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As Italy’s furniture industry struggles to bounce back after the recession, has Copenhagen regained its place as Europe’s design capital?
During the 1950s and 1960s, furniture enthusiasts from all over Europe and America flocked to Copenhagen to preview designs by Modernists Hans J. Wegner, Arne Jacobsen, Poul Kjaerholm and Finn Juhl – the old masters. Now Danish design is flourishing again.
Work by these designers has recently returned to the fore as the 100th anniversaries of their births have been celebrated.
Carl Hansen and Son, PP Møbler and Republic of Fritz Hansen are reissuing old designs and putting previously unseen designs into production. For the 100th anniversary of Hans J. Wegner’s birth this year, Carl Hansen and Son has started production on a wood and steel chair designed in 1955 and has also adopted the logo Wegner designed for the brand in 1950.
Danish design expert Christian Holmsted Olesen, who has curated an upcoming exhibition of work by Wegner at Copenhagen’s Dansk Design Museum, was one of the first to recognise the resurgence. “Here at the museum we have been experiencing it for 15 years now,” he said. “It started with the anniversary in 2002 when Arne Jacobsen would have been 100. Since then Danish design has been very popular again.”
While these grand masters are enjoying as much success now as they were in the mid-twentieth century, new Danish companies have also sprung onto the scene during the last decade and are fast becoming as popular.
The furniture by the masters is targeting the international luxury market, but brands including Hay, Muuto, &tradition, Normann Copenhagen and Menu are producing more affordable furniture. “[These] are all new brands, maybe ten years old, and their concept is to make Danish or Scandinavian design in the known style but a lot cheaper,” said Holmsted Olesen. “I think that’s the reason for their success, because a lot of the Danish design has become too expensive.”
Starting a new company in the shade of such a cultural heritage wasn’t easy, said Hay cofounder Rolf Hay.
“It had limitations, coming from a culture with such a strong background because in the beginning we were compared to these architects,” Hay told Dezeen.
“‘Why do a new chair when Arne Jacobsen already did the best chair in the world?’ It was really a struggle to get out of the shadows of the masters, but perhaps it was healthy to be challenged,” he continued.
Hay revealed that inspiration for the company’s concept of collaborating with international designers actually came from Italy. Hay had previously worked with Danish firm Gubi selling designs by Milanese brand Cappellini.
“Cappellini brought the whole world to Italy,” said Hay. “It was the first company to work with BarberOsgerby, the Bouroullecs, and it is still working with Jasper Morrison.”
Hay realised that cost was an issue for Cappellini and saw a gap in the market for similar products with more reasonable price tags: “There was a large group of people who appreciated Cappellini but could not afford it, so that was a starting point for our company. If we could do products on a very high design level but for an affordable price then there would eventually be a market there.”
Hay’s recent collaborators include British designer Sebastian Wrong, French duo Ronan and Erwan Bouroullec, and Dutch studio Scholten & Baijings – see our interactive slideshow of the brands’ current products.
Other Danish design companies had similar ideas around the same time. This group of contemporary brands that emerged almost simultaneously, aimed at the same high-end low-cost market, are now creating healthy competition amongst themselves.
“In Copenhagen right now it’s quite interesting,” said Hay. “We’re competitors but we have a good understanding and a good relationship with each other.”
Hay has a theory about why they have survived and even thrived during the recession. “It’s maybe not so much about aesthetic, but more about ethic and about business mentality,” said Hay. “These companies are good at making products that clients are demanding.”
Unfortunately, the same can’t be said for Italy. Last year Moroso matriarch Patrizia Moroso declared that Milan is “sitting in the past” and “losing the culture behind production”, and former Domus editor-in-chief Joseph Grima was equally full of doom and gloom about the Italian design scene.
The Danish brands’ recession-busting success hasn’t gone unnoticed by the Italian companies. “I know for example that Vitra is studying what Hay is doing because they cannot understand how these companies are expanding as fast as they are,” Holmsted Olesen revealed. “The secret is that they understand that you do not want to pay more than £100 for a chair. They know exactly what the consumer is willing to pay.”
Another factor that could be contributing to the country’s success is the help given to up-and-coming designers. Both local brands and the government nurture talent emerging from Denmark’s design schools.
