Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
Question/ problem: Is Scandinavian design considered a misconception or reality and what fundamental impact does this have today? Introduction Scandinavian countries have existed and dominated the realm of international design creating a powerful influence for around sixty years. Accumulating an influx of Scandinavian embellished products with they have captivated people across the world initiating and nurturing a democratic approach in design delving into a social ideal enhancing the quality of life through functional and affordable items and technology. Since its birth in 1920’s Scandinavian design only started gaining recognition becoming widely accepted in the 1950’s (Sommar,2003) transforming into a mid-twentieth century phenomenon typically referred to as the ‘golden age’ Scandinavia conjured a creative outpour of design icons using advanced technology they had a realistic gaze on the human condition. Originating from the Bauhaus Scandinavian design made functionalism prominent providing modern goods that were accessible and humane. Where they would often employ organic and natural forms into their endeavour seeking truth through wood and glass. (Nelson and Cabra, 2004, Pg.15) In a secluded market an appreciation for well refined design advocated by Scandinavian crusaders encouraged a shared vision welding craftsmanship and mass production together to produce premium goods for everyone and anyone. Lasting for around up to a decade the philosophies of the golden age were, functionality, modesty, equality and beauty. ‘But is there still such a thing as Scandinavian design?’ (Nelson and Cabra, 2004, Pg.15) This a common issue raised amongst Scandinavian designers, curators, policy makers and entrepuneurs in an ever growing global marketplace. This is one of the most fundamental arguments currently to date and in this essay I will be exploring this issue whether this is a misconception left behind used as a marketing tool or if this is still exists in reality today accompanied by marketing a Scandinavian lifestyle and how they combine function and aesthetics to sell a functional lifestyle. Scandinavian design can be found in many examples however for the purpose of this essay I will narrow the focus on homeware and furniture to condense it down. Main body Before I delve into this essay I will briefly explain Scandinavia, the term it is and how this is linked to modernism. Scandinavia can be a dubious term interchangeable with the word Nordic introduced at the end of cold war although it usually consists of Norway, Sweden and Denmark occasionally Finland and Iceland. It can be described as a ‘patchwork of northern European states’ that configure a cultural identity, each country possess a unique characteristic that reflects the nature of their environment. (Fiell and Fiell, 2002 Pg.8) The concept of Scandinavian design however highlights a prevailing design history and innate understanding of shared values. The phrase is around fifty years old as a response from the Nordic governments to regions economic and political disputes of the post war. (Nelson and Cabra, 2004) (Halén and Wickman, 2003) The term design in Scandinavia is illustrated as fairly minimal drawn with clean lines and highly functional. It’s valid without the need of excess only needing what is required. Survival is essential in the north to function and this formed the basis of design prematurely. (Eyþórsdóttir, 2011) The subtle qualities stemmed at the beginning of the twentieth century art movements. The simple lines that derived from this gave this aesthetic its elegance ‘The concept of “beautiful things that make your life better” was highly regarded.’ (Eyþórsdóttir, 2011) (Fiell and Fiell, 2002) Scandinavian design is mentioned as democratic design because it appeals to the masses making products accessible and affordable. This ideology came from the Swedish Society of industrial design. By associating this it advocated design to the general
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
