Scandinavian Design and the inclusion of customisation
Martha Hitchin
String Furniture
NICHBA
Scandinavian design is a subtly recognisable style, with features that could easily be identified by those with even the most limited knowledge of design. It is characterised by a combination of clean minimalistic forms, calming colour palettes, and natural materials. Many Scandinavian brands featured at current design expositions, such as the Stockholm Furniture & Light Fair, display this timeless style throughout their products. These defining features all lend themselves to the potential of customisability and how it can be interpreted through various finishes, without straying from classic Scandinavian form.
BorĂĽstapeter
colour Many current Scandinavian designs feature very earthy colour palettes, made up of pale greens, yellows, and browns. These vary from muted tones, to bolder shades. These are often chosen to reflect colours in nature as the design style takes inspiration from the Nordic environment. However, this does not mean that all Scandinavian products are completely void of colour. One or two monochromatic colours such as blue, which is prevalent in Scandinavian design, or brighter yellows are often used as accents, combined with a natural wood finish. Blue is known to bring down blood pressure and heart rate, and so the right shades are commonly considered to be calm and relaxing colours. Yellow can easily brighten up a dark design and is extremely eye catching even when it isn't as bold. The combination of yellow and blue is common, as the two colours create a high contrast.
ATBO
Cocoon Lounge Chair by ATBO follows both of these colour palettes, with the simple wicker frame being combined with a back of either a similar colour, or a more bold one to highlight its features. When choosing neutral colours, light tones are often favoured for designs in homes to counteract the darkness of winters.
Bouillon
materials
Grimslรถvs folkhรถgskola
There seems to be a trend of raw finishes within Scandinavian design. Metal and wood are often left unpainted and unstained, giving a degree of honesty about the manufacturing process. Other products, made from recycled and sustainable materials, are also left with an unfinished appearance. Recycled materials usually end up with a specific look, and not hiding this makes them easily identifiable, and therefore may encourage buyers who want to feel good about being more sustainable. As well as this, the process seems to be part of the appeal of a design, and takes away any potential artificial feelings. Knowing where a product came from and getting a sense of its history makes it somewhat more personal. Furthermore, while it may not be intended, leaving a product with a raw finish gives the buyer the opportunity to give it their own finish and customisation. This customisation does not just play into the physical product itself, but also the location it is used in. The style is versatile, lending itself to suit a variety of environments. The choice to give products a natural finish, links back to the reflection of the Nordic environment within the most common colour palettes of Scandinavian design. Natural finishes are a big part of Scandinavian design, and have been around for a long time, meaning as a trend it is unlikely to go out of fashion. Therefore the unfinished look means no colour to be left behind when a trend moves on.
Umage
Mixed materials Another trend within Scandinavian design appears to be mixing two or three materials in one product. This manages to remain inside the theme of simplicity as each material is left mostly untouched and uncomplicated. Most of the products that do this follow the main colour trends of keeping completely natural and grounded, or adding in a bolder highlight. This mix of materials also provides an opportunity to bring contrast into a product, by using a combination of hard and soft materials. This choice brings in an extra dimension and therefore makes a design all the more interesting. “One more look� by Umage does this well with its use of wood, metal, and leather.
KTH
Grimslรถvs folkhรถgskola
Form Scandinavian design defines itself with clean simple lines and minimalism. Despite this simplistic approach it does not appear stark, instead giving a comfortable feeling, allowed by the often warmer colour palette. The simple forms, and often lighter choice of colours can be combined with textures, bringing them life and giving them a unique identity. The textures themselves can be illusions, created through a variation in tones of a material which gives depth, or they can add tones through the subtle shadows they create. These textures draw you in and invite you to come closer, as it is not always apparent what they are from afar.
Naver
By Thornam
Maria Westerberg
Simplicity Scandinavian design seems to heavily lean on the idea that a product should have nothing excessive. To keep the simplicity, everything is there for a reason. The form and pattern of a product may also be defined by the material that is chosen. Different thicknesses and textures of materials will vastly alter the final appearance of a design. This aids the concept of making products simple and functional; if each component is driven by another, then all are necessary. Patterns actually designed into a material are not very common, with most materials being left with one solid colour, or the natural texture of the material creating a pattern itself.
The accepted rule of keeping things simple within Scandinavian design, means that whatever way a user arranges, finishes, or customises a product, it will never end up overly complicated. The prime intention of the product, to be functional and graceful, remains present however it is altered.
&Tradition
Figures list (in page order) Fig 1: String Furniture, 2020. [online]. Available at: https://stringfurniture.com/inspiration/workspace\ Fig 2: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Working Desk by Nichba Design Fig 3: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Boråstapeter stand Fig 4: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Cocoon Lounge Chair by ATBO Fig 5: Bouillon, 2020, Extra Shelf. [online]. Available at: http://www.design-bouillon.jp/works/extra-shelf-2/ Fig 6: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Grimslövs folkhögskola Fig 7: Hitchin, M. 2020. Stockholm Furniture & Light Fair, One More Look by Umage Fig 8: Hitchin, M. 2020. Stockholm Furniture & Light Fair, One More Look by Umage Fig 9: Hitchin, M. 2020. Stockholm Furniture & Light Fair, KTH Royal Institute of Technology, School of Architecture Fig 10: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Grimslövs folkhögskola Fig 11: Hitchin, M. 2020. Stockholm Furniture & Light Fair, Turning Boxes by Naver Fig 12: By Thornam, 2020, Les Fous Hooks. [online]. Available at: https://bythornam.com/product/les-foushooks/ Fig 13: Hitchin, M. 2020. Möbel Design Museum, T-Shirt Chair by Maria Westerberg Fig 14: &Tradition, 2020. [online]. Available at: https://www.andtradition.com/products/betty-tk1
References Cherry, K. 2020. The Color Psychology Of Blue. [online] Verywell Mind. Available at: https:// www.verywellmind.com/the-color-psychology-of-blue-2795815