Designing without Borders: A Glimpse into Henning Larsen’s Global Practice

Designing without borders: a glimpse into Henning Larsen’s global practice edited by Chloé Phan & Orjwan Karshah

From Copenhagen to the coastline of the Red Sea, Henning Larsen has established itself as a studio that designs with intention rooted in context, informed by research, and known for a legacy of working with light. With projects spanning diverse geographies and cultures, the firm approaches architecture as a process of understanding rather than imposing. In conversation with Louis Becker, Global Design Principal and Partner at Henning Larsen, we explore how the studio navigates cultural difference, approaches light as a design language, and cultivates a studio culture that values dialogue over hierarchy.

Global Projects Begin with Listening

Designing in unfamiliar settings often begins with a sense of uncertainty. As Becker reflects, “Each location has its own logic. What works in Copenhagen won’t necessarily work in Italy or the Middle East.” Rather than relying on assumptions, the process is rooted in openness, dialogue, and the willingness to observe before acting.

The studio’s first step is gathering the team’s insights in a pinup session. If a project requires deeper cultural or social understanding, social scientists are brought in. For projects with significant cultural differences, local consultants are invited into the process from the start. “We all bring different perspectives,” Becker explains. “But instead of accepting the first or second idea, we often arrive at something altogether different—something born from collaboration.”

This cross-cultural process is not about compromise but about building shared ground that leads to solutions neither side could have reached alone.

Jeddah Opera House: A Local Dialogue in Global Form

Among Henning Larsen’s international projects, the Jeddah Opera House stands out as a case where cultural context deeply informed architectural form. Situated on the Red Sea coast of Saudi Arabia, the studio faced a project very different from those encountered in Europe.

“In Jeddah, we had to let go of everything we thought we knew,” says Becker. “We weren’t exporting architecture or culture. We were entering a local dialogue and trying to understand it in our own way.”

This meant engaging with the region’s environmental and architectural heritage. Traditional wooden elements such as Roshan and Mangour inspired a new way of interacting with light. The intense heat and strong sunlight were treated not as obstacles, but as defining elements of the spatial experience. The result is an opera house that feels rooted in place yet distinctly contemporary: a structure shaped by its context rather than imposed upon it.

Light, Form, and the Poetics of Space

The studio’s long-standing exploration of light is evident in projects past and present. Becker points to Henning Larsen’s often-quoted idea: “Each project begins as a naked mind, without a perception of space. It is light that gives it form.”

In the early days, the team built physical models and tested them under the sun on rooftops, studying how light changed throughout the day. Today, digital tools allow for precise solar simulations, even calculating the thermal value of light. But technology, Becker warns, should never replace the poetics of space.

“The best part or justification of being an architect is the poetics; otherwise, these projects would be better done by technicians,” he says.

This philosophy is visible in the Ørestad Church, where light is more than illumination: it becomes a spatial and spiritual experience. As a way of bringing nature back into our spaces, guiding the visitor not only through space but also through feeling. “These are what we were trying to convey,” Becker adds. “We know how much nature is a heartfelt thing to all humans, wherever they come from whether their connection is to desert, sea, or forest.”

Studio Culture: Leadership Through Listening

Behind the consistency of Henning Larsen’s projects lies a studio culture that values clarity of vision and openness of process. While the firm reviews each project repeatedly to ensure it holds to the original idea, the design process remains fluid.

“We’re not here to chase trends or please everyone,” Becker explains. “We focus on what we believe in and hold to that.”

Within the studio, leadership means asking questions and creating space for reflection. “I always start by asking: What do you think?” he says. “Instead of reinforcing hierarchy, we try to flatten it. Unless you do that, hierarchy will always exist and with it, missed opportunities.”

This philosophy fosters a collaborative environment where every voice contributes to the design process. The result is work that feels not only cohesive but also deeply considered.

In conclusion, Henning Larsen’s work reveals that architecture is not merely a global language, it is a local conversation held across cultures, climates, and communities. From early sketches to final construction, the firm’s process is one of listening, interpreting, and responding with care. It is a reminder that architecture embraces cultural exchange and nurtures meaningful relationships between environment and community.