Anne Beate Hovind: What if urban spaces were designed to evolve with us?

In Episode 9 of Impact Stories, Ronny Eriksson interviews Anne Beate Hovind, curator of Oslo’s renowned Future Library. With a vision stretching over a century, Anne Beate shares insights into the power of public art and its potential to shape urban landscapes, inspire trust, and foster community. She discusses the Future Library project, which invites one author per year to write a work that will remain unread until 2114. 

Through this long-term initiative, Anne Beate explores the importance of imagination, empathy, and inclusivity in city planning. Join us as we explore how art can help bridge cultures, connect generations, and inspire hope in an ever-changing world.

Transcript

Ronny Eriksson: Anne Beate, you do a multitude of things, but you are most easily defined as an urban developer who commissions and produces art in public spaces. You’re the curator of the world-renowned Future Library in Oslo, a public artwork by Scottish artist Katie Paterson that will unfold over the next 100 years. You started your career in urban planning and gradually shifted towards public art to create more meaningful urban experiences. Eventually, you became the Project Director of Art in Bjørvika, responsible for public space construction in one of Oslo’s neighborhoods. You’re also an assistant professor at the Faculty of Technology, Art, and Design in Oslo, and in 2018, you received the Oslo Municipality’s Artist Award for your work in the city.

It’s an impressive background, and I’m thrilled to have you with us today.

Anne Beate Hovind: Thank you! I’m eager to talk about this.

Ronny Eriksson: To kick off, we always start our episodes with a big “what if” question. So here’s yours: What if we entirely re-imagined spaces like libraries and neighborhoods?

Anne Beate Hovind: I love open-ended questions like this—it’s what I fight for with every artist I work with. Open briefs spark imagination, which is where true creativity and magic come to life. Public spaces, especially, need more exploratory processes instead of linear ones. These different approaches bring us to unexpected places, and I’ve seen this firsthand. One project, for instance, transformed an Oslo neighborhood around the Opera House. An art collective called Future Farmers, led by artist Amy Franceschini, imagined it as an urban farm with a community bakehouse. This project started over a decade ago, and it’s still thriving.

Ronny Eriksson: That’s amazing! Allowing unconventional ideas to flourish lets us glimpse the future. We need more spaces that encourage this. Libraries are a good example—when I was a kid, libraries were bustling social hubs. Now, in Finland at least, they’re often empty.

Anne Beate Hovind: Oh, you must see the new library in Oslo—it’s far from empty. It’s the most vibrant public space in the city, filled with people from all walks of life. It’s not a silent library but a meeting place with workshops, laughter, and interaction. This is the future of libraries—they’re coming back as community centers.

Ronny Eriksson: That sounds fantastic. If it’s already working, how can we spread that impact everywhere?

Anne Beate Hovind: It starts with making spaces welcoming and inclusive. The urban farm project, for example, is a place where people can connect without needing to share a common language. Activities like baking and farming create a shared, democratic experience. We need public spaces that aren’t static but can evolve as community needs change. This flexibility keeps spaces relevant.

Ronny Eriksson: Exactly! Spaces by the people, for the people. But getting municipalities to allow unconventional projects can be tough. Despite successful examples, pushing boundaries is often challenging.

Anne Beate Hovind: True, but I have a motto: “Make the possible, possible.” I don’t worry about the “impossible.” I believe so much is possible if we allow it. There are indeed structural and cultural barriers, but I think we also limit ourselves by doubting what’s possible. We must exercise imagination to become “futures literate” and learn how to shape the world. As Margaret Atwood, one of the Future Library authors, says, “If we can imagine a future, we can create it.”

Ronny Eriksson: That’s exactly what systemic change needs. Events like Katapult Future Fest bring together diverse voices—high-level leaders, grassroots activists, and people like you—to open up new possibilities. What sparked your work in transforming urban spaces?

Anne Beate Hovind: Seventeen years ago, I began working on the transformation of Oslo’s harbor. I was part of both construction projects and art projects, including building a hospital outside Oslo. This dual role helped me bridge art and urban development. I start every project by creating a shared vision with stakeholders. Art and innovation are similar in that they disrupt linear processes, and getting organizations to accept exploratory methods requires a foundational understanding.

For example, with the Future Library project, I didn’t reveal at first that it would last 100 years. I needed stakeholders to trust me, and gradually they did. Then I approached Oslo’s environmental director for land to plant a forest, fully expecting him to say no. But he said yes! That “why not” attitude is essential for fostering a culture of openness and serendipity.

Ronny Eriksson: Your work proves that innovation within public sectors is possible. Other cities, like Copenhagen, are taking similar strides, creating ecosystems where government, academia, and private companies collaborate. How do you see that collaboration evolving?

Anne Beate Hovind: I believe deeply in combining the linear and exploratory worlds. Urban development requires both: you need a linear approach to implement ideas, but an exploratory approach to innovate. My goal is to help projects navigate these dualities, ensuring that we know when to switch gears. During COVID, I even started a freediving company in Norway to keep myself busy. I see possibilities everywhere, but I’ve never been driven by money—just by the fun and impact.

Ronny Eriksson: That’s a truly entrepreneurial spirit—seeing opportunities and creating impact just for the joy of it. What’s next for you?

Anne Beate Hovind: Just last Sunday, we had the annual Future Library handover, so I’m still recovering! It’s a marathon, but it’s rewarding. Tomorrow, I’ll be speaking on art and placemaking at a conference, where I’m also on the board for transforming Oslo’s old airport. It’s a large-scale social sustainability project with art, community spaces, and cultural events.

Ronny Eriksson: Your approach is inspiring—a mix of practicality and visionary thinking. You’re blending linear planning with creativity to make things happen.

Anne Beate Hovind: Yes, and I think that’s the future. We need to be skilled in moving between these worlds, understanding when to use each approach.

Ronny Eriksson: As our conversation draws to a close, do you have a personal “what if” that encapsulates your philosophy?

Anne Beate Hovind: For me, it’s all about making the possible, possible. But with Future Library, I’m also constantly asking, “Why?” Why does it resonate globally? It’s universal, grounded in nature and egalitarian values. People see it as a symbol of hope and continuity across generations, something we share as humans. If we could focus more on what unites us than on our differences, we could build spaces that foster connection and shared purpose.

Ronny Eriksson: That’s a beautiful vision—creating spaces that remind people of what truly matters. It’s something we need now more than ever.

Anne Beate Hovind: Absolutely. Practical utopias give us hope, and we need to focus on creating these spaces to inspire empathy and resilience.

Ronny Eriksson: Thank you, Anne Beate, for a truly enlightening conversation. Your work is inspiring, and I’m grateful you joined us.

Anne Beate Hovind: Thank you, Ronny. It was a pleasure.