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81 Danish Modern, Then and Now Donlyn Lyndon
Peer Reviewed Title: Danish Modern, Then and Now -- The AIA Committee on Design, Historic Resources Committee [Forum] Journal Issue: Places, 20(3) Author: Lyndon, Donlyn FAIA Publication Date: 2008 Publication Info: Places Permalink: http://escholarship.org/uc/item/812847nf Acknowledgements: This article was originally produced in Places Journal. To subscribe, visit www.places-journal.org. For reprint information, contact [email protected]. Keywords: places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, volume 20, issue 3, forum, AIA, Donlyn, Lyndon, Danish, modern, then, now, historic, resources Copyright Information: All rights reserved unless otherwise indicated. Contact the author or original publisher for any necessary permissions. eScholarship is not the copyright owner for deposited works. Learn more at http://www.escholarship.org/help_copyright.html#reuse eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. Forum Donlyn Lyndon, FAIA Danish Modern, Then and Now The American Institute of Architects Committee on Design Historic Resources Committee These Forum pages were printed under an agreement between Places/Design History Foundation and The American Institute of Architects. They report on the conference “Danish Modern: Then and Now,” held in Copenhagen, Denmark, in September, jointly sponsored by the Committee on Design (2008 Chair, Carol Rusche Bentel, FAIA) and the Historic Resources Committee (2008 Chair, Sharon Park, FAIA). T. Gunny Harboe, AIA, served as Conference Chair. For additional conference documentation and photos, go to: http://aiacod.ning.com/. In 2009, the COD theme will be “The Roots of Modernism and Beyond” (2009 Chair, Louis R. -
Scandinavian Design Swedish Production
A SUPPLEMENT BY MEDIAPLANET DISTRIBUTED WITHIN THE INDEPENDENT No.1/September ’10 SCANDINAVIAN DESIGN Erika Lagerbielke describes how she tackled the challenge of designing 3TIPS a wedding present for the Crown Princess on behalf of the Swedish people FORFOR CHICCHIC DESIGN FIT FOR ROYALTY PHOTO: PETER CEDERLING Discover Denmark Hot new trends Get design ideas Check out the and see beautiful fashion from landscapes Scandinavia 2 · SEPTEMBER 2010 A SUPPLEMENT BY MEDIAPLANET DISTRIBUTED WITHIN THE INDEPENDENT CHALLENGES In the 20th century, a roster of names from Scandinavia changed the way the world looked at design and architecture. Their legacy continues to make an impact today, as new and exciting talents emerge WE RECOMMEND Professor Ronald Jones Rising stars to look out for The lasting impact of PAGE 8 ‘They are risk-takers in design — and Scandinavian design education’ or such a small region, to shape our stylish present. Their in- cept still appeals to the Scandinavi- Scandinavia is big on fluences are seen today in chairs, ta- an design psyche. It is, says Profes- Hot trends p 4 pioneering design. If it bles, lighting, interior accessories and sor Jones, embedded in its DNA. Pro- 1. The big designers from Scandinavia had simply given the buildings. Scandinavian design is all fessor Erika Lagerbielke is the lead- making their way over to the UK world Arne Jacobsen around us — and its future as a power- ing Swedish glass designer who re- Scandinavian must sees p 10 2. The best design spots for your holidays — the Danish-born Fa- ful creative force seems more secure cently created a pre-wedding gift for ther of Modernism — than ever. -
Scandinavian Design and the United States, 1890–1980
Scandinavian Design and the United States, 1890–1980 Ann-Mari Forsberg (Sweden, 1916–1992) for Märta Måås-Fjetterström, Red Crocus hanging, 1945. Cooper Hewitt Design Museum 700 N. Art Museum Dr 5905 Wilshire Blvd Milwaukee, WI 53202 Los Angeles, CA 90036 414-224-3200 323-857-6000 Exhibition Overview Scandinavian Design and the United States, 1890–1980, will be the first major international loan exhibition to examine the extensive design exchanges between the United States and the Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden) during the twentieth century. The exhibition will examine how both Nordic ideas about modern design and the objects themselves had an indelible impact on American culture and material life, as well as demonstrate America’s influence on Scandinavian design. Divided into the six thematic sections described herein, the exhibition will comprise exceptionally beautiful examples of furniture, glass, ceramics, architectural drawings, jewelry and metalwork, and graphic and product design. Through rich and varied accounts of Scandinavian designers who immigrated to America and Americans who studied or worked Lillian Holm (born in Nordic countries; the ambitious campaigns to market and export Scandinavian Sweden, 1896–1979, design to American consumers via world’s fairs, museum exhibitions, and retail active United States), First Sight of New outlets; and the American and Nordic figures who championed sustainable and York, ca. 1930. Flint accessible design practice, the exhibition will present a new international narrative Institute of Arts about the history of design. Extensive didactic materials and integrated media components showing period photographs and advertisements will contextualize the objects and explicate their dual Scandinavian and American connections. -
Reassessment of Values and Aesthetics in Contemporary Nordic Design Skou, Niels Peter; Munch, Anders V
