In Conclusion

Well, I've completed all my entries for my Danish Design Journal. I have to admit that I'll miss it a bit. I have a new soft spot for both Blogging and Danish Design alike. I had a bit of time this evening so I took the opportunity to take some pictures of details from the streets in the town where I live. What could be a better way to celebrate the end of a Danish Design semester?

4/23/10: Symposium #8, Public Spaces, Public Life

Go to Gammeltorv and look at the new statues of homeless people...What is it all about? How do people react and interact with them? If the statues were real human beings, would they react differently to it? Is Gammeltorv a good place for such an instillation? Is there any other public space in Copenhagen that would be more suitable than Gammeltorv, and for what reason?

Just yesterday I stumbled upon Welcome HomeLess statues in Gammeltorv. My immediate thought was that a group of those statue performers had gathered in the square and were all doing their unmoving act - that is how lifelike they appear. But on closer inspection, I realized that they were, in fact, real statues. Crowding Gammeltorv, the 13 statues are impossible to miss. Their lifelike expressions and postures are both disconcerting and intriguing, and so compelled me to wind my way through them. On the other hand, as portrayals of homeless individuals, they exude a sadness and discomfort that makes the viewer slightly embarrassed to look. Of course, it is this double reaction that the statues are meant to create so that people's reaction to the homeless, that of both spectacle and something to try and ignore, can be addressed and critiqued.

The project is meant to make people stop and think for a moment on the problem of homelessness, to make them realize that it is all around us, and it happens to all kinds of people. To do this, the project depicts homeless people as being both men and women, young and old. Cast in metal, the people don't seem to be of any particular race. They are poignant and pull the viewer to look a little more carefully and ask, why is this person homeless?

Bag Lady

Sleeping Man with Rug

Punker
All Photos from http://www.aidoh.dk/?categoryID=298

But the most successful move that the project made was to place the exhibit on Gammeltorv, right between two parts of Strøget, the walking street, but also in close proximity to København University. Not only does the University mean that the area is progressive leaning, meaning that viewers will be more receptive to it's message, but shoppers from Strøget will have a hard time avoiding the sculptures. There is something powerful about walking down the street after spending large amounts of money in shops and then being faced with 13 statues of homeless individuals. In that moment, you are forced to reconsider your privileged position in comparison to so many other people out there. Although Strøget already has a few regular beggers that shoppers are accustomed to, the appearance of 13 sculptures overnight is something that people, regardless of how busy they are, simply can't overlook. The only other place that could have been just as good of a location would have been father up Strøget, at Amagertorv, but I do think Gameltorv is an ideal location.

Being in Copenhagen, one rarely see homeless people. Never before have I been in a city with so few people begging on the street. As a result, it is easy to forget just how lucky we. Therefore, the exhibit puts Copenhagen into perspective, and reminds the Danes that just because they benefit from the Welfare State everyday does not mean that everyone else is so fortunate.

4/20/10: Symposium #7, Danish Transportation

Compare and contrast the Copenhagen transit system to another one you know well. Discuss what you believe are strong elements in Copenhagen's public transportation and the areas you think the city could improve upon. What does Copenhagen do that might be applicable to your city? Does the city you chose have any examples or ideas that Copenhagen could adopt? Which transit system to you feel safer riding?

Considering that I use the Copenhagen transit system practically every day, it is certainly my most familiar public transportation system. Feeling comfortable on the train, bus, and metro, I appreciate the safety, cleanliness, and dependability that all three provide. When compared to the other transportation system I know, the Boston commuter rail and train system, Copenhagen's public transportation appears newer, better designed (logistically, aesthetically, and structurally), and easier to navigate. Nevertheless, I can think of a suggestion or two for Copenhagen that I see working well in Boston.

A few of the things I appreciate about the Boston train system that could be employed in Copenhagen:

• You can buy plastic cards for the train that you can refill at your leisure. These cards last indefinitely and cut down on waste. They can also be filled monthly at a reduced cost for people who use the trains regularly. They fit into a wallet and so are easy to use and carry. I think these cards make much more sense than the kilp cards that end up littering bus stops and train platforms, and the navy blue passes that need to be replaced somewhat regularly. The cards, called Charlie cards, are simply more efficient.
• The trains in Boston and its surrounding metro areas are color coded. You could never get onto the wrong train because you would immediately tell as the train pulls into the station whether or not it's the green line or not.

The old, yet iconic Boston Green Line

http://lauramcwilliams.files.wordpress.com/2009/08/bostongreenline.jpg

• Express trains or trains traveling further are clearly marked and not easily confused with other local trains. Most often they are on entirely different platforms. This is not always the case in Copenhagen, especially at Nørreport and I have known several people who have accidentally rode these trains far out of the city without an opportunity to get off.
• Public transportation is hands down less expensive in Boston. Perhaps, Copenhagen has made it more expensive because they are trying to encourage people from biking instead. Nevertheless, Copenhagen's prices are steep. Then again, the price of everything in Copenhagen is steep.
  

That said, I think there many more things that Boston could learn from Copenhagen:

• Many of the trains and stations in and around Boston are simply old and worn down. If the city could invest more into the design an upkeep of both the trains and stations, I'm sure more people would be willing to take them.

Dark and dingy inside of a typical Boston train platform http://www.universalhub.com/images/2009/dtxsmoke.jpg

• One of the things I was most interested in about Copenhagen's stations is their use of light and elimination of dark corners. Making sure their stations are safe places, even at night, makes such a difference to passengers. I have never once felt unsafe in a Copenhagen train station but I am sure there are many stations in Boston that I simply would not want to be at night.
• Boston stations do not show waiting and arrival times for the trains. Many of them do not even have a schedule of when the trains are supposed to arrive. I think adding these few little things would make the train waiting process so much better.

Copenhagen Metro Station, clean, well lit, and easy to navigate because of its arrival time display
http://farm4.static.flickr.com/3239/3151069958_16078030e8.jpg

• Although there is a commuter line that goes from Boston to outlying suburbs, many areas simply have no access to public transportation. Adding bus lines that reach more suburban areas would reduce car traffic. Considering that traffic in Boston is a real problem with it's continuous construction projects and confusing old roads, these busses would be a great asset. Of course, these busses would have to be clean and reliable so that commuters would want to ride them.
• Proving wireless internet for commuters is an excellent service that the Copenhagen transit system offers its commuters. Overall, their use of technology is something Boston could learn from, such as the text messages commuters can receive when their train or bus is coming.
  