Young Danish designers Line Depping and Jakob Jørgensen both contribute to Hay’s collections and are also are able to work on their own projects. “We have an agreement that we work for them and have our things in production for them, as well as doing things for galleries and exhibitions,” said Depping.
This balance between working on commercial products and experimental pieces creates optimal relationships for the designers and the brand. “[Hay] know that a lot of good ideas come from the freedom that comes from smaller projects,” said Jørgensen. “Things can appear that are relevant for them so they definitely support that.”
The Danish government also offers a range of grants and financial aids that designers can apply for each year. Further assistance is provided by funded workshop spaces for designers to come and use.
Located in a former warehouse on Copenhagen’s waterfront, the Danish Art Workshops provide facilities including workshops for wood, metal, textiles and other materials that artists and designers can apply to use free of charge for short or long-term residencies. This gives them the opportunity to create large-scale pieces that wouldn’t fit in their own studios, or use specialist equipment with the assistance of trained technicians.
Additionally, the government supports a different set of designers each year to create pieces for the Mindcraft exhibition in Milan during the city’s design week in April. This exhibition promotes notion of craft and focus on quality, something that forms the link through Danish design – from its historical roots all the way to contemporary production.
This national design identity is appreciated worldwide and part of this is maintaining and promoting the idea of high-quality products. “Danish design is more about marketing that about products”, said Rolf Hay. “All these companies have a high-end design profile but they’re good at selling the idea.”
An enduring design tradition and history, healthy competition between business-minded brands and continued support for new talent has kept Denmark’s industry solid while Italy’s appears to be struggling. So is Copenhagen the new Milan?
“I’m going to say yes,” proclaimed Holmsted Olesen. “It’s possible, we’ve done it before. In the 1950s everyone came to Copenhagen to see what happened so of course it’s possible, if we keep doing it right.”
The post “Copenhagen is the new Milan” appeared first on Dezeen.
This multi-storey car park for Copenhagen by local firm JAJA Architects will feature a plant-covered facade to hide the cars inside and grand external staircases leading to a landscaped park on the roof (+ slideshow).
The Park ‘n’ Play car park concept by JAJA Architects won a competition organised by the Copenhagen Port and City Development for a site in the emerging Nordhavn area. It will provide locals and visitors with a new public plaza and play area.
“This project is based on a standard, pre-defined concrete structure,” said the architects. “As a second layer, our proposal becomes the active filter on top of a generic, multi-level car park.”
The car park’s functional concrete frame is used as the basis for a staggered pattern of planting boxes that wrap around the building and contain greenery to shield the parking spaces from view.
“Instead of concealing the parking structure, we propose a concept that enhances the beauty of the structural grid while breaking up the scale of the massive facade,” the architects explained.
Many of the harbour buildings in the former port region are constructed from red brick, so the architects specified that the car park should be built from concrete that has been tinted a similar shade.
Influenced by the staircases on the outside of the iconic Centre Pompidou in Paris, stairs rise from the ground floor across the long sections on the north and south sides of the car park.
The walls behind these staircases will be decorated with a frieze created by Copenhagen visual designers RAMA Studio, which will depict the area’s industrial history.
A handrail will follow the staircase as it ascends across the facade and then continue when it reaches the roof, transforming into an architectural feature that unites the various leisure spaces and play areas.
“From street level, the railing literally takes the visitors by the hand, inviting them on a trip to the rooftop landscape and amazing view of the Copenhagen harbour,” said the architects.
As well as connecting playgrounds featuring swings and climbing structures, the rooftop railing will incorporate fences and plants to help provide sheltered spaces for relaxing.
Construction is due to begin later this year, becoming the latest in a string of unusual car parks around the world. Examples include a car park in Bordeaux with housing on its roof, another in Austria with colourful parking spaces surrounded by criss-crossing concrete columns, and Herzog & de Meuron’s multipurpose car park building in Miami.
Here’s a project description from JAJA Architects:
Park ‘n’ Play
Parking houses should be an integral part of the city. But how can we challenge the mono-functional use of the conventional parking house? How do we create a functional parking structure, which is also an attractive public space? And how do we create a large parking house that respects the scale, history and future urban culture of the new development area Nordhavn in Copenhagen?
