A Conversation with Kristian W Andersen Text Laura Allsop northmodern is a new kind of design fair, a platform for established and emerging design brands from around the world to exhibit their boundarypushing works. Kristian W Andersen is the director of this revolutionary platform, which takes place at the Bella Center in Ørestad, Copenhagen, around which a sustainable “design city”, Bella Quarter, is being developed. Kristian talks to Space Magazine about the philosophy of northmodern and ponders the enduring appeal of Scandinavian design.
How did northmodern originate as an idea? “Ever since I was appointed as director of the Copenhagen International Fashion Fair (CIFF) five years ago, creating a platform for the furniture and design industry has been a top priority. In 2014 we felt the time was right to introduce northmodern. ‘Modern’ because we are inspired by Danish modern design, and ‘North’ to indicate our position in Europe. We started out in 2015 with a bi-annual show, and from 2017 northmodern will continue as an annual design event in May, bringing not only the whole of Copenhagen into play but functioning also as a new international Scandinavian event with global appeal.” How would you define the ethos of northmodern? “It’s a very international community. I would even say a ‘new movement’ inspired by the Danish modern movement and Copenhagen’s unique position as a top cultural destination. It’s about going beyond a traditional trade show experience, and uniting culture with design brands, buyers, press, retail, technology and global influencers.” Trade shows can be quite stuffy. How have you gone about changing people’s perceptions of trade shows?
From the very beginning we wanted to disrupt the entire trade show industry, which is very traditional. We operate on very strict principles, curating the entire show, digging deep into every high profile project and brand in order to ensure relevance and newness, and making sure we mix both new and existing talents within business areas. Moreover it has been vital to invest in our look and feel, to give more of an art-show-gallery atmosphere, combined with a focus on trade and transactions between exhibitors and visitors. Every season we also develop tens of special projects in order for talent and major brands to be able to work at a very different level than is usual for a trade show. We believe in creating different universes and experiences rather than just booth numbers and signs in vast halls.” How else does northmodern differ from the traditional trade fair? “First and foremost we run our business as a real brand. Not a trade show. If you work at northmodern, you are part of a team working for a brand with a global view. If a major brand or talent or new rising star decides to work with us, it is a partnership that often goes beyond simply exhibiting. In many cases it’s a 360-degree and
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360-day collab, where we strive to connect and stay in dialogue about collaborations, unique opportunities between the annual show, pop-up stores abroad to be announced later this year, and collaborations with our other brands: CIFF and Art Copenhagen, our art platform. Then we spend a lot of time planning our dinners and events so that brands, designers, press and buyers can connect on a more personal level.” Curation is so important to these events. Have art fairs influenced the direction of northmodern? “Yes. It is vital for us to curate spaces and not just sell square metres. In fact, we never discuss size and price before we agree to work with a brand. Every brand and designer works daily to create beautiful designs. When we welcome them, it needs to be in an environment where they feel they are part of something that is as well thought-out as their own products. Space is the key to letting each brand stand out. Just like in an art gallery.” How does northmodern engage and involve young, emerging designers? “The team and I are always on the go. We engage with, visit and talk to new talent about their visions for the future, motivate them to show and in some cases, encourage them even further to create unique pieces for our pop-up stores, present products in our ‘project house’, as well as introduce them to our major development project – the Bella Quarter, our very own new city. There will be much more to come when we open and have finalised the work with our institutional partners for a ‘design week’ in Copenhagen.” Why do you think Danish and Scandinavian design is so revered? And why is the home so important in Scandinavian culture? “Personally, I am very attracted to the timelessness of Scandinavian design. This and the often sensual shapes and solid, exclusive materials in Danish furniture makes it very, very desirable. I guess if you are surrounded by beautiful pieces at home and live in a country where summers are short, people are happy to spend a lot of time together at home with friends and family – just as people in other countries meet in restaurants or in the city.”
