There
are many pleasures to attending design fairs, but foremost among them is taking
in the wide display of covetable furnishings from all over the world. One
region deserving extra attention at this year’s Collective 2 Design Fair is
that of Scandinavia. Four main countries—Denmark, Finland, Norway, and
Sweden—and arguably a fifth (Iceland), while diverse, all contribute to a
shared design sensibility marked by clean, simple lines, craftsmanship,
durability, and cost-efficiency. Scandinavian
design, spanning from furniture, ceramics,
and glass, to metalwork, lighting, and fashion, appeals to a global audience
due to its natural warmth and straightforward, no-nonsense approach to
functionality.
The aesthetic will play a key role in this year’s second
edition of the fair.
Glenn Adamson, director
of
MAD, will select from among the Scandinavian
designers whose skill and sophistication are on display to curate a capsule
exhibition “Collective Focus: Scandinavia.” There will also be a talk, “Nordic
Influence: Designers Discuss the Scandinavian Legacy,” as part of
Collective Conversations on Saturday, May 10th. Here, we spotlight the
Scandinavian galleries, booths, artists, designers, and pieces (both vintage
and contemporary) of note.
DENMARK
Denmark
has a centuries-old heritage of furniture-making (special craft-based schools
were founded there as early as the mid-1700s). Many modern Danish designs grew
out of these handicraft traditions in woodworking and cabinetmaking where
unique craftsman–designer collaborations were common. The smallest of the
Nordic countries, with a main peninsula and over 400 bridge-linked islands,
Denmark has long relied on imports. During the mid-20th century, rosewood from
Brazil and teak brought in from Thailand distinguished Danish furniture from
other Scandinavian countries whose designs instead incorporated their native
blonde woods. Many Danish classics balance a practical quality with a sculpted,
organic aesthetic.
Danish
artists/designers to know:Grete Jalk,
Axel Salto,
Poul Kjaerholm,
Finn Juhl,
Borge Mogensen,
Hans Wegner,
Verner Panton, Erik Magnussen,
Arne Jacobsen,
Michael Geertsen,
Poul Henningsen, and Nanna
Ditzel.
Danish
booths at Collective 2: Modernity highlights classic Scandinavian mid-century pieces,
Hostler Burrows provides expertise in
Scandinavian ceramics, while
Dienst +
Dotter Antikviteter largely focuses on antiques from the 17th to the
mid-20th century and
Vance Trimble shows Danish cabinetmakers and Scandinavian
modern masters.
Highlights
at the Fair:
Finn Juhl,
BO64/Two-and-a-half
Person Sofa, 1946, at Vance Trimble
FINLAND
Over
three quarters of the land in Finland is covered in forests, and the landscape
includes 60,000 lakes (the most of any country worldwide). An abundance of
pine, spruce, and birch wood, which is relatively inexpensive, focused the
country’s design on practical goods for the everyday, including significant
developments in the creation of plywood furniture. More than its Scandinavian
neighbors, Finland is generally unencumbered by historic styles (largely owing
to its late independence in 1917) and has used design to define its identity.
Finnish designs tend to be innovative and experimental, while retaining ties to
the country’s rural heritage, creating spare, economical forms with a sense of
austerity.
Highlights
at the Fair:
Eero
Aarnio,
Armchair Tomaatii, 1971, at
ModernityICELAND
The
last settled country in Europe and one of the most isolated, Iceland has the
youngest design heritage. Though the Icelandic word for design (hönnun) did not
become a part of the language until the middle of the 20th century, the country
has a strong and enduring folk culture, particularly in music and literature.
This, paired with a high level of craftsmanship—weaving, needlework,
carving—has contributed to a vocabulary that reflects the language of design.
Icelandic
artists/designers to know: Sveinn Kjarval, Brynjar
Sigurðarson, Guðjón Samúelsson,
Sigurður
Guðmundsson NORWAY
Furniture
design was late to develop in Norway as the country was slow to embrace
modernism. In addition to the influence of the
Arts and Crafts Movement and the
Art Deco style, Norwegian design
reaches back to the ornamental dragon motifs of the Vikings, and has a
longstanding association to craftwork and the decorative arts, particularly in
enamelware and silverware.
Norwegian
artists/designers to know: Peter Opsvik,
Torbjørn Afdal, Andreas Engesvik, Hans
Brattrud, Anderssen & Voll
Norwegian
booths at Collective 2: Fuglen Highlights
at the Fair:
Birger
Dahl,
S-30016 lamp, 1952, at
FuglenSWEDEN
The
largest and most industrialized nation in the Nordic region, Sweden also has an
abundant supply of natural resources. European influences dominated Swedish
design until the country began to elevate its own aesthetic around the 19th
century. Overarching themes found in Swedish design are robust colors inspired
by nature, and a commonsense approach that combines technical solutions with
accessibility.
Highlights
at the Fair:
Eva Hild,
Structure, 2004, at
Vance Timble