The site
The new parking house will be situated in Århusgadekvarteret, which is the first phase of a major development plan for Nordhavn. It is currently under development and will in the near future host a mix of new and existing buildings. Today, the area is known as the Red Neighbourhood because of the historical and characteristic red brick harbour buildings. The future development will build upon this historical trait and merge existing characteristics into new interpretations.
The project
The starting point for the competition project was a conventional parking house structure. The task was to create an attractive green façade and a concept that would encourage people to use the rooftop. Instead of concealing the parking structure, we propose a concept that enhances the beauty of the structural grid while breaking up the scale of the massive façade. A system of plant boxes is placed in a rhythm relating to the grid, which introduces a new scale while also distributing the greenery across the entire façade.
The grid of plant boxes on the facade is then penetrated by two large public stairs, which have a continuous railing that becomes a fantastic playground on the rooftop. From being a mere railing it transforms to becoming swings, ball cages, jungle gyms and more. From street level, the railing literally takes the visitors by the hand; invite them on a trip to the rooftop landscape and amazing view of the Copenhagen Harbour.
Structure
This project is based on a standard, pre-defined concrete structure. As a second layer, our proposal becomes the active filter on top of a generic, multi level car park. The structure has a rational and industrial crudeness, which suits the area’s spirit and history; however, the traditional concrete parking structure can appear cold and hard. As a natural continuation of the area’s red brick identity, we propose a red colouring of the concrete structure. With this simple measure, the grey frame is transformed into a unique building structure, which radiates warmth and intimacy through its materiality and surface, in harmony with the surroundings that are dominated by red roof tiles and bricks.
The green façade
The building will be a large volume in a compact, urban setting, and because of its proximity to the surrounding urban spaces, the parking house will predominately be seen from close-up. To provide scale to the large building, we propose planted façades where a green structure interacts with the building behind. The green façade is made up of a plant “shelving system”, which emphasises the parking structure and interacts with the rhythm of columns behind. Plant boxes introduce scale and depth, and provide rhythm to the façade.
The placement of plant boxes follows the grid of the parking house, and there is a box placed in a staggered rhythm for every second column, in the full height of the building. The system of plant boxes brings depth and dynamic to the façade, while also matching the neighbouring buildings’ proportions and detailing. The plant structure covers all four façades, and provides coherence and identity to the whole building. The green façade is planned into a time perspective, to provide for the quickest possible plant growth against the tinted concrete. The expression of the façades is based on an interaction between structure and nature, the structural vs. the organic, and provides an exciting interdependence between the two.
The staircase and the roof
The basic principle of an active parking house is the idea of an accessible and recreational roof offered to local inhabitants and visitors alike. Visibility and accessibility are therefore essential when creating a living roof. A staircase towards the open square provides a diagonal connection between street and roof level, and invites people to ascend along the façade. The course of the staircase follows the building’s structural rhythm, and each landing provides a view across the surrounding urban spaces and at the top, a view to the roofs of Copenhagen.
The staircase has references to Centre Pompidou, where the movement along the façade is an experience in itself. Along the back wall of the staircase, we work with our friends at RAMA Studio to create a graphical frieze, which, in an abstract, figurative form conveys the history of the area. The narrative can be seen from street level, and followed more closely when the visitor ascends along the staircase. Along here, we also establish alternative access points to the parking levels. The frieze tells a story of past and future, and becomes a modern tale of the area’s industrial history and its future as Copenhagen’s new development by the harbour. The two flights of stairs on the Northern and Southern façades stand out as vertical passages through the greenery, and clearly mark the connection between street level and the active roof.
The red thread
The red thread is a physical guide through the parking structure’s public spaces, which leads the visitor from street level, where the guide is introduced as a handrail on the staircase. As a sculptural guide it almost literally takes the visitor by the hand, and leads along the stairs to the top and through the activity landscape on the roof. Here, it becomes a sculpture and offers experiences, resting spaces, play areas and spatial diversity. Activities along the red thread could be traditional such as swings, climbing sculptures etc., but also more architectural elements such as fencing and plants, which can emphasise or establish spaces while providing shelter from the weather.