public that they could enjoy and easily access. With the social changes going on in Europe this had a massive impact stripping away the beauty to make them easier to use. This was seen as inspiring and the importance on the concept of balance was identified initially by Scandinavians and upheld since. (Eyþórsdóttir, 2011) ‘Modernism posed formidable challenges for the crafts’ (Weston, 1996, Pg.180) Modernist movement was divided into two phases, the first was a set of ideas ‘a vision of how the designed world could transform human consciousness and improve material conditions. These ideas were expressed physically through manifestos, hundreds of prototypes and a handful of realised objects and buildings.’ (Greenhalgh, Pg.3) The other phase was ‘less of an idea than a style and a technology; a discourse concerned principally with the appearance of things and with their manufacture. It expressed far more widely than first phase, in thousands of buildings and millions of objects.’ (Greenhalgh, Pg.3) Regarded as an international style it became more fruitful in Scandinavia compared to the rest of Europe. Industrialisation occurred later on in Nordic countries. They had left over copious amounts of natural materials in particular wood and a strong culture filled with craft traditions unlike England where their interests lied in revival of self-conscious. ‘It was undeniably modern, but not quite modernist’ (Weston, 1996, Pg.182) this style was referred to as ‘Swedish grace’ in decorative arts and ‘Nordic classicism’ in architecture. It was highly applauded at the Paris Exhibition Arts in 1925. (Weston, 1996) Scandinavian design travelled globally, several exhibitions were held throughout Europe and North America. The breakthrough of modernism came from the first showcase at the Stockholm exhibition in 1930, (Weston, 1996) artists and companies showcased their freshest designs the concept of functionalism blossomed. Another exhibit of the Arts of Denmark exhibition took place at the New York’s metropolitan Museum of Arts. (Eyþórsdóttir, 2011) This exhibition was incredibly successful. Alvar Aalto described it as ‘a whole new kind of joy’ (Weston, 1996, Pg.184) presenting a charming vision of the modern life. Aesthetically they were considered dull and dreary however much appreciated in Britain. (Weston, 1996) The term ‘Scandinavian design’ derives from a design show that travelled around the US and Canada from 1954 to 1957. (Flickr - Photo Sharing!, 2016) Advertising the ‘Scandinavian way of living,’ exhibiting an array of works done by Nordic designers establishing a meaning of the term that continues to exist today which is ‘beautiful, simple, clean designs, inspired by nature and the northern climate, accessible and available to all, with an emphasis on enjoying the domestic environment.’ Exhibitions like this play an important aspect in broadly communicating Scandinavian design inspiring the development of modernism in North America and Europe in many instances. (Eyþórsdóttir, 2011) This style had progressed for decades around that stage and was mainly influenced by art and design in Europe. It synthesized the emerging trends at the turn of the century following clean shapes and traditions in Scandinavia. (Eyþórsdóttir, 2011) In 1933 Aalto made use of the mass amount of left over birch and exhibited oversea at Fortnum and Mason reviewed by Architectural review as ‘cheap and seemingly furniture, light and easy to move.’ ‘The work of Aalto and other designers in the 1930s built the foundations for Finland’s internationally acclaimed design 1950’s playing a significant role in establishing the perpetuating style of Scandinavian modern style which can be found in the Ikea catalogue. Aalto’s decision to choose wood was pragmatic and ideological something he thought was human presenting rootless international design. (Weston, 1996) ‘Harmony and beauty were the key elements’ of Nordic design in the 1950s particularly apparent within homeware and combined with furniture holistically shaped the heart of Scandinavian style consequently hatching aesthetically pleasing and understated designs implying a certain lifestyle. This visual signature was inherent in many facets of homeware such as ceramics, serving dishes and spice jars elegantly designed they were unobtrusive, natural and textured complimenting modern furniture fabricated with psychedelic materials, stylish silver and stainless steel, creative organic glass designs and the saturated production of dinner services both practical and a vision with extravagant décor. Everything involved fundamentally
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
