten standout women to defy the glass ceiling she’d repeatedly encountered. The initiative became a revelation for Isabella. When Snøhetta approached her in 2018, the fit felt right. “Snøhetta is a place where my brain is challenged every single day, but also my heart works every day, because I feel that what we’re doing is purposeful,” she said.Her tech background brought unexpected strengths. She knew how to navigate complexity, streamline systems, and run teams across countries. Architecture faced many of the same sticking points she had already overcome in IT: stagnant business models, creativity sidelined by cost pressures. Free from the constraints of design dogma, she reframed success: not just numbers, but as spaces that uplift communities and actually help the people who use them.Bridging Legacy and Innovation: Earning Trust in a Creative Dynasty Taking over Snøhetta’s leadership meant inheriting a creative dynasty.&nbsp;The previous co-founder had led for 30 years and left behind landmarks like the Oslo Opera House, and Isabella faced a daunting task: earning trust without unravelling that legacy. She called the six-month handover a “dating period," the CEO’s leap of faith in entrusting its legacy to an outsider. “He was handing over his baby to somebody who didn’t know at all what happened with that,” she later recalled.<figure class="image"><img src="https://prd-cdn.jessicahk.com/Norwegian_National_Opera_and_Ballet_Helge_Skodvin_78c264e2c2.jpg" alt="Norwegian National Opera and Ballet_Helge Skodvin.jpg"><figcaption>Norwegian National Opera and Ballet. Photo courtesy of Snøhetta</figcaption></figure>Without any formal training in design, she positioned herself as a facilitator, concentrating on making the operational side stronger so the 350-person team could focus on the work. She cleaned up support processes and sharpened how the global studios worked. The founder had voiced a fear of being “being bureaucratized"; Isabella proved that clearer systems could free people up rather than hold them back.The pandemic became her proving ground. When studios closed in 2020, her tech experienced helped the firm switch quickly to digital ways of working. Projects stayed on track, morale held steady, and her leadership cemented trust across the organization. Beyond logistics, she also worked on creating a sense of psychological safety so people felt able to try bold new ideas. “Mine is more creating that security within a company where we’re free to be creative, within certain boundaries,” she explains. The mix of backgrounds across the studios has become one of the firm’s strengths.Global Vision, Local ImpactIsabella runs a network that stretches across cultures. Biannual gatherings in Oslo unite teams from eight cities, ending with a symbolic hike up Snøhetta mountain: a simple ritual that bonds 350 people from more than 40 nationalities. Workshops regularly bring in people from outside the firm - artists, philosophers, local residents - to keep ideas fresh.The Beijing Library is one result. It attracted 3.7 million visitors in its first year and hosted 3,400 events, becoming a real community space rather than just a building.<figure class="image"><img src="https://prd-cdn.jessicahk.com/Beijing_Library_Photo_by_Zhu_Yumeng_d6cc1b9dce.jpg" alt="Beijing Library_Photo by Zhu Yumeng.jpg"><figcaption>Beijing Library. Photo courtesy of Snøhetta</figcaption></figure>The same thinking shaped the Times Square overhaul, finished in 2017 under Isabella's leadership. Once a dangerous, congested mess despite its 330,000 daily visitors, the redesign transformed it into a civic gem, carving out 2.5 acres of pedestrian-only plazas between 42nd and 47th Streets. Working with New York City’s Department of Design and Construction and the Times Square Business Improvement District, the team removed curbs, cleared clutter, and added granite benches. Pedestrian space nearly doubled. Injuries dropped 40 percent, and crime fell 20 percent.Rethinking Sustainability: Building for a Carbon-Neutral