What is

Scandinavian
Design?

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 What is Scandinavian design?
by Christian von Hanno

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 Abstract

What is Scandinavian Design?

Scandinavian Design has from the 1950s been known for its original, simple, innovative and
functional design. This essay will show how history of war, collaboration and influence of nature,
has made Scandinavian design what it is.

Research will consider the impact of Scandinavian design through analysis from the most
prominent designers of the five Nordic countries, Iceland, Norway, Sweden, Finland and
Denmark, and their influence within the design industry.

This essay also includes an Artefact. The artefact is meant to show a vision of functionality and
aesthetics, and give a feeling of where Scandinavian style is today, from a Scandinavian design
student’s perspective.

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Phantasy Landscape, Visiona II by Verner Panton, 1970
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Contents

Introduction 16

Chapter I – What is Scandinavian design? 18

Chapter II – The Scandinavian influence 21

-Alvar Aalto

-Bruno Mathsson

-Arne Jacobsen

-Tias Eckhoff

Chapter III – Scandinavian design today 33

-Norway Says

-Iceland

Chapter IV – The Artefact 40

Conclusion 44

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‘In these remote countries a powerful art movement is forcing its way into general art
development of Europe and…will undoubtedly ere long, claim greater public attention.’

-The Studio, London, 19011

1  Abrams , Harry N. Scandinavian Modern Design 1880-1980, Incorporated. New York, 1982, p. 11

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 Introduction

With a population of 24,7 million2 the Nordic region, often referred to as Scandinavia, has during
the 20th century produced a number of design icons that include Alvar Aalto, Bruno Mathsson,
Hans J. Wegner and Arne Jacobsen. They have not only shown they have a great eye for
design, but also that the understanding of functional and human values is just as important. By
experimenting with the use natural materials and finding functional solutions to every day needs
the five northern countries, Iceland, Norway, Sweden, Finland and Denmark have together
managed to make Scandinavian Design a well-known expression.

The balance between function and form, colour and texture, and the desire to experiment with
materials, especially wood, has been very important for many of the Nordic designers. Nature
has also been a major source of inspiration for designers like Arne Jacobsen, Alvar Aalto,
Jens Quistgaard and Tapio Wirkkala. Alvar Aalto, the architect, designer and sculptor said,
‘Man should not destroy his environment, but live in harmony with it, and preserve its natural
wholeness’.3

The northern region has over the last ten centuries shared common roots in religion, culture
and history. The first chapter of this essay will focus on how Scandinavian design became an
expression and what the characteristics are. The second chapter will introduce the reader to
the distinguishing features of some of Scandinavia’s most prominent designers, and discuss the
origins of Scandinavian design. It will also discuss the Scandinavian influence on style and the
development of modernism. Important designers and their designs will also be mentioned.

Scandinavian design has today a new generation of designers that compared to designers
from the 1950s, have a broader world view. Today’s designers and design agencies like, Björn
Dahlström, Peter Opsvik and Norway Says, influenced by their heritage and their predecessors,
also get their modernistic pieces of design in production and achieve international attention. The
third chapter will discuss the development of the Scandinavian style and look into how today’s
designers’ are doing.

2  http://www.population.com
3  Alvar Aalto (film) – Director Piero Berengo Gardin, 57 min, Color,

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There is an inclusion of an artefact, which attempts to substantiate the notion of Scandinavian
design through a physical object. The last chapter will focus on this Artefact. This will show a
vision of functionality and aesthetics, and give a feeling of where Scandinavian style is today,
from a Scandinavian design student’s perspective.

Artichoke Lamp by Poul Henningsen,1958

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 Chapter I – What is Scandinavian design?

The cold countries up north have been through wars together, shared kings, language, and
helped each other out through centuries. From the 1930s Scandinavian countries had a good
reputation of experimenting with new materials and production technologies. Their understanding
of natural materials and the aesthetics also gave them attention, but it was after World War II
international success occurred.

During the ninth Milan Triennale in 1951, Elizabeth Gordon (editor of House Beautiful), Olof
Gummerus (director of the Finnish Society of Craft and Design) and Leslie Cheek Jr. (Director of
the Museum of Fine Arts and chairman of the American Association of Museum Directors) had
met and agreed on doing a travelling exhibition with Scandinavian design. 4 From 1954-1957 the
Design in Scandinavia exhibition was touring United States and Canada and visited twenty-four
museums.5 The collaboration between Norway, Sweden, Denmark and Finland (Iceland was not
represented) was a success. Design in Scandinavia not only made Scandinavian design popular,
it also invented the Scandinavian style. Finland, not included in the Scandinavian Pennsylvania
also got a new Scandinavian identity. The so-called Golden Age of the 50s had begun.