4/16/10 Lecture Reflection: Transportation Design and Architecture

Today's lecture interested me most by its portrayal of transportation design as something equally forward thinking as it is backwardly referential. A quick analysis of London's St. Pancras train station demonstrates how early stations were more than transportation hubs but icons of development, designed to look more like cathedrals than anything. While these grand buildings stood as emblems of progress and acted as status symbols, they also posed a logistical problem - they simply took up too much space. To hide the often ugly new technology, stations were built to cover it up from the public eye. In this instance, similar to Copenhagen's Central Station, St. Pancras stood as both a sign of what was to come (the train is the classic symbol of inevitable technological progress), but nevertheless strove to resemble great buildings of old. Cities may have been proud of these technological giants, but they did not want to scare their citizens with too much change too fast and so disguised them, ironically, as places of worship.

St. Pancras Station, London - ornate, cathedral like design

http://i.telegraph.co.uk/telegraph/multimedia/archive/01157/portal-graphics-20_1157354a.jpg

Space taken up by St. Pancras Station
http://static.worldarchitecturenews.com/news_images/1325_1_1000%20St%20Pancras.jpg

From this point forward, the main task of transportation designers was the successful integration of traffic. Because transportation infrastructure is difficult to completely disband considering that people still need to get from place A to B, much of transportation design occurs as improvement or renovation, as opposed to creation. Of course, thinking back to the beginning of the semester, all design is simply the development of some pre-existing idea, the improvement of things already created. Once again, then, we are faced with the predicament of needing to move forward while being firmly tied to the past.

Despite often needing to working within an existing framework, Danish Transportation Design seems to be making considerable headway. The plan for the new Nørreport Station in Copenhagen, designed by Public Arkitekter is a perfect example of how Danish transportation design is particularly innovative. In a response to the high level of traffic around the station that isolates it like an island and makes it dirty, congested, and uninviting, traffic has been shifted to that both directions of traffic are on the same side of Nørreport. This not only makes traffic simpler but creates a city pavilion out of the station, leaving space for vendors and cafes. Pavilions will make use of natural light, glass, and curved spaces so as to prevent crime and make the space safe and inviting. Also important are the 3000 spaces for bike parking. The parking looks to the future when even for Danes will use a bike as their primary means of transportation. As functional as the parking is, it is still aesthetic by being contained in depressions in the ground that do not impede sight lines. But incorporated into all of these new features are the subway ventilation pipes that cannot be removed. Also, the subway platforms themselves, while receiving a face-life, are not being expanded as they should be due to lack of funding. Thus, the old exists with the new, and in many way, dictates what new things can and cannot be.

Nørreport Station today
http://upload.wikimedia.org/wikipedia/commons/f/f2/N%C3%B8rreport_Station_01.JPG

Plan for New Nørreport Station, by Public
http://www.danskdynamit.com/uploads/imagecache/blogimage_big/blog/N_rreport4_390657a.jpg

4/14/10 Field Study: Copenhagen Walking Tour and Danish Architecture Centre

Reflecting upon the group walking tour, now map your own route through your favorite part of the city with what you consider to be the best ‘civic design’ attributes. In short, design a map that marks a preferred route which point out the key spots and areas you believe embody the theme best. Include a brief description of what you understand this ‘theme’ to mean, and also provide individual descriptions/briefs of each of the spots/areas you have noted on the map.

Trying to describe to a friend why I liked Copenhagen, I found myself repeatedly using the world 'livability'. Although the word seems straightforward, understanding why some cities are able to achieve urban livability while others cannot often seems much less explicit. But by taking a close look at what is inviting and exciting about Copenhagen, it seems that a key ingredient is creating intimate spaces in public environments. These 'urban living rooms,' spaces that a demarcate private areas in the midst of fast paced downtown areas, inspire a feeling of personal identification with the city and invite inhabitants to slow down and enjoy the beautiful details of Copenhagen. Such private spaces, in addition to the careful design Copenhagen employs to ensure that the city is both functional and aesthetic from details as small as the man hole covers and as large as the street plans are what makes it such a livable city. Here are a few examples of spots not to miss when walking (or biking!) Copenhagen:

Your Walking Tour Map, Thanks to Google Maps

Map Key: (A) Nyhavn; (B) Kongens Nytorv; (C) Pistolstræde; (D) Amagertorv; (E) Caritasbrønden Fountain at Gammel Torv; (F)
Skydebanehaven Park

Nyhavn
Although this street is wide and open, overlooking the water, the colorful buildings, small cafes, and ample outdoor seating makes the area one of the most iconic and enjoyable spots in all of Copenhagen. The combination of lively cafes and young people lounging outdoors with drink in hand, juxtaposed with buildings dating back to the 18th century is a perfect example of how this old world city has captured a young, fresh urban atmosphere.

Nyhavn

Pistolstræde
From Nyhavn, walk around to Kongens Nytorv, noticing the successful mix of commercial and cultural buildings and then turn onto Østergade (Strøget), noticing the detail in the sidewalk at the beginning of the street - three bronze towers symbolizing the city inlayed into the paving stones. Just one example of the aesthetic attention to detail that makes Copenhagen such an exciting urban design case study. Make a right onto Ny Østergade and then a left onto a tiny alleyway called Pistolstræde. The alleyway opens up to a courtyard that gives the palpable feling of private space although it is simply a niche of small shops. With trees strung with lights and wide steeps to sit on, Pistolstræde is the perfect location to stop and reflect, eat your lunch in peace, or simply take as a tangent on your walk home. The beautiful spot is especially remarkable when one considers its past. The area was the city's previous Red Light District, full of seedy businesses and unkept buildings. When the area transitioned, this tight, non-corming cluster of buildings (and the space it encapsulated) could have been destroyed. Instead, it was not only kept but converted into a beautiful urban refuge.

Inside Pistolstræde
http://mw2.google.com/mw-panoramio/photos/medium/20262083.jpg

Strøget & Amagertorv
After wandering through Pistolstræde, you'll find yourself back on Østergade (Strøget), the walking street. Lined with high quality shops and dotted with street performers and the occasional street vendor, Strøget resembles many other urban shopping districts, except for one notable difference: there are no cars allowed. Pedestrians move freely, creating equal access to both sides of the street. Perhaps the showcase of the walking street is Amagertorv, an unconventional square. It is worth mentioning not only because of it's urban carpet, artistically designed paving stones that attracts the eye (see post 4/13/10) but also because of it's unusual shape. Adjacent to Strøget, the square is anything but symmetrical or rectangular, creating a feeling of freedom and excitement but then at it's south end, it's layout becomes structured and demarcated by flagstone pavers. It's southern tip boasts a large bronze statue and overlooks the institutional sector of Copenhagen. Therefore, as the lack of symmetry at the north corner of Amagertorv reflects the bustling commercial atmosphere of Strøget, the contained and restrained southern end refers to the stateliness of the Parliament buildings that it faces.