The elevated activity sculpture above the roof provides great flexibility, and makes the exciting activities visible from street level. The sculpture’s journey across the roof continues uninterrupted, before leading back along the second staircase towards the street. Combined the stairs through the green façade and the active roof make up a living, urban landscape that invites for both rest, fun and excitement.
As such the structure becomes a red thread through the project, and connects the façade, the stairs and the activities on the roof as one single element. Copenhagen’s new parking house will be a social meeting ground and an active part of its local environment – as an urban bonus for locals, athletes and visitors alike.
Project description: Park ‘n’ Play
Program: parking structure
Architect: JAJA Architects, Copenhagen
Client: Copenhagen Port & City Development
Year: 2014 (completion 2015)
Size: +20.000M2
The post Pompidou-inspired car park by JAJA Architects
to feature planted facade and rooftop park appeared first on Dezeen.
Furniture by prolific Danish Modernist designer Hans J. Wegner will go on display at Copenhagen‘s design museum next month, marking the one-hundredth anniversary of his birth.
The Just One Good Chair exhibition at Designmuseum Danmark will showcase a retrospective of work by Hans J. Wegner, who designed over 1500 chairs and other furniture pieces before he passed away in 2007.
“If only you could design just one good chair in your life… But you simply cannot,” Wegner was quoted saying in 1952.
The exhibition will tell the story of his life and work, using over 150 pieces of his furniture alongside drawings, photos and models.
“I’d say he’s the most important Danish designer ever,” the exhibition’s curator Christian Holmsted Olesen told Dezeen. “The reason for that is that he developed this new organic Modernism, which became so popular especially in the US in the 1950s and 1960s.”
His most recognisable designs including the Wishbone Chair – named after the shape of its back support – and the bent plywood Shell Chair endured the Postmodern era, and remain as popular today as they were when they were first issued.
“During the 1980s the Postmodernists were criticising the Modernist design because it was boring, too rational, too anonymous,” Holmsted Olesen said. “Wegner’s design is never boring – it’s full of fantasy, it’s very poetic and it’s very human in its approach. It still is very rational and everything can be explained about the way it is constructed.”
Wegner trained as a cabinet maker before studying at the Danish School of Arts and Crafts under Kaare Klint, the so-called Father of Danish Design.
Wegner was soon commissioned to design furniture for Copenhagen brands such as Rud Rasmussen.
He spent hours measuring chairs from other cultures, especially Chinese, so he could prefect the shapes in his own pieces. “He was inspired by historical typologies and the idea of refining things from the past,”explained Holmsted Olesen.
In 1949, Americans visiting an exhibition of Danish furniture that included Wegner’s work saw one of his seats and named it “The Chair,” as they considered it perfect.
“Everyone had given up on craft all over the world and in the US there was a craft revival just after the Second World War, because everyone had seen what disaster the industrial development had created,” said Holmsted Olesen.
“Denmark really had something good at that time to present to the whole world and Hans Wenger was very good at designing in these organic forms,” he continued. “The international modernist movement, which came from Central Europe and the Bauhaus, had developed into more organic forms in architecture. But there was very little organic furniture design and he was one of the only designers doing this, so that’s why he came so popular in the 1950s and 1960s.”
The exhibition will also include prototypes that are previously undisplayed, such a lounge chair that Wegner kept in his own home and was used solely by his wife.
Wegner’s furniture is currently produced by three Danish firms – Carl Hansen & Son, PP Mobler and Fritz Hansen – using the same traditional craft techniques as in the 1950s and 1960s.
Carl Hansen & Son recently began producing the CH88 chair, first designed by Wegner in 1955, and adopted the logo he designed for the company in 1950.
The exhibition opens on 3 April and will continue until 2 November.
Here’s some more text sent to us by the museum:
Wegner – Just One Good Chair
Designmuseum Danmark marks the 100-year anniversary of Hans J. Wegner’s birth with a large exhibition, opening 3 April 2014.
“If only you could design just one good chair in your life . . . But you simply cannot” – Hans J. Wegner, 1952.