Widar Halén chief curator for the Museum of Decorative arts and Design in Oslo, suggests ‘The
idea of Scandinavian design was a huge marketing ploy’ and that ‘the Nordic countries needed to
sell our goods to the rest of the world after the devastation of the Second World War. So we joined
forces’. 6 The Scandinavian countries had different reasons for encouraging mass-production.
Norway and Finland were hit hard by World War II and were left behind in the craft development,
and needed to improve economy. But in Sweden, who stayed neutral during the war the goal was
to make commodities available for everyone. The idea of ‘more beautiful things for everyday use’
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was appreciated in the Swedish market and soon became an international success. It is true
that the Scandinavian designer’s had limits on the basis of bad economy. Natural materials and
functional shapes did help to reduce costs, and was easier to mass-produce. But what made

4  Hawkins, H. Finish Modern Design –, The Bard Graduate Center for Studies in the Decorative Arts and Yale University press, New Haven and London,1998
5  Ibid.
6  Rimmer, Louis. The Sunday Times, june 25, 2005
7  Anker, Peter. Scandinavian Modern Design 1880-1980, Cooper Hewitt Museum, Harry N. Abrams Inc. New York, 1982, p.161, 166

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the Scandinavian design so sought-after was the designers’ ability to combine the aesthetic
values with simple and functional solutions. An example of this is Antti Nurmesniemi’s Sauna
stool. ‘A traditional and rustic form with a comfortable seat ideally suited to its purpose. The
laminated wood seat is both sturdy and attractive, the striations created by lamination becoming
an essential part of the design’.8 One might say a cliché recipe of Scandinavian design is good
developed craftsmanship, simple and functional solutions mixed with a good aesthetic sense.

Sauna stool by Antti Nurmesniemi, 1952

8  Ibid. p. 182.

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 The Chair by Hans Wegner, 1949
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 Chapter II – The Scandinavian influence

The so-called Scandinavian style made a good impression in 1947 when glass, furniture, home
accessories and art were exhibited at Milan Triennial, the famous design show in Milan9. The
Triennials was a place where designs from all over the world were exhibited and compared and
characterised by others. These shows were a key to international success for designers like
Hans J. Wegner, Pål Henningsen, Tarpio Wirkkala, Timo Sarpaneva and Tyra Lundgreen. Their
work also got displayed in international magazines, like in 1949, when Hans J. Wegner’s The
Chair was on the front cover of Time magazine.10 But the marketing of the style started as early
as the 1920s. One of the first to introduce Scandinavian design was the Danish Frederik Lunning
(creator of the Lunning prize) when he opened a firm in New York in 1923, but it was Finland and
Sweden who would start the importation of the Scandinavian style.

Alvar Aalto (1898-1976)

By living close to the land with thousands of lakes, a huge number of rivers, and heavy forest,
the Finnish have developed a very special relationship with nature. After World War II Finland’s
designers had began creating a new modern style, building modern homes that would give them
a new modern identity. Alvar Aalto played a very important role on the development of modernism
and also on bringing modernism into Finland.

In the 1920s Alvar Aalto, the great Finnish architect and designer and one of the pioneers of
organic design, began experimenting with moulded plywood11. Aalto grew up with his father,
surrounded with the Finnish forests. He was very inspired by nature and believed that wood was
‘the form-inspiring, deeply human material.’12 In most of Aalto’s furniture and home designs it is
easy to discover his interest and love for nature. From his organic Savoy vase, which can remind
one of a puddle of water to his Lounge chair with its framework consisting of two pieces of bent
plywood making the light and thin laminated body float in the air.

9  Sommar, Ingrid, Scandinavian Style, Carlton Books Ltd, 2003, pp. 6, 7

10  Ibid.
11  Design Handbook – Concepts, Materials, Styles – Charlotte & Peter Fiell, Taschen, Köln, 2006, pg. 130
12  Ibid., pg.131

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 Together with his wife Aino Marsio, he found revolutionary ways of making chairs. How to connect
vertical and horizontal elements had before been difficult, but by creating moulded wooden legs
that could be attached directly to the seat, frames and support was no longer necessary, and the
problem was solved.

