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 Juhlhttp://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 homehttp://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.
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