Caritasbrønden Fountain at Gammel Torv
Walking farther down Strøget will bring you to another public square, this one with a large, guilt fountain. As a meeting place and a site for bike parking, as well as home to a couple street venders, the square is lively but it's relatively smaller scale makes it cozy. Even in colder weather, you will see people sitting around eating their lunches. Although there are few benches, the fountain itself, as well as a platform left from times of public executions serves as perfect spots for sitting.

Caritasbrønden Fountain at Gammel Torv
http://mw2.google.com/mw-panoramio/photos/medium/7571940.jpg

Skydebanehaven Park
This final part of the journey takes a bit longer to reach but take the opportunity to observe Copenhagen's smaller details. Notice as patters in the cobblestones change depending on the street your on. Consider the functional and yet aesthetic bus shelters with their corresponding bus signs that not only visibly display the bus numbers that stop there but are also designed as interlocking pieces so that if another bus route picks up that stop, another number can be added without needing to construct an entirely new sign. Quickly look at the city lights, trash cans, and benches, all of which are functional, streamlined, and blend into the urban environment. Your route will take you to the end of Strøget, bringing you to Radhusplasden. Crossing the square will put you on Vesterbrogade which you will walk on until you take a left onto Reventlowsgale. Notice København H, the city's main train station on your left. Take a right onto Istedgade, the heart of Copenhagen's Red Light District. As you walk down this (in)famous street pay careful attention, because you are looking for hidden gem. After several block, on your right hand side, you will see a break in the buildings and a wall that almost looks like a fortress opening. Your curiosity will bring you into a secret garden of sorts. Behind the fortress wall is a public park, equipped with a fabulous children's play ground and plenty of open space to enjoy the outdoors. As beautiful as the park is, its charm comes from it the fact that it is a diamond in the rough Vesterbro neighborhood. Because you won't find Skydebanehaven unless you're looking for it, the spot feels like a secret, reserved only for those who know about it. It is a perfect example of how a public space can be turned into a place of community identification.

Fortress entrance of Skydebanehaven Park

4/13/10 Lecture Reflection: Civic Design, Design for the Public

Upon coming to Copenhagen, I most definitely noticed the cobblestones and flag stones that make up the sidewalks and many of the streets. Simply the feeling of stones under foot as opposed to asphalt was enough to make me pay attention, especially since when I got here, the stones were slick and slippery from the snow. The stones may have a million different functions but ease of snow removal is not one of them. As a casual observer, I noticed the different types of stones, and how they delineated spaces and made it clear where one should walk. But after talking of the streets of Copenhagen as an urban carpet and exploring all of the functions that they serve, I've begun to see them as more than just aesthetically pleasing and historically charming, but as the best example of Democratic design I've seen throughout this class.

Danish Cobblestones
http://images.inmagine.com/img/pixtal/pt282/cd282014.jpg

On the most basic level, the streets are democratic in the sense that anyone can walk on them - and this could apply to any street in any city - but what sets Copenhagen apart is it's attention to detail, aesthetics, and functionality, all of which work together to create urban living spaces. Details such as intricately designed manhole covers that refer to Danish culture and history make pedestrians take a second to stop and enjoy the city. Although these details may seem extraneous, they enrich the city and create a feeling of pride in the inhabitants.

Other similarly aesthetic details such as the stone paving at Amagertorv evokes the feeling of being not just on any street, but in a special, celebrated urban location. And these locations, as beautiful and even artistic as they may be, can be enjoyed by anyone. In a truly democratic spirit, Copenhagen has created a test paving site on Strøget, a 1:1 mock up of possible paving designs so that the Danes can provide feedback about which designs they prefer.

Amagertorv stone paving, designed by Bjørn Nørgaard http://ytiffanie.files.wordpress.com/2009/04/amagertorv.jpg

Functionality can be seen through innumerable examples. One is the way that utilities are placed under certain types of stones so that when I repair needs to be done, workers can pop off the right stone, do the work, and replace the stone, without damaging the rest of the street. Such good design saves time and energy for both the road workers and the city inhabitants who do not like dealing with road construction. The pictoform systems, sensory paving for the blind, is also another excellent of example of how functional street design is also democratic. The pictoforms not only help the blind safely navigate the city, but are also aesthetically pleasing for everyone.

Pictoform system, deigned by Knud Holscher
http://www.abbeville.com/images-catalog/full-size/0789203758.interior05.jpg

The floor may be one of the last places we think of when we consider the design of cities, however, the streets, from the layout down to the construction material and storm drains play a considerably role in how we experience the urban environment. Because Copenhagen pays especial attention to its street design, down to the most minute detail, its streets become a democratic space in which everyone can enjoy and benefit from.

3/26/10: Symposium #6, Architecture & Design as a Vehicle for Creating a Welfare State

Discuss your own personal consumption and how it is affected by your dwelling and social identity.

Like everyone else, my consumption is, unfortunately, tied to emotions. I find myself buying things after a bad day, even if I don't need them. I get angry when products have ridiculous amounts of packaging. I feel guilty when I throw things away in the absence of recycling containers. I feel happy after taking a long, hot shower. But I do recognize that these emotions have been socially constructed, shaped by the where and how I live.

Since coming to Denmark, I have noticed some differences between consumption here and the US. For instance, because electricity and water prices are so high, people are constantly aware of how much is being used. My host family is continuously turning off lights and they take the most rapid showers I could imagine. Also, they go food shopping almost everyday, buying fresh groceries for every dinner, as opposed to Americans who usually shop once a week. Both of these habits seem to reflect a greater awareness of the environment and consumption that the Danes have but Americans often lack.