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Why do you think craft is enjoying such a renewal of interest at the moment? “Nothing beats craft. At the end of the day you can choose to invest in crafted pieces that last
for decades or be a mass consumer. It’s also a very sustainable way of living, which appeals to many and is inspiring to a lot of us.” Northmodern is in the midst of an exciting new phase. The idea of creating a design city is fascinating and almost utopian. How did it come about? “The urban plans were kick-started as soon as the Bella Center was bought by a development company some years ago. In the next five to seven years you will see a whole beautiful city pop up around us – not just a new part of the city, but an actual city that will interact with northmodern and all of the art, fashion and food activities that are going to be taking place there.” How will it blend into the rest of the city? “Between the Bella Quarter and the city centre is a beautiful, big green common, a nice ride away on a bike or ten minutes on the metro. When the project is complete and thousands of people live, work, and participate in all the different events in the area, it will become one of the top destinations in the world, combining shows, conferences, leisure, and business in the very heart of the capital.” Do you plan to live in the area? “Of course! My only concern is living and working in the same place, but then again in this kind of job you are never really off. It’s a lifestyle.” Speaking of community, you mentioned in an interview that you wanted to instil a friendly, cooperative atmosphere at the fair, even among competitor brands. How did you achieve this? Can cooperation coexist with competition? Yes, it is called coopetition. We strive to create this atmosphere by introducing the brands to each other and mixing competitors at dinners and events, and I am satisfied to say it works. It’s a community feel that is very close to my heart and to see it work is a much greater accomplishment than anything else.” Since launching northmodern, what are you most proud of? “That in a very traditional industry we have managed so far in somewhat shaking it up, creating a brand that over the coming years will help bring Copenhagen back on the world map as a leading and relevant design destination. Otherwise I am not a fan of the word proud: proud people tend to fall asleep, whereas I prefer to power nap.”
Unexpected Icons
Photography Casper Sejersen
It is with great pleasure that we announce a collaboration between northmodern, Space Magazine and some of our favourite designers and brands. This August, Space Magazine will curate a special area at northmodern, which will feature a selection of furniture and objects from brands such as Artek 2nd Cycle, Magniberg, Iittala and many more. In this supplement to Space Magazine, we have collaborated with northmodern in hand-picking pieces from exhibiting brands throughout the show, curated around the theme of “Unexpected Icons�. The pieces were photographed by Casper Sejersen in unexpected corners of Bella Center in Copenhagen, the venue which hosts northmodern and that is currently undergoing an exciting transformation.
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Eames Plastic Armchair DAX, Charles & Ray Eames for Vitra (1950), Paustian An update by Vitra of the iconic Plastic Side Chair by legendary design duo Charles & Ray Eames, the Plastic Chair DAX features a sharp red shell upholstered with Hopsak fabric.
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Chinoz lamp, Jaime Hayón for Parachilna (2014), Roam Jaime Hayón’s lamp combines a ceramic body in the shape of an urn with a frosted glass shade.
57 Sofa, Finn Juhl (1957), Onecollection The 57 Sofa was first introduced in Tivoli, the famous Copenhagen amusement park, in 1957 and is today made with hand-woven spring inserts, upholstered in fabrics from the exclusive Kvadrat/ Raf Simons collaboration.
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Paustian Spinal Chair 80, Paul Leroy for Paustian (2009) The Spinal Chair 80, designed by Paul Leroy, is a clean-cut piece, perfect as an easy chair at home or put to work in the office.
Pix, Ichiro Iwasaki for Arper (2010), Hornbak & Co A graphic silhouette and bold colours define this family of ottomans by Italian furniture company Arper.Â
Allstar Chair, Konstantin Grcic for Vitra (2014), Paustian Confounding traditional chair categorisations, the Allstar Chair from Konstantin Grcic aims to bring the shapes of chairs in the home environment into the office.
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Swoon Chair, Space Copenhagen for Fredericia (2016) Space Copenhagen’s Swoon chair fuses the timeless with the contemporary, hitting a sweet spot between the armchair and the lounge chair.
Vase, Alvar Aalto for Iittala (1937) The epitome of Finnish design, Alvar Aalto’s vases, first unveiled in 1937, are to this day mouth blown at the Iittala glass factory in Finland.
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Loom Bound, Rive Roshan (2016) Experimental design studio Rive Roshan’s versatile and playful modular system creates endless possibilities for modern interiors using Kvadrat fabric as a constructive material.
