Danish Design Journal

In Conclusion

2010-04-24T11:30:00.000-07:00

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

2010-04-24T05:19:00.000-07:00

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

2010-04-23T07:11:00.000-07:00

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

2010-04-19T14:21:00.000-07:00

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

2010-04-16T05:16:00.000-07:00

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

2010-04-14T08:29:00.000-07:00

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

2010-04-12T10:28:00.000-07:00

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

2010-03-22T08:48:00.000-07:00

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

2010-03-21T12:47:00.000-07:00

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

2010-03-19T06:52:00.000-07:00

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

2010-03-16T03:12:00.000-07:00

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

2010-03-12T09:23:00.000-08:00

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

2010-03-09T10:38:00.000-08:00

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

2010-03-08T09:09:00.000-08:00

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

2010-03-07T05:08:00.000-08:00

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

2010-02-25T13:56:00.000-08:00

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

2/23/10 Required Reading Reflection: "Furniture and Industrial Design," from the Ministry of Foreign Affairs of Denmark

2010-02-22T11:52:00.000-08:00

Just reading this factsheet, "Furniture and Industrial Design" in Denmark would leave you with the impression that since the Danish Golden Age, design in Denmark has been a thriving, global presence, paving the way for innovation while maintaining a high level of tradition and craftsmanship. Referencing international exhibitions of Scandinavian design, world regognized furniture designers who are possibly more famous today than when they were designing such as Arne Jacobsen, and the emergence of more technologically advanced design, the reader is lead to believe that today, Danish design is still at the cutting edge, at the very forefront of design innovation all while maintaining its connections to past greatness.

And in many respects this is all true. Danish design continues to be recognized for its creativity, innovation, clean simple designs and functionality. But the suggested reading, "Danish design in as old chair," by Sune Aagaard complicated the Ministry's glowing overview. Aagaard argues that in many ways, the Danish Golden Age overshadowed today's designers by being constantly compared to designers of the past. The irony of the situation is that although Golden Age designers were mindful of craftsmanship traditions and often looked at great designs of the past, they nevertheless made a definite break from past conventions. And it was this break from the past that allowed them to achieve such greatness.

Veryround Seat, by Louise Campbell - cutting edge Danish desiger but is she still overshadowed by those who came before her?
http://kulturabivanja.files.wordpress.com/2008/10/louise_campbell_veryround_armchair_amo.jpg

So I began to wonder. Why were designers in the 1960's and 1970's able to make such a big break while designers today are often trapped by the past. Granted, the 1960's and 1970's are marked by cultural upheaval, unconventionality, and a belief that the status quo should be broken. But today's society, while possibly less radical, is nevertheless characterized by a drive to perpetually more forward and move faster. What then prevents Danish designers from breaking away with their design heritage?

The Ministry suggests that one of the driving forces of the Danish Golden age was the post-war values of democracy and humanism (2). I don't think there has been anything comparable to WWII in the last few decades to produce such a profound shift in world perception. But Aagaard explains that unlike in the mid 20th century when furniture and product design was the arena for design innovation, today's design fronts are more technologically based:

"A wide variety of new disciplines within design, many of them closely related to technology, are developing rapidly. A parallel development is taking place within immaterial design, e.g. design of information processes. And in these areas Danish design and designers have not managed to establish a strong position."

Perhaps then, the reason why Danish designers today are not considered to be as great as Golden Age designers is because the field they are focusing in is simply not as prestigious as it once was. More than anything, today is a technological and informational age and so, if Danish designers want to achieve the greatness of those who came before them, they need to concentrate in the field that will allow them to do such. Aagaard even hypotheses that if the designers of the Golden Age were around today, they would be "involved in technology design," because of "their desire to take what is known one step further". In the golden age, this meant bending wood, experimenting with plastic and other inorganic materials. But today technology design surpasses furniture and product design.

Danish designer Hân Pham's Antivirus design turns an empty soft drink can into a safe depository for dirty needles - 2007 Index: Award Winner
http://7335.virtual.yourshelter.net/images/article_images/article_image_66.jpg

The end of the Ministry of Foreign Affairs factsheet mention's the emergence of medical technology design and environmentally friendly deign. I believe it is fields like these, fields that are conscious of the current social and political world, that will allow Danish designers to rise to the level of prominence as the Golden Age designers. Areas like these and others still provide the opportunity to be respectful of tradition in the sense that knowledge, craftsmanship and functionality will all be stressed. But just as the Golden Age designers were able to distinguish themselves from the designers before themwith their innovate aesthetics and materiality, designers of today will stand out as pioneers by improving our world, not with chairs and light fixtures, but with better hearing aids and faster information processing systems.