Nespresso Machine
http://www.singleservecoffee.com/pictures/nespresso-citiz-machine.jpg

Living with a host family means that I don't really have to buy many things for myself. Where this seems to come the most in handy is in regard to coffee. At home, I go back and forth between buying coffee out and using a french press. I buy coffee for a variety of reasons, most, if not all of them influence by emotions and my social identity - I enjoy sitting in a cafe, or if I take it out, I enjoy holding the paper cup that tells people where I bought coffee, and I just appreciate the convenience. If I use my press, it is because it is inexpensive, but also because I enjoy a leisurely with a cup of coffee at home. Here in Denmark, I simply cannot afford buying coffee out - the price of a cup (usually about half the size of an American cup) is at least double the price. Instead, I have coffee at my host family's home. They have an ingenious machine, called the Nespresso Citiz which makes fantastic espresso and then they have a milk steamer/frother also from Nespresso. This machine uses espresso cartridges - I don't know what else to call them, which are essentially small metal cylinders filled with espresso. For each cup of coffee, one cartridge is used, meaning that every cup of coffee produces a waste product of one metal cartridge.

Nespresso Cartridges - One used for each cup of coffee http://www.singleserveespresso.com/pictures/NespressoCapsules.jpg

Now, I love this machine, but every time I load a cartridge for my morning coffee, I can't help but feel that I am being wasteful. This waste is especially evident when you compare it so a french press. Being in Denmark, of course the Bodum press comes to mind. This little machine makes great coffee and could last for decades. It also costs about 1/10 of the price of the espresso machine, and buying ground coffee for the press is considerably cheaper than buying the espresso canisters. Which leads me to the point that while one's money is not necessarily connected to the amount they consume or waste, it nevertheless allows them to consume and waste more.

Bodum French Press
http://blog.brotherhoodofthebean.com/images/french_press.jpg

And one more thing about this nifty espresso machine. Although it produces large amounts of waste, if you visit their website, they have an entire section on "Ecolaboration," in which they discuss their efforts to produce sustainable coffee, create greener machines, and recycle the canisters. Although I can't quite fault them for trying to be environmentally friendly, I can't help but think of this as a classic example of collective misrecognition. Instead of seeing that their product is actually wasteful, they try to demonstrate how it is good for the environment through backward logic. Even a quick perusal of the "Ecolaboration" section reveals that many countries do not have a recycle location and the machines, by running on electricity, are much less green than other coffee makers such as a french press. These moments of backward environmental logic can seem so attractive, especially when they attempt to tell us that our wasteful decisions are actually good for the planet. It seems that the next challenge is averting these collective misrecognitions and finding what it really means to be environmentally friendly.

March 2010 Fieldstudy: Danish Design Center, "It's a Small World" Exhibit

Select at least 3 projects on display in the "It's a Small World" exhibit and discuss how these relate to the 4 main exhibit themes: Sustainability, Human Scale, New Craftsmanship and Non-Standard Praxis

My attention was entirely captured as I walked through the "It's a Small World" exhibit, especially considering its textual and physical interactive quality. From the swings to the moving "Soul Wash" columns that make you feel like you're in a car wash, I was excited and enthusiastic about every project on display. To discuss the 4 themes of the exhibit, Sustainability, Human Scale, New Craftsmanship and Non-Standard Praxis, I chose 3 projects, "Everybody Deserves a Good Meal," by Hatch & Bloom, Idea & Design Agency, "Suntiles," by Astrid Krogh, and "Outline," by Goodmorning Technology.

"Soul Wash" columns, example of the interactivity of the exhibit
http://farm3.static.flickr.com/2523/3886969630_83f1098072.jpg

"Everybody Deserves a Good Meal," by Hatch & Bloom, Idea & Design Agency is a meal delivery service that provides meals to elderly people that would have difficulty doing so on their own in a creative and efficient way. "Suntiles," by Astrid Krogh is a grid of thin solar panels connected together to form something like a glistening window shade that was constructed out of lightweight material. "Outline," by Goodmorning Technology is a metal frame in the shape and size of a car that demarcates the parking space of one car so that four cargo bicycles can park in the space.

Sustainability
The exhibit explores the importance of sustainable design considering that human survival is dependent upon global consciousness in every aspect of society. "Everybody Deserves a Good Meal" while not directly connected to the environment, is a creative way of of taking care of people in an efficient, sustainable way. Additionally, the project's dedication to alternative solutions to old problems and its interest in people's well-being are the necessary values that designers need to have if they want successfully address global warming. In a very different approach to sustainability, "Suntiles" is a beautiful example of how alternative energy sources can become an everyday part of people's lives. Also, by constructing the tiles out of lightweight materials, the designer, Astrid Krough is able to rethink where solar energy can be collected and so expands the types of places where it can be used. Furthermore, "Suntiles" demonstrates that alternative energy sources are not only good for the environment but can be beautiful as well. "Outline" legitimizes alternative transportation and makes it an integral part of the cityscape by physically demarcating a space for it, just as cars have. Such a plan will hopefully make people more willing to ride cargo bikes instead of driving cars because they know there are places in the city that will accommodate them.

Station where viewers can hear about "Everybody Deserves a Good Meal," by Hatch & Bloom, Idea & Design Agency http://farm3.static.flickr.com/2488/3886169093_0c0941c231.jpg

Human Scale
"It's a Small World" encourages viewers to consider the world on a small level so that community and personal relationships are held to a high esteem. Thinking of the world community on such a scale allows questions pertaining to sustainability to appear more manageable. "Everybody Deserves a Good Meal" is a perfect example of thinking on a human scale, in the sense that all members of a community are taking care of. In this age, where the elderly population is growing, creative ways of how to best care for them is a question of sustainability. "Suntiles" places alternative energy on a human scale by placing solar tiles in a home setting, as opposed to having giant wind turbines that people think are ugly, or large solar panels on institutional windows. Thus, people will be more understanding, even more exciting, about having an alternative energy source that they can use. "Outline" puts transportation issues on a human scale by making parking spaces exciting while simultaneously encouraging people to ride bikes as opposed to driving cars.

"Suntiles," designed by Astrid Krough
http://farm3.static.flickr.com/2468/3864646624_83231bf21c.jpg

New Craftsmanship
The exhibit describes new craftsmanship as being "characterized by digital tools, conceptual thinking and new developments in craft techniques". Using this definition, "Everybody Deserves a Good Meal" could be considered a new form of craftsmanship because it is expanding the definition of what design is. "Suntiles" demonstrates new craftsmanship through its use of textiles to create solar panels that are lightweight and visual appealing. Lastly, "Outline" exemplifies new craftsmanship through its use of conceptual thinking considering that the design is more of idea, a space, than an actual structure. Its success depends on the fact that it is more of a lack than anything else.