Inspired by Marcel Breuer’s light tubular metal furniture, Aalto made the Paimio armchair (1931-
32)13, which is still manufactured today, and is probably his most famous piece of furniture
design. The thin bent laminated wood with a scrolling end in the top and bottom makes the seat
light and airy. The arms and legs, two laminated wooden shapes formed as a closed loop give
the chair a touch of softness. The furniture’s lifestyle was just as important as the soft forms of
the bent wood. Furniture was meant to be light and bright, and this was a very good example of
this. The chair was originally made for the Paimio Hospital Aalto designed in the late 1920s. In a
nomination catalogue for inclusion in the world heritage list it says, ‘the angle of the back of the
chair was designed to optimise the best position for the sitting tuberculosis patient to breathe.
The plywood surface is also easy to clean.’14

In 1935 Aalto established his company Artec15. As early as in 1936 he began to export furniture
to the United States which had a lot of influence on the young generation of American designers
and architects. While architects prescribed his furniture, designers made similar designs on their
own. It was simply easier to live with the new wooden Scandinavia-inspired furniture than with the
tubular steel. The word modern now had a new meaning in America. As J. Stewart Johnson writes
in the book American Modern, ‘Here was a middle ground, encompassing both the precision of
the machine aesthetic and the nostalgic warmth of handcraftsmanship. It had taken fifteen years
for modern design in America to reach this point, but it seemed finally to have come of age.’16

In 1937 Altos furniture was featured at an international exhibition in Paris, the year after at a solo
exhibition at the Museum of Modern Art, and in 1939 he designed the Finnish pavilion at the New
York’s World’s Fair17. In 1947-48 Aalto designed the Baker Building in Massachusetts, fitted with
13 Museum of Modern Art homepage - http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A34&page_number=3&template_
id=1&sort_order=1
14  Nomination of Paimio Hospital for Inclusion in the World Heritage List, National Board of Antiquities,
Helsinki, 2005, p. 20
15  Raizman D. History of Modern Design, Laurence King Publishing Ltd., London, 2003, p. 202
16  Johnson, Stewart J. American Modern, Harry N. Abrams, Inc., New York, 2000, p. 37
17  Raizman, D. History of Modern Design, Laurence King Publishing Ltd., London, 2003, p. 202

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Alvar Aalto Vase, Iittala, 1937
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 Alvar Aalto armchair model 41, "Paimio", for Artek, Finland, 1931-32
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his own furniture, which lead to a growing interest of his furniture designs among the American
people.18

Ingrid Sommar says that we have not before today, in the beginning of the 21th century,
understood the great impact Alvar Aalto’s pioneer work has had on the furniture industry. 19
Charlotte and Peter Fiell says that thanks to Aalto plywood got accepted as a material of the
avant-garde and Particularly in the United States Alto’s designs became so successful that the
course of design changed towards organic modernism.20

Bruno Mathsson (1907-1988)

In Sweden another pioneer was manufacturing his designs in his family workshop. Bruno
Mathsson was like Alvar Aalto into experimenting with bent and laminated wood, but he also
considered the human body in his furniture designs. Function and comfort was important for
Mathsson and his Eva armchair from 1934 was a perfect example of this. David Raizman says,
‘His 1934 armchair consists of a broad curving seat with webbing rather than upholstery whose
sculptural contour conforms to Mathsson’s measurements and studies for ideal sitting positions
for the human body for a variety of tasks, including simply “lounging”.21

According to Jarno Peltonen, minimal structure and soft organic forms gave the chair a feel
of lightness, and with the moulded plywood, it suited the sitter, and the chair also looked
comfortable22. Mathsson is a good example of how the Scandinavian designers took a step
away from the ‘strict functionalism (particularly strong in the case of the Nazis)’23 and introduced
softness and natural materials. Hedvig Hedqvist, a Swedish design historian, said about
Mathsson, ‘He is the last modernist whose history has not been told.’ 24

For the Americans Swedish Modern was a quite familiar expression, after a critic had coined it

18  Pulos, Arthur J. The American Design Adventure , Massachusetts Institute of Technology, United States, 1988, p. 79
19  Sommar, I. Scandinavian Style –, Carlton Books Ltd, 2003, p. 88
20 Fiell, Charlotte & Peter. Design Handbook, Concepts, Materials, Styles –, Taschen, Köln, 2006, p. 131
21  Raizman, David, History of Modern Design –, Laurence King Publishing Ltd., London, 2003, p. 203
22  Peltonen, Jarno. Scandinavian Modern Design 1880-1980 – Cooper Hewitt Museum,, Harry N. Abrams Inc. New York, 1982, pp. 119, 124.
23  Ibid.
24  Wendy Moonan, New York Times, April 6, 2007

