Scandtastic! From Aalto to Wirkkala
Excerpt from the book 'Scandinavian Design' by Charlotte and Peter Fiell
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Although there is an overwhelming belief in the concept of brukskunst in Scandinavia, one can also find many examples of "art for art's sake" - objects that serve no functional purpose other than their life-enhancing beauty. The designers who also produce wares for industrial manufacture often design art objects such as these, which rely on craft skills for their production. The craftroots of Scandinavian design have continued to survive thanks to a tradition of "art sponsorship" by manufacturers. Many large glassworks and ceramics factories, such as Arabia and Iittala, still maintain studios for the production of experimental one-off or limited edition pieces. Indeed, it is in these studios that industrially-manufactured products are often first conceived using craft processes. This studio tradition has ensured an enduring adherence to the concept of truthto-materials and a way of working that strongly emphasizes the unique attributes of wood, glass, ceramic etc., while ornamentation is normally only used to accentuate these inherent qualities. This pursuit of honest, unadorned form is most powerfully expressed in Scandinavian industrial design - from Volvo cars to Husqvarna chainsaws to Nokia mobile phones - which is globally renowned for its functional integrity, understated aesthetics, outstanding durability and superlative quality.
Throughout their long and colourful histories, the remote and sparsely populated nations of Scandinavia have absorbed foreign cultural influences and reinterpreted them into something uniquely Scandinavian. As a result, Scandinavian craft skills and design sensibilities became a dominant international force in the evolution of modern design. This survey features those designers, design groups and companies who have been instrumental in shaping the course of Scandinavian design, while the areas of activity covered include the design of furniture, glass, ceramics, jewellery, textiles, lighting as well as industrial products, such as cars, sewing machines and typewriters. The essays dedicated to the design of each country are followed by the main entry section, which has been laid out alphabetically with cross-references appearing in bold type so as to reveal the many illuminating interrelationships that have existed between designers and design-led companies. A timeline at the back of the book puts the design developments of the five countries in context with socio-political events, while the comprehensive list of addresses is intended to provide a useful reference source of relevant design associations, manufacturers, stores and places of interest to visit. Through highlighting the similarities and distinctions that exist in design from one country to another, a further aim of this book is to provide as broad an overview of the subject as possible so as to celebrate the international co-operation, idealistic endeavour, social conscience, practical function, beautiful craftsmanship and innate artistry that have become such strong defining features of Scandinavian design.
Page [1] [2] [3] [4] [5] [6]
Page [1] [2] [3] [4] [5] [6]
Although there is an overwhelming belief in the concept of brukskunst in Scandinavia, one can also find many examples of "art for art's sake" - objects that serve no functional purpose other than their life-enhancing beauty. The designers who also produce wares for industrial manufacture often design art objects such as these, which rely on craft skills for their production. The craftroots of Scandinavian design have continued to survive thanks to a tradition of "art sponsorship" by manufacturers. Many large glassworks and ceramics factories, such as Arabia and Iittala, still maintain studios for the production of experimental one-off or limited edition pieces. Indeed, it is in these studios that industrially-manufactured products are often first conceived using craft processes. This studio tradition has ensured an enduring adherence to the concept of truthto-materials and a way of working that strongly emphasizes the unique attributes of wood, glass, ceramic etc., while ornamentation is normally only used to accentuate these inherent qualities. This pursuit of honest, unadorned form is most powerfully expressed in Scandinavian industrial design - from Volvo cars to Husqvarna chainsaws to Nokia mobile phones - which is globally renowned for its functional integrity, understated aesthetics, outstanding durability and superlative quality.
Throughout their long and colourful histories, the remote and sparsely populated nations of Scandinavia have absorbed foreign cultural influences and reinterpreted them into something uniquely Scandinavian. As a result, Scandinavian craft skills and design sensibilities became a dominant international force in the evolution of modern design. This survey features those designers, design groups and companies who have been instrumental in shaping the course of Scandinavian design, while the areas of activity covered include the design of furniture, glass, ceramics, jewellery, textiles, lighting as well as industrial products, such as cars, sewing machines and typewriters. The essays dedicated to the design of each country are followed by the main entry section, which has been laid out alphabetically with cross-references appearing in bold type so as to reveal the many illuminating interrelationships that have existed between designers and design-led companies. A timeline at the back of the book puts the design developments of the five countries in context with socio-political events, while the comprehensive list of addresses is intended to provide a useful reference source of relevant design associations, manufacturers, stores and places of interest to visit. Through highlighting the similarities and distinctions that exist in design from one country to another, a further aim of this book is to provide as broad an overview of the subject as possible so as to celebrate the international co-operation, idealistic endeavour, social conscience, practical function, beautiful craftsmanship and innate artistry that have become such strong defining features of Scandinavian design.
Page [1] [2] [3] [4] [5] [6]
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
Jens Quistgaard, cast-iron candleholders for Dansk International Designs, c. 1955