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In the central entrance hall, a large-scale volumetric sculpture rises to dominate the space and welcome all visitors. The sculpture symbolizes the fusion of human talent, creativity, mechanics, and engineering, transforming them into pure art and introducing a strong humanistic dimension to the building from the very beginning of the visitor’s journey. The world of Volvo is the Physical representation of how important is this brand for the modern history of Swedish people. Every single detail in this building has been extremely curated. The architectural design work began around 2019 when Henning Larsen undertook the project, and the experience centre was completed and opened to the public in April 2024. In the main entrance hall.
Amid an extreme curatorial process—where every detail reflects precision, minimalism, elegance, and cultural heritage—the Dragon sculpture rises within The World of Volvo. Every millimeter was carefully considered, with curation extending far beyond aesthetics. As a powerful expression of Volvo’s philosophy and Nordic values, the responsibility was immense, as the cylindrical sculpture becomes one of the first and most defining perceptions visitors encounter upon entering the space.
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The Dragon’s body is cylindrical, creating an immediate harmony with the two elevators in the entrance hall, as they share almost the same diameter and appear as twin elements within the space. Visitors experience the full tridimensionality and volumetric presence of the sculpture throughout their journey in the hall, including the moment they enter the elevators and perceive the installation from different heights as they ascend or descend through the building. This condition was carefully considered in the content design, knowing that the sculpture would be perceived from a multidimensional, spherical range of viewpoints.
A semi-generative content distribution system was developed, allowing different narrative clips to flow organically throughout the day. The robustness of the software and its synchronization with the varying states and moments of the space proved to be a key factor in the overall system design.
The origin of any mechanical movement (including cars) is rooted in the human perception of motion—a reflection of nature and of ourselves. Machines cannot be conceived without this understanding of human movement and natural flows, and this is precisely what the sculpture expresses through its content. From the very beginning, Volvo expressed the intention for the entrance hall sculpture to primarily represent the humanization of technology. In this sense, the content was focused on volumetric, human, and aesthetic figures, where movement and synchronization are the central elements.
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