"Outline," designed by Goodmorning Technology
http://farm4.static.flickr.com/3421/3886961196_dd6f805384.jpg

Non-Standard Praxis
To address climate change on both individual and collective levels, new mindsets must be developed that allow design to be more than profitable but beneficial to society as well. "Everybody Deserves a Good Meal" is an example of non-standard praxis because the designers created the project for a non-profit organization and was concerned with the individuals involved but also with the communities they were living in. The project is literally an attempt to improve the everyday lives of people. "Suntiles" adopts non-standard praxis in its use of advanced technologies that allowed the designer to customize solar power for individual use, while also providing her with the opportunity to experiment with textiles, solar energy, and design. Finally, "Outline" is an example of Non-Standard Praxis considering that it will be used for individuals, in the sense that now people riding cargo bikes will have a place to park them, but also for the greater good of the city considering that it will reduce pollution and carbon consumption by inspiring more being to ride bicycles as opposed to driving cars.

March, 2010 Fieldstudy: Kunstindustrimuseet

Part-1: Carefully select any singular piece of DK design (specifically from the Post-war period) as seen/experienced in Kunstindustrimuseet’s exhibits today. Select a piece which you feel strongly embodies and typifies DK design.

One of my favorite pieces from the Kunstindustrimuseet’s exhibit, Utopias and Reality: Applied Arts and Design of the 20th Century was the Double Chieftain Chair (1949), designed by Finn Juhl. The large chair (or possibly couch) is practically a sculptural work, beautifully crafted, and constructed out of the highest quality materials. These attributes place the chair squarely in the Danish tradition of creating excellent furniture that celebrates both materials and craftsman. The sculpted wood refers to earlier designs by Kaare Klint as does the use of leather but the Chieftain is more innovative, reflecting the Danish dedication to continuously improve upon good ideas. However, the chair does not an example of socially conscious design considering that originally, fewer than five examples were produced and so it was not accessible to the masses. Nevertheless, its functionality, as seen by its resourcefulness of materials, it dedication to tradition but also its innovation, and its dedication to craftsmanship place it squarely in the Danish design tradition. Not to mention that it looks so warm and inviting that it almost radiates hygge.

Double Chieftain Chair (1949), by Finn Juhl
http://1stdibs.com/archivesD/upload/8378/242/XXX_8378_1266091647_1.jpg

Part-2: Discuss your chosen DK design piece in terms of the following thematic: The roles and representations of personal identity and collective/cultural identity in DK design in the Post-war period (and optionally: also discuss how this relates - or not - to DD today)

Because Finn Juhl designed much of his furniture for his own home, the pieces express his personal style and so reflect his identity. The Double (and original) Chieftain Chair, in addition to other pieces such as the 45 Chair and the Poeten, although unique pieces, all are reminiscent of some core element that unite his designs together. In a sense then, although his pieces are highly functional, his role is almost more of an artist as opposed to designer considering that his identity is so thoroughly inscribed onto his pieces. Juhl's drive to produce personalized furniture for his home is very representative of the post-war period's obsession with single homes. The population boom following the war propelled large scale building projects of single family home complexes that often contained dozens of houses that all looked relatively similar. The benefit of these complexes was that many families were able to purchase homes relatively inexpensively but the down side was that their home was not especially unique. Therefore, it became the interior where homeowners could express their identity through design.

The unremarkable exterior of Finn Juhl's home
http://www.finnjuhl.com/House/12.jpg

The Chieftan Chair and the Poeten as seen in Finn Juhl's home
http://www.finnjuhl.com/House/20.jpg

Thus, Juhl's Double Chieftain Chair represents the Danish creativity that was produced as a byproduct of the homogenous housing complexes. His desire to create individual pieces of furniture that reflected his personal identity is comparable to the average Danish citizens drive to purchase furniture that could demonstrate who they were. This desire still exists today, as seen by furniture that can be purchased in a limitless variety of colors so that there is a shade for everyone. There also still exists a Danish preoccupation with creating a home that is not only comfortable but also reflective of one's self. This can be understood through the Danes' relatively high spending on their homes. It is ironic then, that one's impulse to separate themselves from others through their home decor comes as the result of a cultural, collective tradition of doing so. The individual and collective, therefore, are inextricable intertwined.

3/16/10 Lecture Reflection: Architecture & Design

Today's lecture managed to answer my question as to how someone can design housing developments that are economically conscious, aesthetically pleasing, efficient, and well crafted. As well thought out as the Five Finger Plan may have been in regard to designing logical suburban sprawl, the truth remains that such land development is not sustainable, especially when single family homes are dispersed in such a way that large amounts of land are turned into residential areas. And even if much of the space in these Danish post war housing complexes remained green, they are nevertheless largely inaccessible to wildlife.

But more recent housing projects, instead of moving farther away from Copenhagen, are bringing suburbia into the city in the form of efficient complexes that are self contained and have a relatively small land footprint in comparison to the single family complexes of the 1950's and 1960's. Some of the most exciting projects are being created by architecture firms such as Vandkunsten and Metropos. Vandkunsten, which had its first major commission in 1971 describes its mission as providing quality, low-cost, and social housing. Metropos, founded only five years ago, not by architects, per se but by a landscape architect and urban designer, is described as tackling challenges including those of "rural and urban development, landscapes, urban spaces, infrastructure, usability and identity". Simply the fact that Metropos is composed of designers of different backgrounds reflects a modern recognition of the importance of collaboration, especially when dealing with urban and/or environmental issues.

Unfortunately, Metropos' website is in Danish, so I cannot read about their current projects. But I was able to find numerous projects by Vandkunsten, on in particular being the Copenhagen Harbor Housing Project. The project, which was the winner of a 2003 competition in which the Copenhagen harbor authorities had donated an area of water in order to develop the harbor area. Vandkunsten actually constructed an island over the water onto which the 120 flats (half social housing, the other half private) could be located. The flats are then attached by a system of wooden decks that create outdoor living spaces. The structure was largely prefabricated and so created little environmental waste in the actually building process; moreover, the structure itself is concrete, a relatively inexpensive and environmentally friendly material. Additionally, the flats are constructed to receive daylight from at least two sides so that natural sunlight can illuminate and warm the spaces.

Copenhagen Harbor Housing Complex
http://architecturelab.net/wp-content/uploads/2009/11/Teglvaerkshavnen_008_L.jpg

Unlike regular apartment complexes, the Harbor Housing Project has created a community through its inviting layout that is open to the general public. As a result, its spacious decks welcome people to come and walk, fish, swim, even kayak. Overall, the project is thoroughly Danish - it is functional, minimalist yet beautiful, socially conscious, and improving everyday life. It is acknowledging tradition through its attention to quality design and construction while looking ahead to the future through its innovative use of materials and environmental consciousness.