Future Isabella is blunt about the industry’s fee structure. “Our business model is not based on the input of creativity or value increased by ideas; our business model is based on percentage of the cost." Snøhetta now incorporates social benefits, environmental gains, and community uplift into its approach, dodging the industry’s price-driven competition. Through dialogues with clients, she’s shifting mindsets, positioning quality design as an investment rather than a cost.Her push for sustainability is ambitious. Beyond the 2049 carbon-neutral target, Snøhetta is experimenting with carbon-negative materials and energy-positive buildings. The Beijing Library shows the dual approach: green design choices that also support cultural life, while the business stays healthy enough to take on ambitious work without losing its creative edge.<figure class="image"><img src="https://prd-cdn.jessicahk.com/Beijing_Library_Photo_by_Zhu_Yumeng_1_c0bb398f68.jpg" alt="Beijing Library_Photo by Zhu Yumeng 1.jpg"><figcaption>Beijing Library. Photo courtesy of Snøhetta</figcaption></figure>Empowering Through Diversity: Mentorship and Inclusion in Action Her experience with Women@Avast taught Isabella a key lesson: change requires allies, not just advocates. Isabella has built a mentorship web that pairs seniors and emerging leaders, gender aside, with tailored support for women. Cross-disciplinary circles encourage collaboration, while flexible policies, like parental support and clear advancement paths, have increased the number of women in leadership roles across studios. The firm tracks progress with diversity targets and open discussions. She shares what they learn at industry events, nudging the wider industry toward equity with steady, deliberate steps.Architecture with Heart: Creating Spaces That Serve&nbsp; Isabella describes the firm’s approach as “community-friendly architecture.” “We try and engage with the communities to understand how this building is supposed to function,” she explained, emphasizing that design must prioritize the people it serves. Buildings are treated as places that should improve daily life, not just stand there.Isabella is committed to giving back to communities through design, an approach that stands out in projects like Times Square. Before finalizing the redesign, Snøhetta set up temporary installations - movable seating, pop-up pathways - inviting pedestrians to test and critique them in real time before anything was made permanent. “We try and engage with users regardless of backgrounds, gender, religion, nationality,” she noted, ensuring every voice informs the outcome.<figure class="image"><img src="https://prd-cdn.jessicahk.com/Times_Square_photo_by_Michael_Grimm_27b9c20ef7.jpg" alt="Times Square, photo by Michael Grimm.jpg"><figcaption>Tims Square. Photo courtesy of Snøhetta</figcaption></figure>The work also aims to be regenerative: spaces that give more than they take. Public green roofs, multi-use community rooms and integrated art turn buildings into assets for the neighborhood. “Buildings don’t just serve a functional purpose, they actually serve the people who need to inhabit them.”Shaping the Future: A Legacy of Purpose Since 2018, Isabella has combined the precision she learned in tech with the creative energy that already existed at Snøhetta, cementing its role as a sustainable, inclusive leader. Beyond maintaining Snøhetta’s legacy since 2018, Isabella has proven that someone from outside the usual path can still lead a design practice effectively.&nbsp;<figure class="image"><img src="https://prd-cdn.jessicahk.com/IMG_3003_b38cda1168.JPG" alt="IMG_3003.JPG"></figure>Looking ahead, Isabella envisions Snøhetta crafting architecture and design that respond to real needs, regenerate what it uses, and improve the places people live and work; not merely adapting to the future, but shaping it. The lasting impact will transcend buildings like the Oslo Opera House or Beijing Library, continuing to live on in the everyday lives those spaces affect.