Hans J. Wegner (1914-2007) was one of history’s most prolific designers. In 1949 he created the design that the Americans called The Chair. The perfect chair – but he continued designing new ones nonetheless, producing a total of over 500. He was referred to as The King of Chairs – or just the Chair Maker. His furniture paved the way for Danish Design’s international breakthrough in the years after World War II, and he was to become a leading figure in Organic Modernism.
A poetic take on modernism
Wegner’s work always took its starting point in craftsmanship, and he produced nearly all of his own prototypes in the workshop. His life is best understood as an enduring mission to understand the logic and the potential of wood. He showed the modern world that the old virtues of craftsmanship, such as sensuality, beautiful detailing and the use of natural materials, also have a place in the modern industrialised world. Wegner’s approach to design was neither retrospective nor romantic, but his furniture was nevertheless full of poetry – which is why his designs, despite the fact that they are wholly rational and grounded in functionality, have remained popular right up to the present day, even escaping criticism from the postmodernists. In our late postmodern times, Wegner in many ways represents a more human route into modernism.
A cornerstone in Danish design
The exhibition tells the story of Wegner’s life and career, showing more than 150 of his major original works from the time, drawings, photos and models, exploring Wegner’s working methods and vast oeuvre. It is also possible to try out and touch over 50 newly produced Wegner-pieces in the exhibition. Along with film and furniture, by some of his contemporaries, like Charles & Ray Eames, Finn Juhl, Arne Jacobsen and Mies van der Rohe, the exhibition shows how the finest wooden furniture is made.
Wegner’s work was the product of the Danish Furniture School – while also representing a break with it because of his free, artistic mode of expression. Founded by Professor Kaare Klint in the 1920s, The Danish Furniture School set out to build on traditions. Historic furniture from different cultures and eras, from Designmuseum Danmarks’s collection, was studied, refined, and adapted to contemporary needs. A hallmark of Danish design is the desire to perfect the very best work found in other cultures and eras. The history of Danish design is like the history of Danish politics – defined not by revolution, but by evolution. This pragmatic, humanistic and democratic thinking is seen throughout every aspect of Danish society, and it is in this context that the characteristically clean lines of Danish products should be understood.
Traditionalist and modernist
Wegner worked his whole life towards improving old Chinese and English chairs, along with new, modernist furniture; and towards simplifying and beautifying them, in order to enhance their artistic expression, while also making them more suitable for industrial or mass production. The majority of his most ground-breaking ideas were presented at the annual Joiners’ Guild Exhibition at the Designmuseum Denmark. It’s at these exhibitions that Americans came to see the quality of Danish furniture art, and began to write about it. What was special about Wegner, as a Danish designer, was his ability to develop classic design ideals into something completely new, often finding inspiration in centuries-old handcrafts. With his organic shapes, inspired by ancient tools such as axe-handles and oars, Wegner made his impact on the artistic movement of the time: Organic Modernism.
The exhibition tells the story of how and why Wegner and Danish design made such an impression in the 1950s throughout America and the rest of the world. What makes Danish design special in relation to German, American and Italian design, for instance? And why is Danish design, and Wegner’s in particular, so popular in Asia today, serving as a model for so many of the greatest designers of our time – such as Jasper Morrison, Naoto Fukasawa, Tadeo Ando and Konstantin Grcic. The exhibition shows not only Wegner’s work, but also some of the most significant post-war Danish and international designers; works of historical inspiration from the Designmuseum Danmark’s collection; and also current international work, inspired by Danish design.
The exhibition is shown from the 3 April 2014 to 2 November 2014 and is accompanied by a richly illustrated book on Wegner’s work, published in Danish by Strandberg Publishing and in English and German by Hatje Cantz Verlag.
The museum, Kunstmuseet i Tønder, also celebrates Hans J. Wegner with an exhibition. For more information please go go: museum-sonderjylland.dk.
The post Copenhagen exhibition to celebrate “most
important Danish designer” Hans J. Wegner appeared first on Dezeen.
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This soil treatment centre in Copenhagen by Danish studio Christensen & Co was designed to resemble the mounds of earth being used to sculpt the landscape of a developing harbour-side community (+ slideshow).