University of Southern Denmark New Nordic and Scandinavian retro Reassessment of values and aesthetics in contemporary Nordic design Skou, Niels Peter; Munch, Anders V. Published in: Journal of Aesthetics & Culture DOI: 10.3402/jac.v8.32573 Publication date: 2016 Document version: Final published version Citation for pulished version (APA): Skou, N. P., & Munch, A. V. (2016). New Nordic and Scandinavian retro: Reassessment of values and aesthetics in contemporary Nordic design. Journal of Aesthetics & Culture, 8(1), [32573]. https://doi.org/10.3402/jac.v8.32573 Go to publication entry in University of Southern Denmark's Research Portal Terms of use This work is brought to you by the University of Southern Denmark. Unless otherwise specified it has been shared according to the terms for self-archiving. If no other license is stated, these terms apply: • You may download this work for personal use only. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying this open access version If you believe that this document breaches copyright please contact us providing details and we will investigate your claim. Please direct all enquiries to [email protected] Download date: 30. Sep. 2021 Journal of AESTHETICS & CULTURE Vol. 8, 2016 New Nordic and Scandinavian Retro: reassessment of values and aesthetics in contemporary Nordic design Niels Peter Skou and Anders V. Munch* Department of Design and Communication, University of Southern Denmark, Odense, Denmark Abstract Anders V. Munch, Dr. Phil., is a The ‘‘New Nordic’’ label has spread in the design world professor in design culture at the Depart- since 2005, but it is quite difficult to distinguish from the ment of Design and Communication, Uni- image of ‘‘Scandinavian Design’’ and the heritage of values versity of Southern Denmark, Kolding. -
Onecollection-Finn-Juhl.Pdf
1912-1989 1912-1989 1912-1989 The 5 categories Finn Juhl – education, working and life The furniture sculptor reflects on the art of his time Finn Juhl’s furniture design – a cabinetmaker’s challenge Completeness in the interior Finn Juhl – international reputation Timeline Prizes Onecollection A/S has the sole rights worldwide to produce and market the furniture of We are very honoured working with the furniture art of Finn Juhl. He played an impor- the architect Finn Juhl (1912-1989). tant role in the time of unrest and upheaval within the development of Danish furniture design and put Denmark on the map of international design through his work. How to get the best out of the story Decoration In 2001 the rights were handed over personally by Finn Juhl’s widow, the music – and theatre publisher Hanne Wilhelm Hansen. After her death in 2003 the copyright belongs This gives us a certain obligation towards gathering and re-communicating knowledge The story is divided into 5 categories. Furniture to the Wilhelm Hansen Foundation which Onecollection is working with. of Finn Juhl and his work. This categorisation is chosen in order to create a complete impression of Finn Juhl by Today Finn Juhl is considered the father of the concept “Danish Modern” or “Danish With the history we should like to invite you into the universe of Finn Juhl, where his presenting different facets of Finn Juhl as a person and as an architect. Exhibition Design”. passion for the art got a significant impact on his work as a furniture architect. -
Scandi Navian Design Catalog
SCANDI NAVIAN DESIGN CATALOG modernism101 rare design books Years ago—back when I was graphic designing—I did some print advertising work for my friend Daniel Kagay and his business White Wind Woodworking. During our collaboration I was struck by Kagay’s insistent referral to himself as a Cabinet Maker. Hunched over my light table reviewing 35mm slides of his wonderful furniture designs I thought Cabinet Maker the height of quaint modesty and humility. But like I said, that was a long time ago. Looking over the material gathered under the Scandinavian Design um- brella for this catalog I now understand the error of my youthful judgment. The annual exhibitions by The Cabinet-Makers Guild Copenhagen— featured prominently in early issues of Mobilia—helped me understand that Cabinet-Makers don’t necessarily exclude themselves from the high- est echelons of Furniture Design. In fact their fealty to craftsmanship and self-promotion are constants in the history of Scandinavian Design. The four Scandinavian countries, Denmark, Sweden, Norway and Finland all share an attitude towards their Design cultures that are rightly viewed as the absolute apex of crafted excellence and institutional advocacy. From the first issue of Nyt Tidsskrift for Kunstindustri published by The Danish Society of Arts and Crafts in 1928 to MESTERVÆRKER: 100 ÅRS DANSK MØBELSNEDKERI [Danish Art Of Cabinetmaking] from the Danske Kunstindustrimuseum in 2000, Danish Designers and Craftsmen have benefited from an extraordinary collaboration between individuals, manufacturers, institutions, and governments. The countries that host organizations such as The Association of Danish Furniture Manufacturers, The Association of Furniture Dealers in Denmark, The Association of Interior Architects, The Association of Swedish Furni- ture Manufacturers, The Federation of Danish Textile Industries, Svenska Slojdforeningen, The Finnish Association of Designers Ornamo put the rest of the globe on notice that Design is an important cultural force deserv- ing the height of respect. -
PALE NORDIC ARCHITECTURE Why Are Our Walls So White?