Outdoor living space integrated into the Copenhagen Harbor Housing Complex
http://architecturelab.net/wp-content/uploads/2009/11/Teglvaerkshavnen_031_L.jpg

There are so many other exciting Danish designs that are similarly future-focused in their nod towards environmentalism but also their re-conceptualization of modern living. Examples include the VM Mountain in Ørestad City, designed by BIG Architects which consists of 80 housing units, all of which have large roof terraces so that residents can experience the green spaces of suburbia while living in an urban environment; or the Tietgenkollegiet, designed by Lundgaard & Tranberg Arkitektfirm, which contains 360 student residences in one round building that is designed to foster community. And both structures are aesthetically amazing, to say the least. It seems to me that complexes such as these, which are beautifully integrated into the urban environment and acknowledge the needs of their residents are the ideal way to address the population boom, especially if the complexes are constructed from renewable materials in the least intrusive way possible.

Tietgenkollegiet, by Lundgaard & Tranberg Arkitektfirm
http://www.archicentral.com/wp-content/images/tietgenkollegietcpeterhor_530x466.jpg

VM Mountain, by BIG Architects
http://archrecord.construction.com/features/designvanguard/2009/09Bjarke-Ingels-Group/thumb.jpg

3/16/10 Required Reading Reflection: "New Danish Architecture," by Tobias Faber

Despite what the article made it sound like, I can't help but feel like the post-war housing developments stand as a moment of weakness in the Danish Design tradition. Although described as "one of the most attractive residential districts in the country," housing developments like the Søndergardsparken estate are not only environmentally unsound but also a blatant abandonment of craftsmanship and respect for materials. I acknowledge that housing developments can be democratic and even efficient (in the short term), but the process of building hundreds of nearly identical houses over a short period of time in an area large enough to contain them all together (which is invariably removed from urban areas where the residents most likely live) is in fact economically shortsighted.

Suburban sprawl, fueled by developments such as Søndergardsparken estate mean that people live farther away from where they work, shop, etc. so that additional infrastructure has to be created to support these large populations living separately. Moreover, people have to travel farther to get places, meaning that more fuel is being used in transit (even despite the public transportation that is available in the Five Fingered Plan). Also, although not mentioned in the article, often, housing projects such as these were under so much pressure to be constructed quickly that corners were cut regarding environmental issues such as water runoff and excess material waste.

Map of the Five Finger Plan, a well thought out form of suburban sprawl (but it's still sprawl)
http://www.denmark.dk/NR/rdonlyres/708B2649-213C-4A60-A863-15C665E262CE/0/Fingerpaln2007.jpg

The article described the houses as being constructed out of "conventional materials," which is not bad in and of itself, however, as discussed in previous posts, when something is mass produced, the quality and craftsmanship of the object invariably goes down. While I am no expert on Danish architecture from the 1950's, American post-war architecture, most often seen in developments of cookie cutter houses, is infamous for its poor quality. Although I can see how housing developments fit into the Danish desire for design that reflects the welfare state, I do not think housing developments are a positive residential design. Even if functionalism is what is desired for most, there must be a way to incorporate houses that are well-constructed and economically friendly (some offsite, prefabricated house constructing companies are now doing projects such as this) that can be integrated into communities that are less isolated from urban areas. In this way, the values of the welfare state can be upheld as well as a dedication to craftsmanship and an awareness of the environment.

Kingohusene, designed by Jørn Utzon (1958-1960)
http://www.dac.dk/db/filarkiv/6023/kingo1.jpg

Above, I included a picture of Kingohusene, another housing complex designed in the same time period. Granted, this complex works dynamically with the environment so that green spaces are integrated into the community design and each house is situated so that it benefits from natural light. Nevertheless, these institutionalized buildings lack the attention to delicate detail that seems so integral to Danish design. Addressing housing shortages may be a modern problem but I can't say that the post-war Danish designers found the best solution.

3/12/10 Lecture Reflection: Interior Design

I have to say that I was actually surprised at how closely interior design mirrored social values over the past few centuries. Well, let me clarify. I guess I was not surprised by more recent developments, such as the connection between the welfare state and the design as a public affair, or even the anti-movement. I wasn't even surprised by older connections such as the one between classicism and democracy. But, I was quite intrigued by the way that the interior design profession emerged around the same time as the separate spheres ideology began to emerge quite strongly in Europe. Granted, throughout the history of the Western world, men and women have occupied different social positions, nevertheless, before the 18th century, these positions were not necessarily defined by which type of space one occupied, those being the public or the private. Men, of course, belonged to the realm of the public, enjoying freedom or movement, participation in government, and the ability to have a job. Ladies, on the other hand (and when I say ladies, I mean those of a certain rank - those of lower class positions were no longer considered feminine) belonged to the private sphere, and were expected to stay at home, watch the children, reside over the household duties.

And so it should have been no surprise to me that as this social position of women was being constructed, so too was the gendered nature of the interior design profession. With so little freedom of movement, it is no wonder that ladies became increasingly occupied with furnishing their homes in a way that not only reflected their status, but also reflected them as individuals. As the home became increasingly associated with the feminine, it is no wonder that men were uninterested in being interior designers - the position would have undermined the rigid binary between men and women, the public and private. For a man to stoop down into the women's sphere would have been seen, at best, as a mockery.

Early female interior designer, Elise de Wolfe (1865 - 1950) http://www.architecturaldigest.com/images/architects/2000/01/dewolfe/arar01_dewolfe.jpg

But, interestingly enough, it was acceptable for women to bridge this gap and take on the role of interior designer. Although granting her access to the public realm through the necessary contacts with architects, furniture designers and the like, she nevertheless maintained her femininity because her work ultimately belonged to the private. Still, why was it acceptable for women to reach into the men's world as opposed to men meddling with female affairs? Because for a woman, she was reaching for a high social position, that being business (although a feminine one). For men, however, their move would have been seen as a descent into a lower social position. People are encouraged to move up in the world, but when they lower themselves, it is unacceptable.

Arne Jacobsen's SAS Hotel interior http://style-files.com/images/sas500_2.jpg

Which finally brings me back to Denmark. One of the reasons I am so interested in designers such as Arne Jacobsen or even Nanna Ditzel is because of their rejection of this split (or even hierarchy) between furniture design, product design and interior design. Designers such as these considered every aspect, every medium equally important for creating design. Jacobsen in particular is famous for his 'gesamtkunstwerk' or total environments such as the SAS Hotel for which he designed everything from the architecture down to the textiles and silverware. He through about how furniture should be positioned, how the rooms should be lit. He literally rejected the notion that interior space was not the appropriate place for a man. Similarly, Ditzel, with her "Stairscape" room, also creates a total environment but by doing so refutes the notion that women are unable to design the architecture and furniture of a space. In fact, it could be argued that her "Egg Hanging Chair" from 1959 is equally iconic as any of Jacobsen's chairs. Once again, we still how closely related th social construction of gender and design really are.

