The Role of Tradition and Everyday Life in Scandinavian Modern Design
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THE ROLE OF TRADITION AND EVERYDAY LIFE IN SCANDINAVIAN MODERN DESIGN A Thesis Submitted to the Graduate School of Engineering and Science of İzmir Institute of Technology In Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in Industrial Design by Melis ÖCAL June 2012 İZMİR We approve the thesis of Melis ÖCAL Examining Committee Members: Inst. Dr. Nilüfer TALU Department of Industrial Design, İzmir Institute of Technology Assist. Prof. Dr. Ebru YILMAZ Department of Architecture, İzmir Institute of Technology Assist. Prof. Dr. Ayça TUNÇ COX Department of Industrial Design, İzmir Institute of Technology 01 October 2012 Inst. Dr. Nilüfer TALU Supervisor, Department of Industrial Design, İzmir Institute of Technology Prof. Dr. Önder ERKARSLAN Prof. Dr. R. Tuğrul SENGER Head of the Department of Industrial Design Dean of the Graduate School of Engineering and Sciences ACKNOWLEDGMENTS First of all, I would like to thank my supervisor Inst. Dr. Nilüfer Talu for her endless patience and educational support during my academic studies. She inspired me greatly to work in this study. I would like to thank Lars Eriksson for his help and valuable support during my thesis study at Jönköping University. I would also like to send my love to and thank a lot my friend Martin Johansson for his invaluable support and help during my thesis study. I should also like to thank him for kindly and patiently answering all my questions. I would like to thank Rolf and Ulrika Johansson, Bertil and Ina-Siv Ahlinder, Ingvar Ahlinder, Ingegerd and Torsten Karlsson, Özlem and Simon Davidsson and Özge Öner for permission to take photographs of their homes where I had the opportunity to experience Scandinavian living style. I especially wish to thank my family for their emotional support and invaluable advice in all levels of my life. Finally, I would like to thank all people who have supported me during this thesis study. ABSTRACT THE ROLE OF TRADITION AND EVERYDAY LIFE IN SCANDINAVIAN MODERN DESIGN Within Modernization, Modern design always rejected tradition and past and also focused on austerity and functionality. Modern design has always been criticized for being separated from nature and everyday life. Modern design has always been considered as being an alienated product of industrial production mode. However, Scandinavian design, Northern Europe design approach, has been distinguished in integrating their tradition and cultural identity into their design perspective which also embraces functionality. Additionally, Scandinavian design has been shaped as an integral part of their everyday life styles along with environmental factors. Their approach has been improved or influenced by the farm workers and fishermen who produced their own furniture using materials such as wood from the forest especially pine and spruce. They used cotton, linen, wool, sheepskin and furs for domestic textiles. They used palettes as light and pallid in contrast to the Mediterranean countries. They used vivid patterns inspired by the nature to create comfortable and warm atmosphere. Thus, the result was differentiated in Modern design in its own broadest definition. This study argues that Scandinavian modern design created its own style. It focuses on integrating its tradition into modern notion, and also relates it with the environmental factors, everyday life styles and nature. The study searches Scandinavian design which refers to the nature and embodies the nature as design along with emotions and colors. Sweden is chosen for the case study as a representative Scandinavian country. Key Words: Modernism, Modern Design, Scandinavian Design, Tradition, Traditional Motifs, Folk Art, Daily Life, Environmental Factors, Natural Materials, Color Schemas. iv ÖZET MODERN İSKANDİNAV TASARIMLARINDA GELENEĞİN VE GÜNDELİK YAŞAMIN ETKİLERİ Modernleşme hareketinden beslenen modern tasarım, bir yandan geleneği, geçmişi ve kültürel kimliği reddederken diğer yandan işlevselliği ve yalınlığı vurgulamıştır. Doğaya ve gündelik hayata olan mesafeli duruşundan dolayı, Modern tasarım her zaman eleştirilmiştir. Hatta Modern tasarım her zaman endüstriyel üretim süreçlerinin tipik yabancılaşmış bir ürünü olarak düşünülmüştür. Ancak İskandinav ülkeleri, işlevselliği kucaklayan bir tasarım anlayışına sahip oldukları gibi, bu anlayışa kendi kültürel kimliklerini, geleneksel yaşam biçimlerini ve hatta geleneksel motiflerini bile aktarmayı başarabilmişlerdir. Bu özellikleri ile, İskandinav tasarımları tüm modern batı tasarımlarından ayırt edilmişlerdir. Ayrıca İskandinav tasarımları çevresel koşullar ve gündelik yaşama biçimleri ile şekillenerek kullanıcısına rahatlık ve kolaylık