PALE NORDIC ARCHITECTURE Why are our walls so white? BATCHELOR’S THESIS SISKO ANTTALAINEN AALTO UNIVERSITY PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? – ABSTRACT The aim was to investigate the perception of whiteness in Nordic architecture and analyse the rea- sons behind the pale colour scheme in a public space context. The word pale was used alongside with white, since it gave broader possibilities to ponder over the topic. The geographical research area was framed to cover Sweden and Finland, although the search for underlying reasons extended beyond the borders of the North. Architecture was viewed as an entity, including both exteriors and interiors. The focus was on reasoning around the question “why” to arouse professional discourse about the often-unquestioned topic. Analysing the background of a commonly acknowledged phe- nomenon strives to make architects more conscious of the background of their aesthetics so that future decisions can be based on a more complex set of knowledge rather than leaning on tradition. Because of the wide demarcation of the research question, the project started with self-formulated hypothesis, after which they were thoroughly analysed. The formulated pre-assumptions were, that the Nordic paleness is, firstly, a consequence of misinterpreted past architecture. Moreover, natu- ral circumstances of the North, the symbolism connected to white and the tradition of canonising modernism were established as hypothesis. Lastly, architect education, combined with the tendency of prototyping with white materials were assumed to endorse the pale colour scheme. The misinter- pretations’ possible implication in the perception of whiteness was also examined as a part of the re- 1 search. -
Lecture Handouts, 2013
Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc. -
Scandinavian Design and New Nordic Identifying Challenges and Opportunities Related to Being Part of the Strong Nordic Design Tradition
Scandinavian Design and New Nordic Identifying challenges and opportunities related to being part of the strong Nordic design tradition Emilie H. Weydahl Department of Design NTNU, Norwegian University of Science and Technology ABSTRACT Scandinavian Design had its Golden Age in the 50’s and 60’s. It is described as authentic, functional, democratic and modern, but at the same time a bearer of tradition. Many young designers felt burdened by the strong heritage, but Nordic designers have now taken on the approach “freedom through submission”. During the last 10-20 years they have been in the process of rediscovering the Nordic tradition. “New Nordic” design is a reinterpretation of the traditions from Scandinavian Design. There has been a change of focus from production to communication when designing products. New Nordic design portrays a dream picture of Nordic people as careful, responsible consumers, but rising tension, political polarization and the fact that Nordic consumption habits are far from sustainable are threatening this image. KEYWORDS: Scandinavian Design, New Nordic, tradition, heritage, identity 1. INTRODUCTION Architecture critic Kurt W. Forster believes that The term “Scandinavian Design” is used for the design and architecture from the Nordic design from the Nordic countries, excluding countries had a peak in the 20’s and 30’s led by Iceland, from 1950 to 1970 (Fallan, 2003). The architects like Alvar Aalto, then again a Golden term has its origin from the traveling exhibition Age in the 50’s and 60’s at the same time as the “Design in Scandinavia” that toured the USA and welfare system in the Nordic countries was Canada in the period 1954-1957. -
Nordic Interior Design Pdf, Epub, Ebook
