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Luis Callejas, professor, Institute of Urbanism and Landscape Architecture, The Oslo School of Architecture and design (AHO)
EXHIBITION DESIGN: Norway was invited to be the Guest of Honour country at the international children’s book fair (La Fiera del Libro per Ragazzi), held for the 63rd time in Bologna, Italy, in April 2026.
This meant extra space in the large exhibition hall, and a rare opportunity to present the very best of Norwegian children’s book illustration to a demanding international audience of publishing professionals.
“We wanted to create an experiential space for visitors at the world’s most important professional fair for children’s books,” says Margit Walsø, director of NORLA (Norwegian Literature Abroad), whose mission is to promote Norwegian literature internationally.
A professional jury selected a total of 130 illustrations from books and comics published over the past ten years to be exhibited in Bologna, created by 49 illustrators.
But how could these illustrations be displayed in a way that would attract maximum attention in a fair with around 1,540 exhibitors from more than 90 countries?
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A New Way of Displaying Artwork
NORLA invited proposals for the best way to present the illustrations within an exhibition space of 250–300 square meters.
“Exhibition design is just as important as the content itself in shaping the visitor experience. We wanted to create a space that stood apart within the fairgrounds — something that would draw people in,” says Walsø.
The architecture firm LCLA Office, with partners Charlotte Hansson and Luis Callejas, was selected to design the exhibition for the Norwegian showcase of children’s book illustrations.
“They had a clear idea of presenting the artworks the way they are experienced in books — laid flat rather than hung on walls. The illustrations were placed in illuminated tables, arranged in a striking geometric composition,” Walsø explains.
A Spaceship in Bologna
Luis Callejas is a professor at the Oslo School of Architecture and Design (AHO).
He explains that the project was in part inspired by the architecture of the Bologna fairgrounds, a collection of futuristic buildings that started with the original plan designed by the internationally renowned Japanese architect Kenzo Tange.
“We wanted to establish a connection to the futuristic city of Bologna and to the quirky architecture of the fairgrounds, rather than the historic city. In that sense, the exhibition design takes on a futuristic character — almost like entering a spaceship,” says Callejas.
What are the criteria for creating a successful exhibition design?
“You need to depart from the content being presented. The exhibition had to elevate these beautiful illustrations in a serious manner. At the same time, you must understand the audience, which in this case is not children, but publishers and industry professionals. In short, we wanted to create something beautiful and unique that respected both the content and the audience, in this case connecting it to the exterior architecture, which is something rarely done when working in fair grounds. Callejas explains.
What possible synergies exist between teaching, practice and artistic research?
“I teach master’s students in design studios. The studio environment, unlike a lab or a lecture hall, is a simulation of practice through concrete and situated projects. At the same time, one would expect that, at the master’s level, the studio maintains a clear connection to the teacher’s research. To teach effectively in a master’s studio, one should be engaged, in parallel, in work similar to what one asks students to do.
It is also a matter of techniques. One sometimes develops techniques in practice and then tests their limits with students who are unconstrained by the realities of practice. The difference between teaching at the master’s and bachelor’s levels is that, at the former, one should develop techniques, not merely transmit them. Practice and research are where new techniques are developed”.
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Clearly grounded in knowledge
NORLA director Margit Walsø is enthusiastic about how the exhibition functioned within the fair hall.
“It became an incredibly beautiful, eye-catching and eloquent exhibition of some of the finest Norwegian children’s book illustration,” Walsø states.
The exhibition became a crowd magnet, attracting large numbers of visitors who gathered around the installation.
“It was fascinating to see how they developed a completely new way of presenting illustrations,” says the NORLA director.
To what extent do you feel LCLA’s academic grounding is reflected in the exhibition design?
“The solution is extremely thoughtful and clearly rooted in architectural knowledge. The spatial competence demonstrated in the project truly elevates it,” Walsø concludes.
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