Soil Centre Copenhagen is located on the coastal edge of Nordhavn, a new urban quarter underway to the north of Copenhagen’s centre. It was designed by Christensen & Co as a facility for decontaminating soil excavated from construction sites across the city.
The building has an angular profile, which slopes up from the ground to create the shape of two connected hills, and its outer walls are clad with rusty panels of pre-weathered steel.
“Soil Centre Copenhagen grows out of the landscape with its characteristic shape and rusty red facades,” said the architects. “The building has a distinctive silhouette against the vast horizon, and is an integrated part of the landscape and an obviously man-made object.”
The roof surfaces are covered with plants and grasses, intended to fit in with ponds and shrubs already present nearby. The architects also hope that in time trees and bushes will grow over the structure.
“In this sense the building makes up for the piece of the landscape it has occupied, and will help preserve the natural biodiversity of the area,” they said.
There are more plants inside the building, where the architects have added a living wall and a row of trees inside a double-height entrance lobby.
Offices and laboratories are arranged around this space, while garage and workshop areas are positioned on either side.
Wooden shelving grids are build into the walls to provide storage and seating areas in various spaces and skylights help to bring daylight through the interior.
Photography is by Adam Mork.
Here’s a project description from Christensen & Co:
Soil Centre Copenhagen
Between the sky and the ocean
On the edge of Øresund, where the sky meets the ocean behind the Freeport and the Container Terminal lies Copenhagen Municipality’s new soil treatment centre, Soil Centre Copenhagen. It is here millions of cubic metres of dug up soil from construction projects and metro building sites around Copenhagen create new ground for Copenhagen’s new urban area Nordhavn.
The landscape at Nordhavn is flat and makes for a fascinating and ever-changing scenery, giant piles of soil and huge excavations. To the north-west of Soil Treatment Centre, Copenhagen, the landscape is contrastingly lush with little green hills, shrubbery and little ponds and lakes fringed with rushes. A wild nature site filled with sounds from birds, swans and mewing seagulls. It is also here the protected European Green Toad, has made a new home for itself.
With this very unique context Soil Centre Copenhagen grows out of the landscape with its characteristic shape and rusty red facades. The building has a distinctive silhouette against the vast horizon, and is an integrated part of the landscape and an obviously man-made object.
The facades are clad in stretch metal made from rusty weathering steel. On the roof tall grass and, in time, even smallish bushes and trees will grow. In this sense the building makes up for the piece of the landscape it has occupied, and will help preserve the natural biodiversity of the area. The weathering steel is protected by a red layer of rust, visually connecting it to the area and the ambitious environmental profile of the building.
The building consists of an office section for employees, laboratories, dressing rooms, two large workshops, garages and storage spaces. At the centre of the building the office section makes for a peaceful oasis with a view of the surroundings through the carefully placed windows, each offering beautifully framed views of the landscape or the waters of Øresund. At the same time, placement of the windows in the facade optimises the use of natural light, so the character and quality of that light becomes an integrated part of the architectural narrative.
A green and luxuriant interior
Two large indoor trees, along with the lush plant wall, create a green and delightful internal contrast to the dusty and rough exterior environment. A large number of roof windows shower the building with a pleasant light from above, and along with the facade windows, allows for some very good natural light conditions in the office section. The floor plan encourages interdisciplinary synergy between the centre’s very different departments ranging from engineers to excavator drivers.
The first DGNB certified building in Nordhavn
Soil Centre Copenhagen is the first DGNB certified building in Denmark built after the test phase has ended and the very first certified building in Nordhavn. It is a zero-energy building, which combines passive and active energy efficiency measures based on an overall view, which encompasses energy efficiency, building materials and social aspects. The design of the building results in an extremely low energy consumption and the necessary energy is provided using geothermal energy from the many kilometres of piping underneath the black asphalt in front of the building as well as solar panels and solar cells integrated into the slanting roof surfaces.
Soil Centre Copenhagen
General contractor: CPH City & Port Development
User: Copenhagen Municipality. The Technical and Environmental Administration
Area: 1,800 m2.
Architect: Christensen & Co
Engineer: Grontmij
The post Soil treatment centre by Christensen & Co
designed to look like piles of mud appeared first on Dezeen.
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