Redesigning the Future: Isabella Alveberg's Snøhetta Revolution

&nbsp;<blockquote><h2>凡事將目標定高一點，即使用盡全力挑戰後還是失敗了，也要學會接受。</h2></blockquote>&nbsp;早年被社會定性為反叛型的80後，如今都已成為社會的中層動力。然而在建築界別內，由於行業架構與傳統，即使已踏入中年的80後建築師，在行內仍處初生之犢的階段。就以2022 港深城市 \ 建築雙城雙年展（香港）為例，這兩年一度的建築界盛事，一向均由建築業內享負盛名的建築巨擘主導，今年卻一反傳統，首次由一班新面孔掌舵。Text &gt; Goosie Lam Photo &gt; Wan Sze Chuen築起堅韌新面貌 訪問前慣於網上搜集資料，然而與這6位策展人相關資料卻是少之又少，「我們6位80後建築師及設計師均為土生土長的香港人，而且均由香港大學建築系栽培出身，並已於各建築及創作領域累積了一些經驗。這次因著對建築的初衷，在校外再次凝聚，『集籽種城』為香港建築未來的可持續發展集思廣益。這一代建築師，大都仍在建築師樓團隊中默默耕耘。而香港當代有名的建築師，多為上世紀80至90年代冒起，他們每位均見證香港逐步發展成國際城市。」80後建築師因見證權力與時代更替，且面對著比以前更大的競爭，在成長過程中變得更堅韌，更懂得深耕細作，總是期望以一點一滴的微小力量建築起當初純真初心。<img src="https://jes-network-production.s3.ap-east-1.amazonaws.com/8_d5877195ee.jpg" alt="8.jpg" srcset="https://jes-network-production.s3.ap-east-1.amazonaws.com/thumbnail_8_d5877195ee.jpg 245w,https://jes-network-production.s3.ap-east-1.amazonaws.com/small_8_d5877195ee.jpg 500w,https://jes-network-production.s3.ap-east-1.amazonaws.com/medium_8_d5877195ee.jpg 750w,https://jes-network-production.s3.ap-east-1.amazonaws.com/large_8_d5877195ee.jpg 1000w," sizes="100vw">作為建築界的未來棟樑，6位建築師對城市當然有著與前人不一樣的概念， 「當種籽仍未發芽時，是多麼微不足道。然而只要悉心栽種，即使顆粒再微小，亦能破土而出，抵禦風雨茁壯成長。」雙年展其中一位策展人──美國註冊建築師梅馥曼（Fei Mui）指出，種籽就好比民間力量，是生命的根源，這次「集籽種城」展覽就如開啟了一個種籽庫，「集合民間別具韌性的種籽，並將它們放於陽光下，讓大家更清楚看見，見證及推動著彼此成長。」Fei形容每顆種籽形狀各異，卻都是始於以人為本的關係，「我們6位正是依著這個單純的信念，一起摸索我城未來的發展方向，譜寫屬於當代的香港故事。」貫徹「集籽種城」主題概念，今屆雙年展囊括逾50個參展單位，匯聚本地及海外多個具代表性的建築設計精英。在這艱難時期下，共同探索社會上不同的元素，從城市探討，到建築及建構環境議題，「種」出和而不同、令彼此平衡共生的可持續城市發展藍圖。凝聚小種籽 耕耘大力量 今屆雙年展舉辦日期由8月27日至11月26日，並分兩階段進行，有別於已往集中一個展覽場地的概念，6位新晉策展人特意挑選了多個公共空間作展場，貫徹凝聚力量的概念，「建築與設計影響著人文活動，現今人人談可持續發展，然而矛盾的，是舉辦展覽的過程無可避免增加碳足印。」大眾常以為展覽衍生的最大污染源，必定是場地佈置與大量宣傳物品，然而更龐大的污染，原來是源自交通工具的碳排放。「以往展覽傾向於單一場地舉行，若場地偏遠，市民前往展館產生的交通碳排放才是最大污染源頭。亦因如此，我們今年選址多個公共空間，包括北角（東）渡輪碼頭、中環街市、中環及尖沙咀天星碼頭，除表達凝聚民間力量『集籽種城』的去中心化概念，更想好好運用多個空置已久或不被重用的公共空間。」Fei補充道。刻意挑選那些曾經人來人往的地點如碼頭、天台酒吧等作展場，期望讓場地回復「人氣」，亦讓參觀者喚起那些年的人文日常故事，重新築起失落了的記憶。「除此之外，我們亦希望透過分散的展場，讓市民在參觀展覽時可多步行，或乘搭公共交通工具。例如在看過北角的展覽後，坐電車到中環街市繼續下一站，再步行到中環碼頭另一展場，最後乘船過海觀賞尖沙咀天星碼頭的展覽。無論是對城市或對個人，亦是一種可持續的實踐。」隨著全球氣候問題日益嚴重，日常生活每個範疇都開始談可持續性。然而對Fei來說，可持續性並非一種選擇，而是一切的基本。Fei指，建築物是全球最大的碳排放源，約佔總排放量的 40%。為了令建築更可持續，她除了取得美國綠色建築協會LEED （Leadership in Energy and Environmental Design）以及WELL（WELL Building Standard）綠建專才認證之外，在舉辧展覽時亦搞盡腦汁，務求切合可持續概念，「要達到可持續，毋疑令金錢與時間支出大增，對我們6位有正職的新人來說，既缺資金亦沒人脈網絡，確實是捨易取難的決定。分散展場除了在執行上的困難之外，選用預製的可重用組件，如竹枝及鋼材作展覽物料，取代度身定造的單次使用木材，亦令辦展難度倍增。」Fei坦言首次策展已經面對很多前所未遇的挑戰，加之可持續的堅持，令工作量大增，然而即使大半年來……繼續閱讀訪問全文：<a href="https://jes-network.com/blogs/Fei-Mui-UABB2022-curator-KPF-Architect-female-hong-kong">集籽深耕 探索城市韌性 │ 梅馥曼 @JES Network&nbsp;</a>&nbsp;