contributed to the Scandinavian image maintaining civilised customs available to everyone in a perpetual state. (Sommar,2003) An artefact that illustrates homeware and embodies the principles of this is Tapio Wirkkala (1915-85) birch plywood bowl. It is explicit that nature’s resources and the vast environment of nature have been great amounts of inspiration for Scandinavian designers. An important aspect of this bowl is the natural shapes and forms that infuse with urban environments. (Sommar,2003) Homeware in Scandinavia is still identified by practicality and simplicity. The beautiful crookery and utensils can just about exist anywhere as they emit coolness. For instance shiny sauce pans and stainless steel cocktail equipment are just some of many highly rated in current Scandinavian design and they succeed in separating the low cost factor. These collections depict a sense of well-versed city life scarcely reminiscent of the traditional Nordic welfare state. (Sommar,2003) ‘Detailed, craftsmanship, impeccable functionality and the democratic’ strong morals for Nordic furniture, invented between the 1930s and 1950s. This was down to endless experimentation, which is still admired today. Although with this comes the difficultly of knowing whether Scandinavian furniture is half a century old or brand new fresh from the latest Nordic furniture exhibition. (Sommar,2003. Pg 78) ‘Furniture is deeply rooted in human condition’ a social science that belongs to society. It is an art applied concluded from several fields of design and tactile truth heavily relying on a substantial amount of knowledge of materials and fabrication making it holistic and all-encompassing field of practice. (Postell, 2007, Pg 1) Modern wood is utilised as a tradition for furniture, which can take several approaches. This lasted for a long period until the 1920s. Danish folk had a strong idiosyncratic tradition in carpentry modernised by designers such as Kaare Klint and Hans J Wegner. It was important for them to make the best use of materials and enhance their qualities. Combining influences that was meant for their materials and studying functionality proceeded to new orderly design. After building this foundation there aim was to build ‘timeless, highly functional furniture.’ (Sommar,2003. Pg.79) Simultaneously in Finland, designer Alvar Aalto experimentation had a different beginning. At the starting point of the 1920s Aalto acquired the principles of modernism into his practice alongside architecture became interested in the model of everyday objects. In terms of furniture his goal was to replace the well-established experiments with tubular steel made by pioneers, Marcel Breuer and Mies Van der Rohe with furniture built entirely out of wood, primarily Finnish birch in the form of whole sheets and laminated or bent plywood. These ambitions where achieved through a collection of designed stools, tables, and armchairs using light blonde wood. (Sommar,2003) Breuer and Van der Rohe were Danish designers that played significant roles in the evolution of the modern tubular steel tradition. A renowned example is the Ant chair highlighting Arne Jaconsen integration of industrial tubular steel and body hugging designs. Ranging from a seat shaped with laminated wood to a plethora of organic designs such as Swan and egg arm chairs. Prior to this he has when through trials and tribulations testing with foam and plastic whereas nowadays technology is used to aid designers. (Sommar,2003) The boundless characteristics of these materials was interpreted by another Danish pioneer, Verner Panton and his Panton chair in the 1960s. His designs were meant to give the illusion that they had been poured or kneaded as opposed to being built inspired fellow designers across the globe. During the 60s Scandinavians and Italians worked together developing colourful and playful plastic furniture. Furthermore Eero Arnio, Eliel Saarinen whom mainly worked with American designers Charles and Ray Eames and Yrjö Kukkapuro. In the 1960s in reign of pop culture plastic furniture was titled after low cultural contexts, sweet shops and fairgrounds. (Sommar,2003)
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
This rebellion has been kept alive to present day. Today’s young designers sought after un tested materials. It seems generating furniture has become more about being individual and not as socially engaging as it was previously in the past. ‘Trends come and go, but links to society are still there if you look for them.’ For instance big cities are slowly increasing the need for meeting places. Current designers are only want to work within smaller commercial spaces. In Scandinavia, libraries, cultural centres, airports, theatres, restaurants, museums and market places have greater importance acting not only as a common areas but also inspiration for new furniture. The lounge has turned into a semi-public median, where every single piece of furniture has its place and the border between old traditions and new functions are removed so that it resembles a landscape filled with hidden opportunities and ideas to do with function. (Sommar,2003) Considered the immortal forerunners here are examples of furniture designed by the previously mentioned to illustrate the key aspects of furniture. In the twentieth century furniture design had only caught up in the 1930s with Finnish architect Alvar Aalto. In response to austerity Aino Aalto and Alvar Aalto designed inexpensive glassware and furniture for the home market. During the 1930s Aalto provided a necessary re interpretation of the modern movement functionalism taking a holistic and humano-centric approach rejecting the tough aesthetic of the Bauhaus by integrating organic forms and natural materials into his revolutionary and very practical designs. He hoped by doing so that this would achieve greater physical and psychological connections between artefacts and users. Exposing the spiritual harmony Finnish designers have with the organic world. Aaltos work would often reflect the Finnish landscape. Expressing nature in an abstract sense and humanising designs produced one of the key philosophical foundations for Scandinavian design that has evolved and prospered since. (Fiell and Fiell, 2002) ‘Scandinavian marketing involves little more than promoting designs which are developed according and appropriate to the needs of the consumer. They aren’t intent on “selling” new design concepts to consumers. Scandinavian designers pride themselves on only creating functional, durable and cost- efficient products and goods. If people need something, they will buy it. If they don’t [need it], it doesn’t exist on the market to begin with.’ (Eyþórsdóttir, 2011) FIG 1 IKEA sign
A well-known example that most would associate with Scandinavian design is IKEA ‘Democratic design is all about making well-designed functional furniture that everyone can afford,’ Ikea catalogue from 1999. One of the founding principles that is applied to the items they sell. On the other side of the yellow and blue banner, national colours of Sweden, Ikea has acclaimed recognition with their design language a friendly play on modern design. They have produced practical products at economical prices available to everyone ranging from children to conscious consumers. Ikea has been incredibly successful enabling people to assemble there furniture at home. ‘IKEA’s inclusive design philosophy guarantees that no child is left behind. The PS collection from 2003 explored the notion of play in a line of furniture for kids’ (Nelson and Cabra, 2004, Pg.63)
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
Although Ikea didn’t come up with notions of democratic design. The company catalogue is influenced by Scandinavian commitments made almost a hundred years ago. At the start of the twentieth century designers shared common ground on wanting to enhance the quality of life under the term ‘vackrare vardagsvara’ (more beautiful things for everyday use). Ikeas view on democratic design might be commercially inclined but it has come from Scandinavian traditions. Scandinavian tradition can encourage capitalism but this has happened because of social and political consequences. It has become a tool to challenge elitism breaking down social barriers and giving authority to individuals manufacturing high quality items on a mass scale.
FIG 2 Svenskt Tenn
Other current examples of Nordic furniture and homeware primarily exist in the motherland. Svenskt Tenn, this is an interior design company situated on Strandvägen in Stockholm, Sweden and founded in 1924 by Estrid Ericson, who employed Josef Frank to the company 10 years later. Together they created the elegant and boldly patterned personal interior design style that continues to flow through the collection to this day. (Svenskttenn.se, 2016) ‘Josef Frank’s vision of humane, soft modernism and Estrid Ericsson’s artistry are the foundations of Svenskt Tenn’s interior design philosophy.’ The pair created a highly personal style in combination with Viennese elegance and Swedish functionalism.Brightly coloured patterns went completely against the ideals of that time, as did shameless borrowing from both high and low cultures and eras. (Svenskttenn.se, 2016) They called it “Accidentism” or “The Happy Chances Philosophy.” (Svenskttenn.se, 2016) In 1958 Frank stated “There’s nothing wrong with mixing old and new, with combining different furniture styles, colours and patterns. Anything that is in your taste will automatically fuse to form an entire relaxing environment. A home
