Typical tendencies of the time included furniture meant for limited space in a practical, lightweight, but solid design. Some of the models are predicting the style of 1960s and even 1970s, but in the years to follow the market was far more complex and competition from abroad was very tough. Small companies did not have enough capital or international knowhow to make it work—though some did very well, and one furniture company Ekornes is an example known worldwide for the “Stressless Chair.” This is exceptional, but looking at pictures of wooden toys made during the 1940s and 1950s, we can ask why Norway left this production to Brio of Sweden and Lego of Denmark. What could have been a Norwegian IKEA is another question. Sources Anker, Nils, Grønvold, Ulf, Sørensen, Gunnar. The City Hall in Oslo. Oslo: Aschehoug, 2000. Just, Carl. Rådhuset i Oslo. Oslo: Aschehoug, 1952 Møbelboken. Møbler i Europa i to tusen år (sm.m. E. S. Engelstad), 1951. Møbeltegninger for husflidsproduksjon, mappe XIV og XV, utg. av Den Norske Husflidsforening, 1948–50. Schou, Aage. Enkle møbler. Oslo: J.W. Cappelen, 1932
Armchair with handwoven fabric. Textile designer Fredrikke Nicolaysen. Master weaver: Johannes Færø. Chair designed by Aage Schou. Photo courtesy of the author.
Design in Norway About 1950
After the end of Word War II, the demand for goods in Norway was huge, but shortage of raw materials put limits on a hungry domestic market. The rebuilding of homes and infrastructure were given the highest priority. At the same time the optimism and eagerness to recover and be modern gave force to a creativity beyond the lack of resources. Given this background, the high quality equipping of the Oslo City Hall was a big challenge, but also an enormous inspiration, and an opportunity for applied-art and industrial developments. Skills and labour were not the problem, and the competition from import was not a big issue until much later. Small enterprises popped up in large numbers throughout the country and they were an important part of the rebuilding. In this period the importance of useful, good design came up as a part of the modern way of thinking. Even if many the developments were very much inspired from abroad, the seeds for the Norwegian contribution to “Scandinavian Design” were growing in solid soil in the late 1940s and early 1950s. Some of the designers were mastering more than one material and had to adjust their efforts in favour of the broad audience. Still they managed to refine the form and live up to the ideals of the applied art movement, creating products of artistic and functional value for the people. Many of these are now collectors’ items and have found their place in museums collections. Some have also been found interesting enough to be recycled as “retro design.” 8
The Festival Gallery, with tapestries by Kåre Jonsborg, curtains and furniture textiles by Frederikke Nicolaysen, and tables and chairs designed by Arneberg. Photo courtesy of the author.
About the Author Jon Pettersen is Associate Professor at the Bergen Academy of Art and Design. As a professional, he is working on the development of woven fabrics in which various materials, construction, and expression are adapted to function and context. Digital drawing tools are used as a basis for further experiments in the material. His methods include making his own patterns and motives transformed into woven structures for industrial jacquard looms. He is working with interior textiles as well as fabric for garments and finished items like shawls and throws. Commission works and reconstruction of old textiles have brought new experiences and knowledge useful for contemporary art and design. Vesterheim