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 Eva arm chair by Bruno Mathsson, 1934
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Jetson 66 by Bruno Mathsson, 1965
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 at the Worlds Fair in 1939.25 Consumers seemed to accept the Swedish style and the American
market welcomed Swedish manufacturers to make furniture that easily could be shipped
overseas. Bruno Mathsson among others now got his furniture into American showrooms. Dag
Widman writes in the catalogue for the Bruno Mathsson: Architect and Designer exhibition in
New York, 2007: ‘the conviction that a well-functioning and aesthetically appealing environment,
with architecture at its core, would lead to an improved quality of life.’ 26 Looking at Aalto and
Mathsson’s early success outside Scandinavia we see the impact Scandinavian design had
on the development of modernism. The Design in Scandinavian exhibition, which was one of
the keys for international success, was also a great source of inspiration for the modern design
movement. George Nelson, which together with Charles and Ray Eames was one of the founders
of American modernism, once said that the Eames chair would not have been possible without
the Finns and Swedes.27 His statement shows that Scandinavian design has had an influence on
some of the world’s most prominent designers.

Arne Jacobsen (1902-1971)

Denmark has during the 20th century produced astonishing pieces of furniture designs like
Hans J. Wegner’s The Chair or Verner Panton’s Panton chair. They have not only shown
that they have the great taste for design, but also that they have developed some excellent
craftsmanship. Because of their central location they have been able to combine their old
traditions with new influences from the outside world to create great new ideas. An example of
this is Arne Jacobsen’s Ant chair. The development of the Danish craft tradition made it possible
for Jacobsen to add three different bends to plywood. Inspired by Charles and Ray Eames, he
created a timeless design classic. Over 5 million have been produced worldwide.28

The Ant chair, or Myren (in Danish) from 1952 represents timelessness, and is one of the most
popular chairs of the 20th century. The chair is a great example of how Jacobsen used his love
of nature as a source of inspiration. The simple organic form working together with the complete
feeling of lightness promised, above everything else, comfort. Along with the easy and practical
way to stack made it especially popular for restaurant and other public areas. His organic

25  Peltonen, Jarno. Scandinavian Modern Design 1880-1980 – Cooper Hewitt Museum, Harry N. Abrams Inc. New York, 1982, pp. 119, 124.
26  Wendy Moonan, New York Times, April 6, 2007
27  Pulos, Arthur J. The American Design Adventure, Massachusetts Institute of Technology, United States, 1988, p. 79
28 Milosch, Jane C. Icons of Design- The 20 Century, Pretsel Verlag, Munich, Germany, p. 101
th

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The ant chair (Myren), Arne Jacobsen, 1952
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 timeless design later proved to defy modernisation as designers like Vico Magistretti was asked
by the Danish furniture manufacturer Fritz Hansen to design a new wooden laminated chair. It
did not cast a shadow over the original at all29 and the beautiful piece of design still remains
unharmed by the aging of time.

The Ant was later made with arms, a fourth leg, wheels and different back shapes, and in the
1980s the original shape was available in 16 different colours.30 From all the things he had done
before, this appealed the most to the public. It was affordable, comfortable and beautiful to look
at.

Tias Eckhoff (1926-)

After the 1960s designers had began to specialize in wider design areas, much because of the
interest in industrial design. The new Scandinavian crafts and design climate made it possible
for designers to release themselves from the industry and move production to independent
workshops31. This opened for the designer to explore and introduce modern aesthetics to new
fields like household, office and sports equipment.

Tias Eckhoff , the Norwegian potter, was one them who expanded his product line. From just
making ceramics, he started to produce cutlery for the Danish producer George Jensen. His
first set of cutlery Cypress was a commercial success. ‘My thoughts behind the design were
to develop a simple, and functional solution’ 32he said in an interview. The smooth handles with
its thin edges united into the soft curved shapes makes a perfect balance between form and
function.