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
does not need to be planned down to the smallest detail or contrived; it should be an amalgamation of the things that the owner loves and feels at home with.” (Svenskttenn.se, 2016) Furthermore it has become apparent that these notions can still be applied today that many are against. Fig 3 hay store
Hay is another example founded in 2002 the company launched its first furniture collection at the international furniture fair IMM in Cologne. Over the past decade they have pursued in creating durable quality furniture at affordable prices allowing many people as possible to enjoy their designs. (Hay.dk, 2016) They have taken inspiration from the Danish modern period ‘where quality, craftsmanship and humanistic design put Denmark on the global map, and we look with excitement to the future as we explore the current possibilities inherent in new technologies, new materials and new ways of living with furniture. Our world is constantly changing, and our habits and our need for flexibility change with them.’ (Hay.dk, 2016) They consider their main principal to find functional answers translated into genuine products with a lifelong span and democratic design ‘At the heart of everything that HAY does is the notion that contemporary design should spring from a good idea, innovative technology and quality materials in combination with joyful, straightforward and uncomplicated aesthetics.’ (Hay.dk, 2016) Conclusion Overall since the 1950’s it seems that the ‘underlying humanism and essentialism of Scandinavian design continue to embody the fundamental Nordic beliefs in social democratic liberalism’ (Fiell and Fiell, 2002 Pg.18) ‘During the flowering of post modernism in the 1970s and 1980s it fell out of focus. By the early 1990s, however it made a comeback. (Halén and Wickman, 2003, Pg.7) It seems that companies such as IKEA, Svenskt Tenn and Hay all aim to provide functional furniture and homeware without compromising the cost of aesthetics keeping this alive and present. It is significant from Weston, Ikea and Fiell that the idea of beautiful everyday objects implies a certain lifestyle that people can be used to enhance lives. In addition Fiell and Fiell, Eyþórsdóttir and Sommar highlight that Scandinavian design takes inspiration from their surroundings inspired by nature emphasising natural shapes and forms amongst the Nordic environment demonstrating this organic world that ‘perpetuates the internationally recognised
Amy Choi BA Illustration Level 5 OUIL501 COP2 Studio brief 1
phenomenon of Scandinavian design. With the increasing complexities and acceleration of modern life, continues to offer a haven of timeless simplicity that provides both physical comfort and emotional calm. Spurred on by the pursuit of the social ideal and tangible realisations of the five countries shared utopian dream.’ (Fiell and Fiell, 2002 Pg.18)
Bibliography Academic sources Fiell, C. and Fiell, P. (2002). Scandinavian design. Kö ln: Taschen. Greenhalgh, Paul. Modernism In Design. London: Reaktion Books, 1990. Print. Halén, W. and Wickman, K. (2003). Scandinavian design beyond the myth. Stockholm: Arvinius. Nelson, K. and Cabra, R. (2004). New Scandinavian design. San Francisco: Chronicle Books. Postell, J. (2007). Furniture design. Hoboken, N.J.: John Wiley & Sons. Sommar, I. (2003). Scandinavian style. London: Carlton. Weston, R. (1996). Modernism. London: Phaidon. Websites Eyþórsdóttir, K. (2011). The Story Of Scandinavian Design: Combining Function and Aesthetics – Smashing Magazine. [online] Smashing Magazine. Available at: https://www.smashingmagazine.com/2011/06/the-storyof-scandinavian-design-combining-function-and-aesthetics/ [Accessed 1 Feb. 2016]. Flickr - Photo Sharing!, (2016). Design in Scandinavia (1954). [online] Available at: https://www.flickr.com/photos/ad_symphoniam/sets/72157624942545966 [Accessed 1 Feb. 2016]. FIG 1. Ikea.com. (2016). Furniture | Affordable Swedish Design - IKEA. [online] Available at: http://www.ikea.com/gb/en/ [Accessed 22 Mar. 2016]. FIG 3. Hay.dk, (2016). HAY. [online] Available at: http://hay.dk/#/site/about/profile [Accessed 1 Feb. 2016]. FIG 2. Svenskttenn.se, (2016). Home | Svenskt Tenn. [online] Available at: http://www.svenskttenn.se/enus/default.aspx [Accessed 31 Jan. 2016]. The Fox Is Black, (2012). 10 Amazing Design Shops in Stockholm, Helsinki and Copenhagen. [online] Available at: http://thefoxisblack.com/2012/10/22/10-amazing-design-shops-in-stockholm-helsinki-and-copenhagen/ [Accessed 1 Feb. 2016].