集籽深耕 探索城市韌性 │ 梅馥曼

鉛筆，一件讓眾多建築師愛恨交纏的工具。它感性，筆尖不經意就能把情緒透露。
它輕巧又純粹，相信到現時俄羅斯的太空穿梭機內還一直被重用*。然而，它卻讓人苦惱，筆尖脆弱、容易弄髒畫面，最難過的，是它無常；墨水滲入紙張能站穩腳，但鉛筆只能在運行路徑中擦上痕跡。於是鉛筆的無常就像對抗著建築的本質 — 常在，如古羅馬建築師維特魯威 (Vitruvius) 說，建築是基於永恆的精神。
自從現代的建築師們遇上電腦繪圖工具，鉛筆築圖對於他們來說，像有點天荒夜談。而鉛筆的使用，在工作效率和時代上也像過了時，也因為鉛筆築圖需要更多的耐力和專注，於是在行內漸漸被淘汰。可以說，我有一半的建築系一年級新生，從沒有抓起筆杆繪製建築圖。
作為一件日常書寫工具，鉛筆跟紙紋那帶浪漫的觸感，力量輕重能形成深淺交錯、抒發性的線條，是它能獨善其身的特點，這些也讓我們不能推翻它的存在價值。另鉛筆築圖雖然要投入更多的耐力和專注，正是這樣，理應是每一位建築師的必修基本課。
因此，這是我的建築系一年級學生都會經歷的第一份功課，媒介：鉛筆與紙。
主題是鳥與城市的軌跡。
觀鳥，它們飛，於是想像我們也能飛。
我們想飛，於是先得觀察是怎樣的構造讓鳥飛。
觀城，它的恆常與和諧，讓我們也想像能參與建城。
我們想建城，於是先得觀察空間是如何被定義和被建立。
* 引用自一個笑話，60年代在蘇聯和美國太空競賽中，美國人花了數百萬美元，為開發一種在無重狀態下能使用的走珠筆。然而蘇聯人是怎樣解決於太空寫字的問題呢？蘇聯人若無其事的說：「我們的太空人用鉛筆。」
Text: Manfred Yuen

與鉛墨的似水年華

關紹怡&nbsp; 
建築師/劉榮廣伍振民建築師事務所董事
畢業於香港中文大學建築學系，於2005年加入劉榮廣伍振民建築師事務所（香港）有限公司（DLN）任合組人，並於2015年晉升為創意團隊的董事，為該公司最年輕的董事。曾參與項目包括中國瀋陽新世界中心、台北文化體育商業園、香港西九公園項目及中國外交部駐香港特派員官邸等。現於香港建築師學會及香港綠色建築議會分別擔當理事。與建築師丈夫育有3歲兒子及快1歲女兒。
&nbsp;
正如關紹怡說，建築師這個傳統行業總給人古老的感覺，即使她自己也覺得太多人忽略了建築與人的互動關係。作為行內較年輕的管理層，她希望令建築業加入更具活力的元素，新的建築工程成為社區上的藝術品，而她自己也可跟家人享受建築帶來的human touch。
訪問令我印象最深刻的是關紹怡的一句話，「我從來不認為工作是我的負擔，即使挺著肚子到處飛，到現在為了爭取時間照顧兒女而坐晨早機或凌晨機，也是我的選擇，我從不會抱怨，因工作已是我人生的一部分。」像關紹怡這樣直率自信，卻一點也不令人覺突兀，可見她的領袖魅力，而她也實在令人艷羨。 
作為一位70後，關紹怡認為自己的故事說來普通，但她的成就引證了「成功在我手」。自小讀書優異，大學選科隨心所欲，最後因為美術科老師的啟蒙選擇修讀建築。大學畢業做過兩份工，然後加入劉榮廣伍振民建築師事務所(DLN)，好公司加上好老闆，一做十年，期間展示實力扶搖直上，成為華資大建築師樓的最年輕董事。此外，更積極回饋社會，加入香港建築師學會，同是最年輕的理事。工作以外家庭美滿，與大學時期相識的建築師丈夫育有一子一女，家住九龍站上蓋物業，近年參與香港西九文化區西九公園項目，期望項目建成後可與子女享受成果。
幸福的寫照 
短短幾百字已可濃縮關紹怡的成就，有事業、有家庭，是幸福女人的寫照。但實情地一項一項地拆解，還是老掉牙一句「目標要清晰」。她說：「我是文科出身，自小愛畫畫，想過當藝術家但家人卻有反對聲音。我明白到做一份工作必須是要享受的;老師建議我修讀建築，既可以畫東西也可以與人溝通，很適合我。其實除了計算方面要有基本知識，建築最重要是有美感，才可融入社區成有連繫的藝術品。」此外她從不因循舊有一套，「我present的時候，會隨心地面帶笑容，結果不少人都說我是最好笑容的建築師。」&nbsp;