Even though Norway did not receive as much attention as Sweden and Finland during the 1940s
d 1950s, they still were successful as a design nation. But Norway could not keep up with the rest
of Scandinavia in development and sustain production, and they almost disappeared completely
from international competition in the 1970s and 1980s.33
29  Revision on; Jeremy Myerson looks into the pitfalls of trying to evolve a design, which is already acknowledged as a classic. Sometimes it’s better just to leave
well alone, he says- Design Week December 10, 1999, p. 22
30  Milosch, Jane C. Icons of Design: the 20 Century, Prestel Verlag, Munic, Berlin, London, New York, 2004, p. 100.
th

31  Scandinavian Modern Design 1880-1980 – Cooper Hewitt Museum, editor: Margaret Donovan, published by Harry N. Abrams Inc. New York, 1982, p.184
32  Bøe, Alf and Stemhaug, I. H. N. Tias Eckhoff – en pioneer I norsk industridesign (a pioneer on Norwegian industrial design), Museum of Arts and Craft in
Oslo, Gjøvik Trykkeri, Gøvik, Norway, 1998
33  Nelson, Katherine E. New Scandinavian Design –Chronicle Books, San Francisco, California, 2004, p. 109

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Cypress silverware by Tias Eckhoff for Georg Jensen, 1953
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 However with some exceptions like Peter Opsvik’s ”Trip Trap” child’s chair, which became a
export success for the Norwegian manufacturer Stokke34.

34  Ibid.

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 Chapter III – Scandinavian Design today

In the 1980s there was a down period for the Scandinavian style. In 1982 Mark Stevens said in
his article about the Scandinavian Modern Design- 1880-1980 exhibition, ‘Today Scandinavian
modern, so popular in the 1950s, seems as stale as a motel room; it is Italian designers who get
the headlines. Perhaps the timing is right, therefore, for a fresh look at northern design.’35 But
from the 1990s Scandinavia slowly began to re-establish themselves in the international market.
In America Scandinavian furniture designs from Arne Jacobsen, Finn Juhl, Hans J. Wegner and
Alvar Aalto got re-introduced and was suddenly made popular again by Magazines, Museums
and dealers. In 1998, William L. Hamilton writes for the New York Times ‘Scandinavian Modern,
the kinder, gentler modernism, is back. The modern design community has seen the forest from
the Mies.’36

Today we see a new up-and-coming generation of designers. Again Scandinavia has managed
to attract international audience. Design firms like Norway says, Design House Stockholm and the
Danish company Design By Us has during the last couple of years achieved international interest.
Designers like Björn Dahlström, Peter Karpf and Peter Opsvik has also earned a good reputation
internationally. The question is how much the Scandinavian designers have changed during the
last fifty years, and if there still is such a thing as Scandinavian design.

When Widar Halén, was asked if the new Scandinavian generation of Scandinavian designers
has continued to leverage the notion of Scandinavian design, he answered, ’they have continued
to use these notions. You see this especially in the minimal retro design that looks back to the
Golden Age of the ‘50s. A lot of ideas from that period have been taken up again, but then again,
young designers have visited these ideas with renewed direction. They have a much broader
world view now than (their predecessors did) fifty years ago. And many of these designers have
been educated abroad and have worked all over the world. They don’t consider themselves
specifically Scandinavian anymore. You find that a lot of them use these traditional notions of
Scandinavian design on ironic and humorous ways, which is quite fun, really.’37 Halén here

35  Stevens, Mark. Scandinavian Suprises, Newsweek, United States Edition, art section, p. 99, October 18, 1982
36 William L. Hamilton, The New York Times, February 26, 1998
37  Widar Halén , New Scandinavian Design, Chronicle Books, San Francisco, California, 2004 pp. 237, 238

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 Rocking rabbit by Björn Dahlström
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suggests that today’s designers have taken an approach towards international design, using
old traditions with new and using inspiration from abroad as well as from their predecessors to
create their own style. Espen Johnsen argues in his essay, ‘The old modernist formula stating,
“form follows function” has lost some of its relevance as a frame of inspiration’ he says38 Johnsen
indicates that Scandinavian designers today are influenced by much more than modernism and
heritage. Today one gets to choose its source of inspiration. Magazines, Internet, and media
in general have opened up new doors, which allow people to find information about basically
anything they want.

Things are not what it used to be, that is true. Today, Norway, which never was on the same level
of recognition as Denmark, Sweden and Finland, has blossomed and become the new hype in
Scandinavian design. Norway, ‘the little brother of Scandinavia’39 became independent in 1905,
but has only recently managed to achieve international success. More focus on the consumer
product exports makes it easier for designers to achieve international recognition40. One example
of this is the design firm Norway Says, which is now one of Scandinavian design’s biggest
success stories.