Click here to view a short video on one of the 2009 Index Award Winners. The project, PIG 05049 tracked the products produced from a single pig to help consumers understand what goes into the process of producing food and a variety of many unexpected products. The project is an example of how design can be used to help understand and explore information and technology in today's society that is often not understood by the average citizen

2/16/10 Lecture Reflection: Furniture Design

2010-02-22T09:05:00.000-08:00

All over Denmark, I had been seeing the same few lamps over and over. One in particular was absolutely gorgeous with scalelike shades creating a large organic shape that cast the most beautiful glow in a graceful manner. The other lamps I saw repeatedly were much simpler, with fewer shades in a more familiar domed shape but were equally elegant and functional. In stores and homes alike, I was greeted by these light fixtures. But who were they by?

Artichoke Lamp, Poul Henningsen
http://lamarilla.files.wordpress.com/2008/12/poul_henningsen_ph_artichoke_lamp_pnq.jpg

Tuesday's lecture gave me the answer: Poul Henningsen. The first lamp is the Artichoke (1958) and the other was the PH5 (1958). Henningsen believed in the unification of beauty and utility and that is exactly what he designed. As an architect turned self taught lighting designer, Henningsen recognized the importance of tradition and craftsmanship while still wanting to push forward with technology. But because he was more than just a product designer, Henningsen's influence reaches beyond his light fixtures. His idea of light zones made people more aware of how light and space reacted and brought them back to a time when lighting could create a cozy atmosphere (hygge influence?). Additionally, his design criticism and demand that people should have better taste was able to raise deign awareness in Denmark so that now, the average person invests a large proportion of their means on products for their home. The level of aesthetic taste in Denmark could be argued to be considerably higher than most other countries and Henningsen is partially responsible.

PH5 Lamp, Poul Henningsen
http://www.finnishdesignshop.com/images/ph5_tk.jpg

Henningsen's lights have become so incredibly popular not only because of their beauty but because they were designed with so much thought. He recognized that PH lighting was not designed for the home, it created dismal and depressing atmospheres. Conversely, Henningsen considered light distribution so that he was able to create lamps that eliminated glare and produced warm, clean light. Experimenting with materials, he found what would produce the best light. His lamps are a classic example of a successful marriage between function and beauty.

I would also argue that Henningsen's lamps reflect a democratic desire. He created lighting for people's homes, public spaces, stores, every area of life. Although his light fixtures can be quite expensive today because it is associated with his name, originally, the lamps were created to be accessible to the average person. And if you go into the home of a Dane, chances are you will see a PH5. Henningsen sought to improve the daily lives of Danes and that is precisely what he achieved.

2/19/10: Symposium 4 of 8, Craftsmanship & Mass Production

2010-02-19T03:04:00.000-08:00

Do Danish designers employ futurism in their design for solving everyday problems?

Granted, Danish designers tend to look to the past in order to gain inspiration for new designs. Nevertheless, I don't think that any designer truly wishes to create static designs. Instead, they are looking forward in an attempt to prove what has been done before. Some are more interested in aesthetic improvements, others are more concerned with functionality. But this propulsion to progress is quite universal, especially in the last few decades when the tempo of life has literally sped up.

Vernor Panton (1926-1998) is an excellent example of a Danish designer who looked to the future as inspiration for his creations. The majority of his most popular and influential designs came out of the 1960's and 1970's. This period in time was not only marked by a progressive, liberating, and creative spirit that welcomed change and a break from conventionality, but also the era of the space exploration as well as a fascination with plastics and other synthetic materials. Panton's designs reflect this fascination with the future, with bring colors, loud shapes and exciting possibilities.

VP Globe, Verner Panton
http://www.danishwayofliving.com/verpan/Graphics/1VP_Globe_Stor.jpg

One of Panton's most striking designs is the Living Tower, a sculpture and seating combined. Constructed out of a wood frame covered in foam, the Living Tower is a reconsideration of space and social interaction as well as an experiment with materials. Ergonomically designed, the Living Tower contains multiple seating configurations, all of which are comfortable. But it also pushes the definition of a chair, a couch, a sculpture but being all and none at the same time, expecially considering that it some ways, the piece consists more of empty space than material. But in a home, it allows for comfortable living. It is functional, it is artistic, and it is forward thinking.

Living Tower, Verner Panton
http://static2.bonluxant.com/cmsense/data/uploads/thumb/thumb_verner_panton_living_tower_s74.jpg

Most of Panton's designs can be similarly considered, such as his Panton Chair which consists of one simple piece of casted plastic with a free hanging seat. Both the materiality and the design reflect a futuristic approach which still being conscious of functionality. Panton's lamps scream space age with their globular shapes and use of plastic and metal. And his Barboy side table is not only modern in its sleek design but also supremely functional and innovative. All of these examples illustrate a designer who was always concerned with functionality and improving daily life but also one whose aesthetic was firmly planted in the future.

