Scandistyle Examined

Blitz Magazine, May 2002

Many designers might cringe at the mention of Ikea in conversation about design.

‘Fact is that Ikea introduced, to the North American mass market, an entire concept of interior decorating—a concept that was not invented by Ikea, but made affordable and easily available by Ikea. Spare, simple designs, uncomplicated materials, and splashes of colour among natural tones: this, to those who haven’t studied art history, is Scandinavian design.

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The concept of Scandinavian design refers to a particularly simplified subdivision of modern design. Characteristic features emphasize practicality, freedom from pretension and controlled use of materials. Lightness and clarity are common denominators. Timelessness and a thorough familiarity with materials bind the creations with modernism.

Design experts will tell you that Scandinavian design is a way of life, at once urban and close to nature. Many Scandinavians spend a good chunk of their lives close to woods and water, hiking in the wilderness or at summer cottages. This sounds a lot like life in Canada, except that, the experts say, Scandinavians spend nine months indoors—presumably, their winters are colder. It is said that, in the Scandinavian world, home and public interiors play a larger role, and that design is a question of survival—the farther north one goes, the harsher the conditions and the scarcer the materials. Long distances enhance the importance of using local materials, local technologies and local energy. ‘Sound familiar? Then why doesn’t Canadian design look the same as Scandinavian design?

Perhaps it’s a difference in attitude. In the Scandinavian countries, design has always been approached as competitively as sports. Nuances arise from each country’s culture, industry, politics, education and economy. Several generations of architects and designers have regarded themselves as part of a political movement. There is huge public support for design, and it’s the subject of investment by Scandinavian governments, all of which have produced national programs to support and develop design.

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Young Nordic Design: Generation X surveys the achievements and experiments of 50 young designers and design teams from Denmark, Finland, Iceland, Norway and Sweden, and includes 60 works presented in furniture, industrial, textile, graphic and fashion design. Unusual pieces include Cyberia, a jacket that includes a built-in location system, a communication system, electrical heating, a first-aid kit, a hypothermia bag, ice picks and a water-heating pocket. There’s a coffee mug whose handle is also a spout, a portable sofa, a lamp whose shade collapses when it’s turned off, an elegant cabinet handle whose actual purpose is to prevent shoplifting, a chandelier made for swinging from, a blade-like, high-speed kayak made of molded carbon fibre, and a road-racing bicycle made of carbon fibre.

 

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