Ann-Tove Engenes, Scandinavian Surface, was asked by Cabinet Maker magazine, ‘What
do you think makes Norway an exciting design scene right now?’ she answered, ‘Norwegian
design has its roots in the simple Scandinavian style, yet we are influenced by our dramatic
natural environment. We have steep mountain ranges, deep cut fjords and miles and miles of
partly inaccessible wilderness. The geographical characteristics of our fellow Scandinavian
countries are far milder, featuring rolling hills, woodland and large parts of cultivated farmland.
Norway doesn’t have a history of aristocracy like Sweden and Denmark, which is probably
reflected in Norwegian design, it is the untamed little sister - blonde but dangerous!’41 Engenes
here suggests that the Norwegians have taken up inspiration from their roots and shaped the
Scandinavian style into something of their own.

38  Johnsen, Espen. Scandinavian Design Beyond the, Arvinius Förlag, Stockholm, 2003, p. 133
39  Nelson, Katherine E. New Scandinavian Design –Chronicle Books, San Francisco, California, 2004, p. 107
40  Ibid.
41  Interview: 100% Norway, Natural talents, Cabinet Maker (Magazine), CMP Information Ltd. September 14, 2007, p. 14

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 Norway Says
In 2000 Norway Says was the first to represent Norway at the Triennial in Milan since 1960.42
The design collective containing of Torbjørn Anderssen, Andreas Engesvik, Espen Voll and
Hallgeir Homstvedt has since then won numerous awards and is today working with national and
international clients.

Linda Hales, the Washington Post’s design critic wrote this about Norway Says’ work exhibited
in Washington (2002), ‘Stylish laminated plywood tables and slim-line chairs were set out on
a woolly rug as white as Nordic snow. Strips of pale birch had been bent and folded into neat
magazine racks and slatted chairs. A writing desk was made from a thin plank turned up at the
edges, with steel rods for legs. Though dwarfed by the scale of the cavernous Great Hall, the
delicate furniture lost none of its simple, Scandinavian elegance.’43 This indicates some of the
qualities Norway Says has inherited from their predecessors. Even though critics often seem to
compare today’s Scandinavian designs with the old traditional ones, the designers do not design
to show they are Scandinavian. Espen Voll said in an interview with Espen Johnsen, ‘We do not
produce our Products with an aim to make them more Norwegian, or Scandinavian, either. The
thought never enters my head. I suppose it is more of a question of a cultural attachment one just
has without reflecting over it. But the notion of filling what we regard as a rather empty Norwegian
design concept, is a motivating motive.’44 This indicates how little today’s designers are bound to
any tradition.

42  Northern Exposure, Design Week, August 18, Centaur Communications Ltd., 2000, p. 24
43  Linda Hales, The new ambassadors of design ;
Diplomats turn Washington into a showplace for the holidays, The International Herald Tribune, des. 24, 2002, p. 8
44  Johnsen, Espen, Scandinavian Design Beyond the Myth , Arvinius Förlag, Stockholm, 2003, p. 138

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Hal sofa and chair by Norway Says, 2003
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 Iceland
It took a while for Iceland to be included in Scandinavian design. One of the reasons for this was
that they did not have a society of crafts and design nor a decorative art museum. The cultural
indifference amongst the political council caused a slow development in that area45. From the
1980s to early 1990s Iceland’s first generation of design students actually had to study abroad
because of lack of university-level education46. But today Iceland has a new enthusiasm for
design with a new Academy of Arts, established in 2001 and total freedom to experiment.

The island has one of the world’s most active volcanic areas, and has enormous glacial
expanses. Anja Llorella Oriol says in the book New Scandinavian Design, ‘Many Icelandic
designers are influenced by the stark contrasts of Iceland’s natural surroundings. This clearly
expressed in their use of unusual textiles and raw material’47 The Icelandic designers has a
reputation of being different, and is in many ways starting from scratch, without much design
history. But the late development has given the Icelandic designers an advantage; room for
experimentation. Halldór Gíslason, Dean of the Department of Design and Architecture, says:
‘Established Scandinavian institutions all have the problem of a long legacy of Scandinavian
culture. That’s what makes Icelandic design so different from Scandinavian design. We aren’t
stuck with any local tradition.’48 The free Icelandic designers like Gudrun Lilja Gunnlaugsdottir,
Olafur Omarsson and Ragnheieur esp Sigureardettir are on their way towards success in the
international market.