NORDIC INTERIOR DESIGN PDF, EPUB, EBOOK Manuela Roth | 208 pages | 16 Mar 2011 | Braun Publishing AG | 9783037680704 | English | Salenstein, Switzerland Nordic Interior Design PDF Book The streamlined silhouette and glossy blue finish of this modern industrial pendant light will illuminate your favorite spaces while adding a touch of rich color. Because of that here is combined with a tree in natural color with a brick wall. The most notable is the continuous support that the country has provided to its residents through various housing programs. By using these neutral shades, you can create a pure and peaceful atmosphere in your Scandinavian home. While hanging on the balcony or in the bathroom we must take care of the moisture, too much moisture can cause damage to the image, so that in these areas do not put valuable artistic acts. A continuous-line piece gives plenty of personality without having to worry about clashing colors. When color is used in Scandinavian interiors, it's often in small bursts or bright hues—almost in a gallery style. MyDomaine uses cookies to provide you with a great user experience. Get the Look: Contemporary Kashkuli Rug. It's no surprise the Swedes turn towards monochrome artwork, like in this Gothenburg home , considering the rest of their house tends to stay in the realm of black and white. Gabrielle Savoie. Rugs made from organic fibers or wool, sheepskin, and other textures, are ideal for adding texture and comfort. Her approach is to welcome all challenges and believe that creativity and uniqueness are the results of thinking positive. -
Finn Juhl(30 January 1912 – 17 May 1989) Was a Danish Architect
Finn Juhl (30 January 1912 – 17 May 1989) was a Danish architect, interior and industrial designer and industrial designer, most known for his furniture design. He was a leading figures in the creation of "Danish design" in the 1940s and he was the designer who introduced Danish Modern to America. Wikipedia Finn Juhl Finn Juhl was born January 30th 1912 at Frederiksberg as son of cloth a subject of discussion. The furniture architects, who were known, all merchant Johannes Juhl and his German born wife, who unfortu- had either a carpenter’s education or were educated by Kaare Klint at nately died three days after the birth of little Finn. The Royal Danish Academy of Fine Arts, School of Architecture. But not Finn Juhl, who was self taught and who broke the craftsman like He grew up together with his two years older brother Erik Juhl and traditions within the design of furniture. their authoritarian father in a home with Tudor and Elizabethan din- ning room, leaded windows and tall panels. Even though there was a lack of acknowledgement to begin with of Finn Juhl’s furniture design, he, ten years after his debut, got his fur- Originally Finn Juhl wanted to become an art historian but his father niture in a series production at the company Bovirke and later with persuaded him to join The Royal Danish Academy of Fine Arts, School France & Son, and others. From 1951 the company Baker Furniture of Architecture after his graduation in 1930. During the Summer of Inc. in Grand Rapids, Michigan produced his furniture in USA. -
Maplewood NJ
Kessler House History 15 Tower Drive | Maplewood NJ www.15TowerDr.com The Kessler House John Rattenbury and the team at Taliesin Architects custom-designed every aspect of this mid- century modern, organic gem---even the lighting, furniture, and cabinetry. On nearly two acres of park-like grounds, the Kessler House features bu-colored Roman brick, terrazzo and teak parquet oors, teak-paneled walls and ceilings, oor-to-ceiling windows, 7 bedrooms, 8 full and 2 half baths, 5 terraces and balconies, and 36 skylights. According to Rattenbury, “The workmanship was outstanding, and the entire house was built like a Swiss watch.” The Kessler Family The Kesslers---Dan and Helene and children Bruce, Rona Sue, and Mark---lived in a small house on Warner Road in Maplewood. After three years looking1 for a suitable house in or around Maplewood, Helene gave Dan the green light to build his dream house on the largest residential property in Maplewood. Dan was a fan of Frank Lloyd Wright. According to Helene, Dan went to college with Edgar Kaufman, Jr., and his love of Wright’s designs sprang from spending weekends with Edgar at Fallingwater, the Kaufman’s Wright-designed country home in southwestern Pennsylvania. Dan was president of Unishops, a large chain of discount department stores, while the Kessler House was under construction. The family moved into their new home in February 1968, but Dan died in 1969 at age 43. Helene raised Bruce, Rona Sue, and Mark in the Kessler House. Rattenbury, Hill, & Taliesin Architects John Rattenbury joined the Taliesin Fellowship, a group of apprentices and associates to Frank Lloyd Wright, in 1950 at age 21.