Shared Ground
is a spatial investigation into coexistence, developed for Interior Food Ecologies, exploring who inhabits the unprogrammed margins of Brooklyn's Prospect Park. The project maps four groups that occupy the park's southern edge without acknowledging one another: rats, gay cruisers, BBQ gatherers and families. Rather than designing them apart, the work proposes a catalog of architectural elements that hold them in shared proximity. A canopy of hemp fabric stretched between trees and metal poles collects falling leaves until it decomposes, collapses, and leaves behind a skeleton for new shelter, a design that accounts for its own transformation rather than fixing the site. Glass walls misted by a fine spray of water act as both screening and props for watching, leaning, and waiting. A metal-sheet fountain rises from the ground, releasing mist into a small pool that any visitor, rat, bird, dog, or human can drink from and share. There is no single intended use of these spaces: each element offers a condition and then steps back. My role spanned research and mapping, concept development, fabrication drawings, and the visual diagrams documenting each site and element.SKÄRHOLMEN LIBRARY
In collaboration with Elin Persson we renovated a 7,534 sq ft. public library for our client: Stockholm City Cultural Administration located in a marginalized community we aimed to have sustainability and inclusivity at the heart of every decision. A curated mix of flooring materials, colours, and curtain walls creates a diverse spatial sequence with dedicated areas for different needs and ages. The children’s section received particular attention. Guided by children’s own visions, the design invites play and imagination. Low shelving and child-scaled furniture encourage parents to experience the space from a child’s perspective. Built-in reading caves, podium, and curtain portal frame the section as a world of its own. Sustainability was central throughout — 98% of all furniture was reused or upcycled, reinforcing the environmental responsibility inherent to public design.BÄNK
Bench in solid ash, shaped through intuitive assembly and traditional joinery. This pice was developed through an intuitive making process: starting from a pile of planks, the form was assembled from imagination rather than a fixed drawing. Where material and void meet, space becomes as deliberate as the object itself, resulting in a composition that reads as both spontaneous and carefully crafted.ACE
A R C T I C C E N T E R O F E N E R G YArctic Center of Energy (ACE) — Skellefteå, Sweden. In collaboration with Johanna Moe and LINK arkitektur. ACE Powerhouse is a 64,583 sq ft timber-structure building currently under construction in Skellefteå, northern Sweden — designed to become a hub for green science and research on sustainable energy. The interior concept mirrors the building’s environmental ambition through a commitment to sourcing up to 100% reused and locally salvaged materials. A continuous, colourful backdrop running through corridors and staircases forms the green heart of the building — a flexible canvas that reflects the focus on sustainable energy while embracing the unpredictability of a material-driven design process. Local sourcing was central throughout. As one example, the terrazzo flooring in the main entrance and restaurant was cast using porcelain from a decommissioned local hospital — giving discarded material new life within a civic landmark. The project systematically worked to minimise climate impact through conscious material choices, reuse, and the exposed timber grid of the building itself — turning the structure into both a research environment and a living demonstration of sustainable design.
PLANKAN
Plankan explores what is possible within extreme material limitations, a functional chair constructed from a single piece of pine measuring 90 x 12 x 5 cm, without screws or mechanical fasteners, built to support a person weighing up to 220 lbs. The project became a question of how to maximize presence despite restriction, creating something solid and generous in proportion from almost nothing. The seat is constructed from vertically oriented strips of wood, a structural decision rooted in the mechanical properties of timber, orienting the grain vertically increases resistance to compression, lending the chair a dense, tactile quality. As much as the object itself, the design investigates the voids and intervals between elements: the space in between becomes a defining formal gesture.UNNATURAL NATUR
Unnatural Nature is a ritual of Belonging, a collaborative installation together with Andrea Miller, and Mark Sejourné, developed as a critical response to the university’s lack of dedicated spaces for rest and sensory recovery. The work takes the form as a guided 15-minute spatial ritual, designed to offer restoration within an academic environment that rarely permits it. The room is draped in hand-dyed fabrics, suspending any sense of predetermined direction or expectation. Lighting shifts slowly in dialogue with a layered soundscape, moving from a low drone through birdsong and soft piano, guiding participants through a meditative state while allowing complete freedom of movement throughout the space. There is no correct way to inhabit the room. This project was a multidisciplinary process where my main role was concept, fabrication drawings, visual diagrams and installation.Read more here :
https://1101071.cargo.site/
DREAM SAPCE
Dream Space is a research-based participatory tent for reflection where dreams and experiences are stitched into a shared inner landscapeDream Space explores dreams as fragments of experience that intertwine over time. Created as a textile tent turned inside out, it offers a contemplative environment for sorting memories, influences, and emotions rather than escaping the world. Drawing on Jungian ideas of dreams as bridges between conscious and unconscious life, the project uses patchwork as both metaphor and method: fabric pieces become traces of lived experience, stitched into new meaning. Participants enter the space, add threads, and sew patches, contributing to an evolving collective surface. Referencing migration, vulnerability, and the symbolic weight of textile traditions, the work frames softness as strength. Like dreams, the patchwork reveals meaning through fragments, inviting reflection, connection, and shared authorship.
Isac Blücher is an interior designer working at the intersection of craft, materiality, and critical spatial thinking. His practice moves between hands-on making and public space design, rooted in the belief that the body is not just a user of space but a source of knowledge about it — how we hold things, how we stand, how we move through a room shapes what a space needs to be. He trained at Konstfack and the Glasgow School of Art, deepened his material understanding through ceramics at Capellagården, and has spent three years designing public spaces — schools, libraries, cultural institutions — where that thinking meets real constraints and real people. He is interested in how interior design can create environments with genuine identity and longevity, spaces that people feel attached to, want to care for, and return to.
Education
Parsons (The New School)
MFA Interior Design
2025 - 2027 | USA
Capellagården
Ceramic Project Year
2020 - 2021 | Sweden
Ceramic Project Year
2020 - 2021 | Sweden
Konstfack
BFA Interior Arcitecture
2016 - 2019 | Sweden
Glasgow School of Art
BFA Interior Arcitecture
2016 - 2019 | Sweden
BFA Interior exchange program
2018 - 2019 | UK
Ölands Folkhögskola Foundation Year in Design
2015 -2016 | Sweden
2015 -2016 | Sweden
Lund University
Art History and Theroy
2014 - 2015 | Sweden
Art History and Theroy
2014 - 2015 | Sweden
His work has been generously supported by grants and fellowships including the Michael Kalil Endowment for Smart Design Memorial Fellowship, the Jamie Drake Scholarship, Josef Frank Stiftelse, Parsons Scholarships, an Erasmus Scholarship, and repeated support from Estrid Ericson Stiftelse and Gålöstiftelsen.