Scandtastic! From Aalto to Wirkkala
Excerpt from the book 'Scandinavian Design' by Charlotte and Peter Fiell
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The Northern geography and harsh climate have not only bred a deep regard for the home comforts of the domestic environment but also a pervasive respect for the natural world. Scandinavians generally possess an intimate understanding of nature and because of this have a heightened appreciation of the intrinsic qualities of raw materials (especially local ones). The long and rich traditions of craftsmanship and folk art that have existed in all five countries demonstrate not only the Scandinavian peoples' empathy for materials, but also their desire to infuse everyday objects with a natural, unpretentious beauty. In comparison to the rest of Western Europe and the United States, industrialization came relatively late to Scandinavia and therefore the handcraft traditions of each of the countries remained in a far better state of preservation. By marrying these age-old craft skills to modern design practice, Scandinavian designers were able to produce high-quality objects that were eminently suited to industrial manufacture. The essentialist approach to design - the logical arrangement of only those elements which are absolutely necessary for the accomplishment of a particular purpose - practized by Scandinavian designer/makers for centuries as a result of material shortages became an important principle of Scandinavian design, which in the modern era corresponded with the best approach to industrial manufacture. During the 20th century, Scandinavian craft skills and design sensibilities became a dominant influence on the development of modern design and came to epitomize the whole notion of "good design".
A key characteristic of Scandinavian crafts and design has been a striving for quality and a dislike of mediocrity. It is widely held that whether a product - chair, vase, coffee pot or storage jar - is handcrafted or machine-made, expensive or inexpensive, its design should provide an emotional comfort. The reason for this is that in Scandinavia, well designed and executed objects are seen as a vital enrichment of daily living rather than as status symbols. Scandinavian designers in general are well aware that by harmoniously combining artistic form and practical function, it is possible to create truly useful and relevant objects or brukskunst (useful art), as it became known. Scandinavian design is governed by the main principle of Modernism - to strike the optimum balance between form, function, material, colour, texture, durability and cost so as to create democratic design solutions. Designers from Scandinavian countries, however, have long understood that an overtly industrial aesthetic can be alienating, and have therefore sought to develop products that are fundamentally humanizing - products that put man first, then the machine. Although the majority of Scandinavian designers have attempted to realize democratic design solutions, there are also many examples of designed objects that have been executed as exclusive celebrations of artistry and craftsmanship. Whether a Scandinavian object is massproduced in a factory or lovingly handcrafted in a specialist workshop, it will almost certainly express the Scandinavian concept of hygge - a Danish word that implies a very special charm, a tender and comfortable feeling. Hygge can apply to people, things, or surroundings that give a sense of joy and well-being. It is probably most closely related to "cosy", with a little "good cheer" thrown in for extra warmth.
Page [1] [2] [3] [4] [5] [6]
Page [1] [2] [3] [4] [5] [6]
The Northern geography and harsh climate have not only bred a deep regard for the home comforts of the domestic environment but also a pervasive respect for the natural world. Scandinavians generally possess an intimate understanding of nature and because of this have a heightened appreciation of the intrinsic qualities of raw materials (especially local ones). The long and rich traditions of craftsmanship and folk art that have existed in all five countries demonstrate not only the Scandinavian peoples' empathy for materials, but also their desire to infuse everyday objects with a natural, unpretentious beauty. In comparison to the rest of Western Europe and the United States, industrialization came relatively late to Scandinavia and therefore the handcraft traditions of each of the countries remained in a far better state of preservation. By marrying these age-old craft skills to modern design practice, Scandinavian designers were able to produce high-quality objects that were eminently suited to industrial manufacture. The essentialist approach to design - the logical arrangement of only those elements which are absolutely necessary for the accomplishment of a particular purpose - practized by Scandinavian designer/makers for centuries as a result of material shortages became an important principle of Scandinavian design, which in the modern era corresponded with the best approach to industrial manufacture. During the 20th century, Scandinavian craft skills and design sensibilities became a dominant influence on the development of modern design and came to epitomize the whole notion of "good design".
A key characteristic of Scandinavian crafts and design has been a striving for quality and a dislike of mediocrity. It is widely held that whether a product - chair, vase, coffee pot or storage jar - is handcrafted or machine-made, expensive or inexpensive, its design should provide an emotional comfort. The reason for this is that in Scandinavia, well designed and executed objects are seen as a vital enrichment of daily living rather than as status symbols. Scandinavian designers in general are well aware that by harmoniously combining artistic form and practical function, it is possible to create truly useful and relevant objects or brukskunst (useful art), as it became known. Scandinavian design is governed by the main principle of Modernism - to strike the optimum balance between form, function, material, colour, texture, durability and cost so as to create democratic design solutions. Designers from Scandinavian countries, however, have long understood that an overtly industrial aesthetic can be alienating, and have therefore sought to develop products that are fundamentally humanizing - products that put man first, then the machine. Although the majority of Scandinavian designers have attempted to realize democratic design solutions, there are also many examples of designed objects that have been executed as exclusive celebrations of artistry and craftsmanship. Whether a Scandinavian object is massproduced in a factory or lovingly handcrafted in a specialist workshop, it will almost certainly express the Scandinavian concept of hygge - a Danish word that implies a very special charm, a tender and comfortable feeling. Hygge can apply to people, things, or surroundings that give a sense of joy and well-being. It is probably most closely related to "cosy", with a little "good cheer" thrown in for extra warmth.
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Scandinavian Design
Flexicover, 19.6 x 25.2 cm (7.7 x 9.9 in.), 704 pages
$ 39.99
$ 39.99
Scandtastic! From Aalto to Wirkkala, more than 200 outstanding Sandinavian designers of the past century
Gunnar Cyrén, Pop goblet for Orrefors, 1965-1966