sağlamaktadır. Doğal kaynakların zenginliğini gündelik yaşamları ve tasarım kültürleri ile bütünleştirmişlerdir. Cam, seramik, doğal ahşap ve kumaş en temel ham maddeleri olup, kendi tasarım anlayışlarının oluşmasında önemli role sahiptir. Sert doğa koşullarında sıcak bir ortam yaratabilmek için, doğa renk şemaları ve desen örüntüleri ile ilham kaynağı olmuştur. Bu çalışma, İskandinav ülkelerinin kendi tasarım dillerini oluşturma yöntemlerini inceler. Modern tasarım anlayışlarını gelenekleriyle yorumlamalarına, aynı zamanda tasarımlarının çevresel koşullar, gündelik hayat tarzları ve doğa ile bir ilişki içerisinde şekillendiğine odaklanır. Doğanın tasarım dili ve tasarımın kendisi ile, duyular ve renkler eşliğinde çeşitlendiğini araştırır. Tipik bir İskandinav ülkesi olarak, İsveç çalışma alanı olarak belirlenmiştir. Anahtar Kelimeler: Modernizm, Modern Tasarım, Geleneksel Tasarım, Geleneksel Motifler, Gündelik Yaşam, Çevresel Faktörler, Doğal Malzemeler ve Renk Şemaları. v TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................... viii CHAPTER 1. INTRODUCTION ..................................................................................... 1 1.1. Definition of the Problem .................................................................... 1 1.2. Aim of the Study ................................................................................. 5 1.3. Method of the Study ............................................................................ 6 1.4. Background .......................................................................................... 9 1.5. Outline of the Study ........................................................................... 11 CHAPTER 2. THE ROLE OF TRADITION IN SCANDINAVIAN DESIGN ............. 13 2.1. Tradition and Design in Scandinavia ................................................ 13 2.2. Traditional Design Craft Materials and Scandinavian Design .......... 18 2.2.1. The Usage of Traditional Design Craft Materials .................... 22 2.2.2. Natural Patterns and “Marimekko” .......................................... 22 2.2.3. National and Traditional Domestic Motifs ............................... 28 2.2.4. Folk art Figures......................................................................... 32 2.3. Combination of Traditional Strength with New Technology ............... 34 CHAPTER 3. THE ROLE OF EVERYDAY LIFE IN SCANDINAVIAN DESIGN ... 39 3.1. Daily Life in Scandinavia ..................................................................... 39 3.1.1. Outdoor Life in Scandinavia .................................................... 42 3.1.2. Indoor Life in Scandinavia ....................................................... 46 3.2. Environment and Nature in Scandinavian Design ................................ 48 CHAPTER 4. EXPERIENCING SCANDINAVIAN DESIGN ..................................... 53 4.1. Nature and Materials ............................................................................. 53 4.2. Sensation, Emotion and Cognition in Scandinavian Design ................ 66 vi CHAPTER 5. CONCLUSION ....................................................................................... 74 REFERENCES ............................................................................................................... 77 APPENDICES APPENDIX A. NOMINAL DATA ABOUT PEOPLE OBSERVED ........................... 82 APPENDIX B. NOMINAL DATA ABOUT MUSEUMS OBSERVED ...................... 93 vii LIST OF FIGURES Figure Page Figure 2.1. Christmas decorative objects on display in design store, Jönköping, Sweden, 2011 ............................................................................................... 14 Figure 2.2. Christmas decoration, Rolf and Ulrika Johansson’s home, Lysekil, Sweden, 2011 ............................................................................................... 15 Figure 2.3. Christmas tree decorated with string of lights, Christmas tree balls and small flags, Ingegerd and Torsten Karlsson’s home, Strömstad, Sweden ......................................................................................................... 16 Figure 2.4. Maypole decorative object symbolized midsummer celebration, Rolf and Ulrika Johansson’s home, Lysekil, Sweden, 2012 ................................ 18 Figure 2.5. Design in Scandinavia: An exhibition of objects for the home, Oslo, 1954 .............................................................................................................. 20 Figure 2.6. Design in Scandinavia: An exhibition of objects for the home, Oslo, 1954 .............................................................................................................. 21 Figure 2.7. Living room curtains, Ingegerd and Torsten Karlsson’s home, Strömstad, Sweden,