關紹怡坦言，這些年間有過不少獵頭公司向她招手，但她未曾動搖。「公司的結構是平行式的，不是倒金字塔的一言堂，不同階層的同事都可以隨時與部門主管溝通，發揮機會多。而且公司著重員工的家庭生活，加班與否是員工的選擇，彼此相信。」

另一個原因是建築行業不能短視，「或許有人以為10年不轉工是因為古板，但實情是建築工程花十年、八年才完成是等閒事，少一點耐性也不行。」由她擔綱的幾個大型項目，例如內地的瀋陽會展項目，做到第10年才見雛型，要近13、14年才能完成，還有台灣大巨蛋、香港西九，項目至少十年時間完成，她反而享受期間的挑戰，當然令她堅守崗位的還包括公司賦予的機會。「坦白說，在香港做建築師，如果只做房地產設計，局限很大，但我們公司的服務範疇較廣，所以我以自己的工作為傲，常笑說我們的創作包含了人的一生，由出生的醫院、工作的商廈，到日常生活的公園，都一手包辦。」
耐性與耐力 
當然，能夠成為DLN內最年輕的董事，她的體內也是包括了成功基因：樂觀正面。「坦白說，如果我有事情想做的，我會第一時間完成，想做就做，不會令自己感到遺憾。如果真的要用一句話來形容，就是『全力以赴』，這句基本是我人生的口號。」談到人生低潮，她承認自己也曾受到考驗，覺得是否應繼續在行內發展。「工作了3、4年，發現建築一幢樓是需要很長時間，大部分時間是等待，對著那些圖則跟工程師、結構師、業主等，感覺跟讀書時有很大的落差，絕對是意志力和耐力的考驗。當時也想是否轉行做教師好，但到最後我還是不低頭，還沒嘗試過就放棄，這不是我的性格，所以我選擇留下。」過程中她發現「自信」很重要，「在設計上我們不是講求效率，要有美感和創意，不是快就可以解決問題，因此要相信自己的設計，再憑累積的經驗便會有更佳的判斷力。」

能坦然面對逆境與自小家庭的訓練有關，「大學之前我都是典型愛玩的人，我愛運動，拿很多獎項，但媽媽要我交出好成績，否則不可以參加課外活動。這種想得到便要付出的因果關係從小確立，我知道要玩一定要盡全力去讀書。事實上，做一個稱職的建築師也一樣，要有耐性、有彈性，在限定時間內做好手頭工作。香港建築師最大的強項是有效率和易適應，我們到不同地方都能適應到不同國家的文化。」她寄語年輕人，「人生中挫折是經常發生的，一定有逆境，要選擇去面對，亦要對自己有信心。」
當媽媽也全情投入 
事業有成，雖然已屆高齡產婦的關口，但關紹怡趕及三年抱兩，只因她不認為孩子會是她的牽絆。「公司女職員產後的流失量都比其他公司少，相信公司給予懷孕員工的支持是重要的，至今公司有3位女性管理層，比起其他則樓多。」期間她爭取到公司增設餵哺母乳需要的泵奶專用房間，「我兩個小朋友都是100%餵母乳，也多得公司的體貼。」

此外她慶幸擁有健康的身體，「我從沒受懷孕影響，懷孕時仍到處公幹，也沒有因而減少工作量，晉升也不受影響。」她去年獲升任為公司董事，正是生下第二胎之後。「公司以外，丈夫也是我的支柱，他與我是同行，所以非常明白我。其實我倆服務的公司是競爭對手，但我們不會讓公事傷害感情，雙方的信任可以維繫到家庭。雖然工時長、又要公幹、去地盤，但我們從不愛將照顧孩子的責任交給傭人。我堅持，每日會有3小時與小朋友相處，每天也會趕回家幫孩子洗澡，我認為這種付出孩子是看到的。」

作為一位建築師媽媽，關紹怡希望能為下一代努力，「建築設計應以保留原有環境、盡量不去破壞為目標，讓建築融入大自然。我住在九龍站上蓋，所以好希望可以做到最好，約3、4年後可供大眾市民一個休憩空間，也讓我的小朋友有更大的空間活動。我們經常羨慕外國的公園，現在我希望做好園林設計，不只是做一個綠化空間，更可用一群建築物去創造另一個社會文化，這是我未來的新目標。」&nbsp;
Text: Wincy Chan &nbsp; &nbsp; &nbsp;Photo: Raymond Chan
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