Egg Hanging Chair (1959), Nanna Ditzel
http://blog.ounodesign.com/wp-content/uploads/2008/12/nannaditzelegghangingchair.jpg

3/9/10 Lecture Reflection: Danish Fashion

What interested me the most about today's lecture on the Danish Fashion Industry was the the youth movement's impact upon the reinterpretation of the fashion design. I supposed if I had thought about it, I would have realized that youth fashion, as it exists today, has only been around for a few decades considering that the child/adult binary only began to blur into a grey scale in the early to mid 20th century. But somehow, fashion is so inextricably tied up with youth and beauty, cutting edge ideas and rapid change, that I cannot possibly think of it otherwise. Once again we can see how design is so thoroughly socially constructed and that construction is so rapidly naturalized so that within one generation, one forgets that it was ever done differently. Today, stores such as Nørregaard pa Strøget that are geared towards the youth consumer market seem to be such an integral part of the shopping landscape. Although I am sure there are many Danes that remember a time before these stores, just the fact that the facade of Nørregaard pa Strøget has ivy growing on it gives it the feeling of longevity and permanence as well as historicism.

Nørregaard pa Strøget storefront
http://www.aok.dk/files/specials/profile_image_big_redesign/48265.jpg

Ironically, however, it seems to be fashion's natural ability to always be at the forefront of style that allowed it to reemerge as a powerful Danish industry at the turn of the 21st century, when the information age was coursing through everyone's minds so that speed and innovation became more important that durability. I found it interesting that Danish furniture and product designers were uninterested in creating a real relationship with fashion designers until quite recently. I doubt that the furniture and product designers have overcome their feeling of relative superiority considering that they are concerned with creating high quality pieces that reflect values of longevity and tradition whereas fashion designers are always looking to create new trends, essentially creating a field for themselves that only exists through planned obsolescence.

Jørgen Nørgaard with his 'Rip 101' shirt, awarded a fashion prize by the Danish Design Council in 2007 as a gesture of friendship between the design and fashion industries http://multimedia.pol.dk/archive/00332/T_jhandler_J_rgen_N_332786c.jpg

Which makes me think of IKEA - a company dedicated to making cheap (yet granted, very stylish and even functional) furniture and products, mainly for the young consumer market. It seems that the companies thriving today are those that have embraced this idea of planned obsolescence, the understanding that if you make a product too good, people will stop buying another one because they simply don't need it. Even companies such as Apple employ this technique, creating pieces of technology that last just long enough so that you are satisfied but designing it so that it begins to run down just as they introduce new designs to the market. Very clever.

Side Table from IKEA sold for $34.99 - cheap, but how long do you guess it will last?
http://www.ikea.com/PIAimages/0091415_PE227088_S3.JPG

But I can't help but think that instead of the furniture and technology manufacturers learning from the fashion industry, it should be the other way around, especially in today's environmental and economic climate where both natural and monetary resources are limited. I'm sure very few companies would like this proposal - of designing quality goods that consumers need less of as opposed to countless objects that last barely a year - claiming that it would destroy their revenue. But consider it this way: if you're making less goods because less people need them, then you are also spending less on raw material goods to create the products. So shouldn't that balance out? I'm no economist but if people thought smaller all around, I think the economic mess we're in would subside.

Regardless, back to design. While I think it is good that the Danish furniture and product designers have decided to reach out to fashion designers, I think they should also maintain their dedication to creating quality pieces that last a lifetime. Nevertheless, despite the fashion industry's dedication to planned obsolescence, I can't help but admiring them for their forward thinking and open-mindness. Fashion has been and continues to be an arena for creating social change and if its natural rapidity helps foster that revolutionary spirit, then I can't very well stand in the way.

3/9/10 Required Reading Reflection: "Danish Fashion," by Marie Riegels Melchoir from the Encyclopedia of World Dress and Fashion

As an American student, I have observed a few particular things about Danish fashion that are different from the United States, many of which resounded with the article, and a few which did not.

Firstly, although I did not take part in many of the activities, I was here when Copenhagen Fashion Week 2010 took place and there was certainly a feeling of excitement in the air . From my perspective, the event was successful in its attempt to increase visibility and even produce pride in Danish fashion design. It is interesting, actually, that throughout the article, the parallel between Danish fashion and furniture design was particularly strong, particularly in the effort to create a national style, the creation of schools, the fading out of traditional tailors/workshops around the mid 20th century and the similar effects of mass production. However, the article suggested that unlike furniture design, which is not experiencing some sort of stagnation in the shadow of the design Golden Age of the 1950's-1970's, today, "interest in fashion in Denmark seems to be continuously growing" such that "Denmark is increasingly branded as a contemporary fashion nation" (11, 12). Granted, Danish furniture is still a power influence in the design sphere, nevertheless, it seems that Danish fashion design is evolving more with the times while Danish furniture design is continuously troubled by its tendency to look backward.

http://www.copenhagenfashionfestival.com/uploads/35284/1265361339.jpg

It seems to me that Danish fashion's ability to move forward in comparison to Danish furniture design may be that during the design Golden Age, the furniture being produced was considered truly Danish where as much of the fashion was strongly influenced by other European fashion designs. Granted, all Danish design is strongly impacted by influences abroad, nevertheless, the fashion industry in Denmark has more room to explore precisely because it does not live in a shadow as big of that as Arne Jacobsen or Hans Wegner.

Another thing that I have observed since being here that the article also addresses is a women's fashion style that is "a feminine, dressed up, yet practical expression" (10). This almost exaggeratedly feminine style was slightly unexpected for me. Considering Denmark's dedication to creating gender equality, somehow, I expected a more androgynous style, especially considering that such a style is currently becoming popularized in the United States. This was not the case, however, and I have to wonder if it is actually a reaction to the more equal positions that men and women enjoy in Denmark. Fashion has attempted to rearticulate the gender differences that social and legal policies have worked to break down. Alternatively, I would say that men do seem more concerned with fashion than men in the United States. Possibly then, the female preoccupation with looking "fashionable" has less to do with presenting feminine gender but more of the result of a cultural interest in looking one's best.