45  Arnadottir, Arndis S.Scandinavian Design Beyond the Myth , Arvinius Förlag, Stockholm, 2003, p. 87
46  Nelson, Katherine E. New Scandinavian Design, Chronicle Books, San Francisco, California, 2004, p. 161
47  Llorella Oriol, A. New Scandinavian Design, teNeues Publishing Group, Kempen, 2005, p. 10
48  Nelson, Katherine E. New Scandinavian Design, Chronicle Books, San Francisco, California, 2004, p. 161

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Lava Flower, Gudrun Lilja Gunnlaugsdottir, 2006
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40
 Chapter IV – The Artefact

Scandinavian design has influenced an entire design generation, and is still an inspiration for
many successful designers, as well as young design students. The artefact is not a result of a
year of research on Scandinavian design, but a result of growing up in Scandinavia. Using a
made up term ‘What you think is what you design’ the artefact will express a vision of aesthetics,
form and function.

The water jug is inspired by the peaceful winters along the west coast, south of Sweden. The
quite snow filled roads, surrounded by steady white trees with only the silent wind as a source
of movement. As mentioned the design comes from the heart, and not from research. It is a
vision, not a product made from a recipe. This artefact proves that Scandinavian design still
has preserved some of its traditional values. The influences from nature has in this case been
important, and given the design a natural look.

The simple white porcelain body with the soft lines gives the jug a touch of calmness. The light
wooden grip surrounding the midsection of the jug expresses purity of the materials, and gives
a feeling of lightness. The cut-off top with the curved point reflects a natural form in the simplest
way. The wooden grip is easy to hold. The curved point secures hand from slipping when poring
water.

The body is made from a casting shape that makes it possible to make unlimited copies. It also
makes it easy to produce.

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 Conclusion

There are three words that repeatedly seem to show up in most books and articles: functional,
simplistic and aesthetic, whether the book is new or old. Even though these words does not
describe every Scandinavian design, it pretty much describes the overall impression one gets, by
looking into the Scandinavian style. You find Scandinavian influence in work from many prominent
designers like Charles and Ray Eames and George Nelson.

It seems like natural surroundings have influenced many of the Scandinavian designers.
Charlotte and Peter Fiell said in Intra magazine, 2003, ‘in the 20th century the majority of
Scandinavian designers, from Alvar Aalto and Arne Jacobsen to Jens Quistgaard and Tapio
Wirkkala adopted forms inspired by the natural world rather than the machine, and in doing so
pioneered the concept of organic modernism.’49

It might be more difficult to differentiate Scandinavian design with other designs today, still the
Scandinavian designers have clearly maintained the old traditions, but with an original approach.
Today one is drowned in information through advertisement, basically telling you what to think
and like. The world has changed a lot since the 1950s and in many cases design is now based
upon research and solving problems, rather than just making a beautiful piece of design, which is
a good thing. It seems like the Scandinavians again have managed to create their own style, with
new thoughts and new ideas, just like 60 years ago. By using influences from abroad with their
own inherited style their fresh new ideas are improving everyday life with a modern twist. Pattie
Barron from the Evening Standard (London) puts it this way, ’Call it a perfect marriage of form and
function, with a complete disregard for fashion. Designers strive for the iconic, not for something
of the moment’50 Barron here indicates that the Scandinavians are designing for their own time
and is not too much affected by the commercial market.

Scandinavian design has always been appreciated among the critics, and still has the ability
to win consumer hearts. Björn Dahlström says ‘I’m sure that culture and heritage does come
through in some way in all the things one does.’51 Looking at Scandinavia designs’ today we
49  Charlotte and Peter Fiell . Intra- Interiors for Designers and Architects, Gale Group, Inc., march 1, 2003, p. 33
50  Pattie Barron - Northern exposure, The Evening Standard (London), Associated Newspapers Ltd. Oct 29, 2003, p. 40
51  Conran, T. & Fraser, M, Designers on Design, Conrad Octopus Limited, London, 2004, p. 90

44
still see the simple solutions, functional thinking and the good aesthetic sense inherited by their
predecessors. Some things never change.