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Saya Mini, Lievore Altherr Molina for Arper (2012), Hornbak & Co The Saya Chair is designed by Italian design duo Lievore Altherr Molina, and is available in different heights, making it practical for various uses around the home.
Karuselli chair, Yrjรถ Kukkapuro for Artek (1964), Paustian Finnish designer Yrjรถ Kukkapuro unveiled his iconic swivelling lounge chair in 1964 after a decade of extensive experimentation.
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Alto Bench, Artzul (2015) Fusing the unparalleled beauty of smooth Portuguese marble with a low-key Scandinavian vibe, the Alto Bench by Artzul is produced in Denmark from pure organic marble and ash wood.
S.A.C. Chair, Naoya Matsuo for Woud (2016) The S.A.C. is a subtle take on the dining chair, characterised by its sleek lines and the combination of metal and wood.
Grid lamps, Front Design for Zero (2012), Kapitel 2 The Grid is a raw yet refined lamp from Zero, made from perforated metal with a grid structure.
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Åhus Chair, Blå Station (2006), Kapitel 2 A timeless easy chair, the Åhus from Swedish design house Blå Station is made in a steel frame with polyurethane padding.
2nd Cycle Stools and Chairs, Artek (1934) In 2007 the Finnish furniture company Artek launched its 2nd Cycle concept to restore vintage Alvar Aalto stools, careworn after years of use.
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Chair, Magniberg (2016) New Swedish brand Magniberg brings together five multidisciplinary designers and artists to create bedding and furniture honouring the country’s tradition of craftsmanship.
Space Frames Light, Studio Mieke Meijer (2016) The result of research into physical and visual lightness, balance and stability, the series can be positioned in unpredictable and thoughtprovoking compositions.
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Oud Lamp, Nat Sheshire for Resident (2012), Roam A single armature follows a continuous line, concealing all the mechanisms of the LED lightsource. A sphere of polished marble rests on the lower leg. Dowry Cabinet, Neri&Hu for Stellar Works (2016), Roam This collection of clean-lined cabinets draws on the tradition of the dowry in China and many cultures around the world. Bedlinen, Magniberg (2016) New Swedish brand Magniberg brings together five multidisciplinary designers and artists to create bedding and furniture honouring the country’s tradition of craftsmanship.
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Opium Beds, Tal R (2014) Furniture or sculpture? Copenhagen-based artist Tal R’s Opium Beds series can be interpreted as either, upholstered with rugs and blankets sourced from all over Scandinavia.
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The Spanish Chair, Børge Mogensen (1958), Fredericia Danish designer Børge Mogensen conceived the idea for his chair during a trip to Spain, after finding a chair with wide armrests, influenced by ancient Islamic culture.
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Levity Light, Studio Truly Truly (2016) Netherlands-based Studio Truly Truly’s collection of lamps feature LED tubes presented in flexible loops. The light radiates through a woven textile exterior, adding a sense of softness.
Jessica Hans Ceramics (2014) American ceramist Jessica Hans’s misshapen pottery is beautiful in its rawness and uneven charm.
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Side Table, Million (2016) Copenhagen Udisimusam, furniture aliquati brand sequi dolut Million combines a humble destibus nit volupta tibusciam approach to design with an emphasis ipsum ad on ut premium materials.
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Paustian Modular Sofa, Erik Rasmussen for Paustian (1969) Its clean-cut yet sculptural design made Erik Rasmussen’s modular sofa an instant classic in 1969.
Easy Chair, Pierre Jeanneret (1955) A key piece by Pierre Jeanneret, the Swiss architect-turned-furniture designer who for years was eclipsed by his more famous cousin, Le Corbusier.
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Arctander Chair, Philip Arctander (1944), Paustian An easy chair designed by the Philip Arctander, who during the Second World War combined a career as an architect with working for the Danish Resistance. Arctander Chair is now being re-introduced by Paustian.
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A collaboration with northmodern and Space Magazine Photography by Casper Sejersen Creative Direction by Victor Lieberath and Space Magazine
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