Dress from Bruuns Bazaar, a fashion brand recognized with creating the signature Danish style of being feminine and dressed up while maintaining practicality (as well as often being in neutral colors)

http://shop.bruunsbazaar.com/~B2B/Pictures/models/21288-4742-1.jpg?type=GenerateThumb&w=340&h=410

But something that I was struck by in the article was the statement that Danes spend relatively little of their budget on clothing. Granted, I have a limited perspective since I live with a particular host family, nevertheless, they seem very interested in purchasing clothing, and nice clothing at that. Although they might not have hundreds of pieces like many Americans do, the clothes that they own are of excellent quality and often belong to a well known designer. Therefore, maybe they do not buy a lot of cheap, low quality clothing (again, like Americans do), they nevertheless spend large amounts of money buying clothes that they know are of excellent quality. This seems very reminiscent of the Danes interest in spending large amounts of money on high quality furniture with the understanding that the furniture should last decades.

2/26/10: Symposium #5, Tradition and Modernity

Find an object at home of Danish Design that is aesthetically pleasing but turned out to not be very functional. Discuss why it didn't work properly and how this relates to the designer understanding material and craft.

I think the problem here is that so many products that are now on the market aren't actually designed in the way that the article was talking about. The article critiqued designers who are designing pieces that are more like art than furniture. Of course, this a a product of their design school background that did not expose them to the manufacturing industry. The 21st century drive to always be ahead of the curve has produced young designers more interested on coming up with aesthetically unusual designs as opposed to functional pieces that are less visually stimulating. As a result, as the article discussed, designer pieces are often more fit for museum exhibits than people's homes.

But these designer pieces are such a small part of the market. The vast majority of products, while technically designed in the sense that someone makes practical decisions deciding what the product will do, what it will be made out, and what colors it will come in, the true design process does not take place. Profit, not form and function, is at the forefront of the production process. Therefore, on both ends of the spectrum, one half of the equation is left out. The designers overlook manufacturing necessities while the manufactures disregard design.

Kartell Lamp that is in my livingroom http://www.slideproductions.com.au/IMG/prodotti/lightning/Bourgie%20Table%20Lamp/Kartell%20Lamp.jpg

In my home, there are many things made my danish designers that work beautifully, such as Georg Jensen silverware, a Kartell Lamp, and a Bang and Olufsen stereo system. However, I think all of these products represent a successful merging between designer and manufacturer and their high price tag reflects this dedication of both function and design. On the other hand, cheaper danish products that I have used, such as the bottle opener from Tiger may look relatively attractive, but are nowhere near as functional. It is objects like these that display the discord existing between manufacturing and design. But that is not because the designers do not understand how to create a functional bottle opener. It is because, in an effort to cut costs, manufacturers have cut designers out of the process entirely.

Bottle Opener from Tiger
http://www.tiger.dk/uploads/t_product/1600355_picture_8446_3.jpg

What needs to happen then is manufacturers need to recognize the importance of designers for the creation of quality products. But designers also need to understand that making good design means more than creating a name for yourself through wildly avante-garde designs. Therefore, both huge profit margins and self-centeredness need to be somewhat abandoned for the creation of quality work. Anyway, it seems that people or companies that create quality products are the ones that experience the most longevity - not the ones that create the cheapest goods or the ones that have the flashiest designs.

2/26/10 Required Reading Reflection: "The Magic of the Workshop - Where hand and mind unite," by Henrik Sten Møller, and "Walk the Plank," by Tine Nyg

In Møller's essay, "The Magic of the Workshop," he discusses the problematic rift between industry and craftsmanship in a historical perspective and how this rift is problematic. Today, he explains, most designs that are mass produced lack the quality that actually belongs to industrious traditions whereas today's designers are more interested in creating works of art as opposed to functional products. Both side then, are responsible for this unnecessary binary, we cannot simply think of the craftsman as someone lost along the way of progress or of industry as unable to incorporate good design. At the end, Møller calls for the two sides to meet, reminding the reader that machines are not contrary to the process of craft but actually make many designs more possible. But he also tells as to "stop putting craft in museums; develop the craftsman trade as an indispensable part of modern industry" (85). And it is this sentiment that stayed with me as I read Nygaard and Dickson's essay, "Walk the Plank."

The very first paragraph of "Walk the Plank," in which the project itself is described, Nygaard and Dickson explain that the pieces of furniture created by the designer/cabinet maker pair will be displayed at the Kunstindustrimusseum. Now, I understand that this project is coming out of the museum and that the museum's status provides the event with a level of prestige that would be otherwise difficult to attain. Nevertheless, I can't help but think that this institutionalized context contradicts the project's intentions of reuniting design and manufacturer in a real world context.

Bille goes Zen Chair, designed by Louise Campbell for Walk the Plank 2003
http://www.louisecampbell.com/uploads/images/work_images/furniture/billiegoeszen_01.jpg

Despite this criticism, I was intrigued by the concept of design as a form of communication. This communication is a cross discipline attempt to intervene with social systems to create the most influential changes in everyday life. Going off of the idea that artists are the ones who are most able to imagine creative solutions to society's problems and that designers are dedicated to the creation of functional products, the concept of making the design process into a form of communication that unites artists and designers with manufacturers, scientists, and engineers to solve the worlds most complicated problems sounds like a brilliant idea.

The article highlights Superflex, a group of Danish artists that works at creating creative solutions to economic and environmental problems in developing countries. Superflex has created a biogas plant for countries such as Ecuador and Tanzania that produces cheap and transportable energy from manure. The design is functional and practical and creative. But what struck me is that the Arken Museum for Modern Art purchased the biogas plant for it's permanent collection. Which brings me back to the first reading and Møllers assertion that design should be be in museums and instead in the real world.

Superflex's Biogas in the Arken Museum
http://www.superflex.net/tools/supergas/users/pics/arken02.jpg

Now, I looked up Superflex, and it appears as if they have several biogas systems working in different countries, so in this way, the designs are working in the real world. And we can hope that the original biogas system now in the Arken collection will educate more people about the usefulness (and importance) or art and design for solving everyday problems. Similarly, the Walk the Plank project will only be successful if the money it gives to designers is used to create designs that are similarly concerned about the future, connect to larger systems, and focus on communicative efforts. Therefore, design can have a place in museums, but only if museums are similarly involved in this process of making art and design a broader and more interconnected discipline.

Superflex Biogas system working in Cambodia http://www.superflex.net/tools/supergas/users/pics/cambodia01.jpg