Stokke Xplory by Stokke, K8 and Bård Eker, 2003

45
 Superstructure easy chair by Björn Dahlström
46
The Panton chair(s) by Verner Panton, 1960
47
48
49
 Bibliography
Books
Conran, T. & Fraser, M, Designers on Design, Conrad Octopus Limited, London, 2004, p. 90

Bueno, Patricia. Chairs Chairs Chairs, Artium Group 2004, Barcelona

Donovan, Margaret Scandinavian Modern Design 1880-1980 – Cooper Hewitt Museum, Harry N.
Abrams Inc. New York, 1982

Nelson, Katherine E. New Scandinavian Design –., Chronicle Books, San Fransisco, California,
2004

Llorella Oriol, A. New Scandinavian Design –teNeues Publishing Group, Kempen, 2005

Fiell, Charlotte & Peter. Design Handbook – Concepts, Materials, Styles –, Taschen, Köln, 2006

Harrison Beer, E. Scandinavian Design – Objects of a Life Style, McGraw-Hill Reyerson Ltd,
Torinto, 1975

Sommar, Ingrid. Scandinavian Style –Fiell, Charlotte & Peter. Scandinavian Design, Taschen
GmbH, Köln, 2002

Raizman David, History of Modern Design,Laurence King Publishing Ltd., London, 2003

Stritzler-Levine, N. Finish Modern Design –, The Bard Graduate Center for Studies in the
Decorative Arts and Yale University press, New Haven and London,1998

Mount, Christopher. Arne Jacobsen, Chrionicle Books LLC, California, 2004

Halén, Widar and Wickman, Kerstin. Scandinavian Design Beyond the Myth, Arvinius Förlag,
Stockholm, 2003

Gaynor, Elizabeth. Finland Living Design –, Rizzoli International Pubications, Inc., New York, 1984

Pulos, Arthur J. The American Design Adventure –Massachusetts Institute of Technology, United
States, 1988

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Urbanelli,Elisa. American Modern –Harry N. Abrams, Inc., New York, 2000

Bøe, Alf and Stemhaug I. H. N. Tias Eckhoff , En pioneer i norsk industridesign (a pioneer on
Norwegian industrial design) –., Museum of Arts and Craft in Oslo, Gjøvik Trykkeri, Gøvik, Norway,
1998

Asenisio, Pasco, Cuito, Aurora. Alvar Aalto –, teNeues, Gráficas Anman. Sabadell, Spain, 2002

Articles, Catalogues and Magazines

Revision on; Jeremy Myerson looks into the pitfalls of trying to evolve a design, which is already
acknowledged as a classic. Sometimes it’s better just to leave well alone, he says, Design Week
December 10, 1999, p. 22

Leonardo: Vol. 5, No. 4. - Rod Hackney The MIT Press, autumn, 1972

Nomination of Paimio Hospital for Inclusion in the World Heritage List, National Board of
Antiquities

Helsinki 2005 (www.nba.fi/tiedostot/c760469d.pdf)

Interview: 100% Norway, Natural talents, Cabinet Maker (Magazine), CMP Information Ltd.
September 14, 2007

The Nordic Transparency –Alvar Aalto, cat. Stedelijk Museum Amsterdam 15 dec. 1978 t/m 28
jan. 1979

Fiell, Charlotte and Peter - Intra- Interiors for Designers and Architects, Gale Group, Inc., march
1, 2003,

Design Week, December 10, 1999

Thomson, Henrietta & Aastad, Thomas. 100% Norway (Catalogue), Royal Norwegian Embassy,
London, 2008

Northern Exposure, Design Week, August 18, Centaur Communications Ltd., 2000, p. 24

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 Linda Hales, The new ambassadors of design ;

Diplomats turn Washington into a showplace for the holidays, The International Herald Tribune,
des. 24, 2002, p. 8

Pattie Barron - Northern exposure, The Evening Standard (London), Associated Newspapers Ltd.
October 29, 2003, p. 40

Internet
Louise Rimmer, The Sunday Times, june 25, 2005: http://www.timesonline.co.uk/tol/news/uk/
scotland/article536870.ece

Wendy Moonan, The new York Times, April 6, 2007

http://www.nytimes.com/2007/04/06/arts/design/06anti.html?_r=1&scp=11&sq=swedish%20
modern&st=cse

William L. Hamilton, The New York Times, February 26, 1998

http://query.nytimes.com/gst/fullpage.html?res=9D01E2DD133EF935A15751C0A96E958260&se
c=&spon=&pagewanted=1

Museum of Modern Art homepage: http://www.moma.org/collection/browse_results.php?criteria=

O%3AAD%3AE%3A34&page_number=3&template_id=1&sort_order=1

Media
Alvar Aalto – Director Piero Berengo Gardin, 57 min, Color. http://www.rolandcollection.com/
films/?prm=a12-b101-c696-d0-e0

Cover:
http://www.etsy.com/shop/madebyanna

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54 Christian von Hanno 2008