Barboy, Verner Panton
http://www.aram.co.uk/acatalog/barboy.JPG

2/19/10 Required Reading Reflection: "Applied Art Between Nostalgia and Innovation," by Kristian Berg Nielsen

2010-02-18T12:36:00.000-08:00

Today, I visited the Kunsthal Charlottenborg to see the Color State exhibit by Malene Landgreen. The exhibit consisted of six rooms, some with bridgthly painted walls, others with panels of fabric, others with sculptural or architectural elements, and many with some combination of these elements. Because I was with a class, I was presented with a set of questions to consider when viewing the work. One of these questions asked what the work was, design? painting? drawing? sculpture? After walking through the exhibit several times, the class came together to discuss the questions. People's opinions about the work varied greatly, particularly concerning the question I just raised. What was this exhibit? Many argued that is was design: the way that it interacted with space, light, and even function made them think that the rooms were not art so much as atmospheres. On the other hand, the conceptual element of the exhibit, it's hand painted nature, and use of color theory made others quite convinced that the work was painting, simply in a contemporary context. But I think our professor asked us this question because there was no right answer. Landgreen's work exists in that space between art and design and that is precisely why it is so compelling.

Color State, by Malene Landgreen
http://kunsthalcharlottenborg.dk/library/pictures/picturesScaled/max750_450/456759.jpg

In his essay, "Applied Art Between Nostalgia and Innovation," Nielsen considers that perhaps the reason that applied art still captures so many people despite it's being anachronistic is because it exists in a similarly in between space. Citing Peter Michael Hornung, Neilsen suggests that maybe we should

"regard the 'fine' artist and the craft artist as 'members of the same creative fraternity': perhaps we should see the great variation in specialized designation for creators as indicators of an inertia in institutional boundaries shaped by education, museum categories, art criticism... that is, regard the classic distinction between 'fine art' and 'the lesser arts', i.e. the applied arts, as meaningless" (44).

In other words, we can stop looking at creative processes as being on one of the two sides of the artistic binaries. These binaries invariable place one higer than the other so that today, fine arts are considered a higher artistic form than applied arts, even though applied arts require just as much skill and creativity as the fine arts. And both serve similar functions: fine and applied arts should have some regard for the aesthetic, both are a reflection and/or critique of society, and both improve daily life, even if their effects are experienced differently.

I found it particularly interesting that Neilson used the Bauhaus as an example of an institution where "all types of visual and plastic artistic creation could thrive together," especially after my previous post on the sexism that existed in the Bauhaus (45). Yes, weaving and architecture were taught in the same school, but that did not mean that these two fields were valued equally in the way that Hornung suggests. Instead, the binary between lesser and greater art was upheld through gender. Women participated in weaving and ceramics, men in architecture and design and so the disciplines were valued accordingly. Interestingly, even in Hornung's quote, a "fraternity" of creativity is referenced. Now, I know I'm nitpicking with semantics here, but we cannot ignore this blatant reference to the art world as a man's sphere. Two lose examples of this gender hierarchy could be:
- a man is a chef but a woman is a cook
- a man is a fashion designer but a woman is a seamstress

Another binary that we can consider in the rich/poor divide. Could it be a coincidence that at the turn of the century when the debate over craftsmanship v. mass production was first rearing its nasty head coincided with the emergence of communism? And that the Russian futurists who so passionately defended mass production were highly influenced by communism? This debate, therefore, has less to do with new technology that allowed for mass production and more to do with the social and economic climate of the early 20th century. The lower and middle classes were getting restless while the upper classes were appalled that the 'fine' art that they were used to being surrounded by was falling to the wayside.

In the end, I think some more basic binaries are going to have to be broken down in society before fine v. applied art can be tackled. But there's no harm in trying. Anyway, the attempts to do so are often quite spectacular.

Teapots, by Mette Marie Ørsted Eriksen - an example of that striking straddling between fine and applied arts
http://galleri18.dk/img/mette-01.jpg

2/12/10: Symposium 3 of 8, Making High Quality Design Available to the General Public

2010-02-14T06:00:00.000-08:00

Overall, I think our group presentation was a success. For me personally, it started off on a bad not because my group did not even know I was a member. When I contacted them, they were surprised and had already started thinking about the project. Because of that, from then on I always felt a little disjointed from the rest of them, as if I was an intruder upon their project.

Nevertheless, we all got along well, cooperated and split up the work fairly equally. Group projects are often frustrating to me because I often end of being the person that carries the heaviest workload but that did not happen to me this time. I always felt I was doing my share of the work but knew that my teammates were doing the same. I never had to ask if they had completed something, they just did it. And the same went for me. After we split up the work and I found out that I was covering Classicism and Threats to Democratic Design, they did not need to check up on me and follow my progression. Instead, each time we met to prepare for the presentation, we would report to the others what we had found, bounce ideas off on another, and think up questions that we wanted to present to the class.

Although it was quite easy for me to discuss Threats to Democratic Design because of the suggested reading, “The Architect & The Other: Can architecture be democratic?” by Jeremy Till, I found it much more difficult to come up with material for Danish Classicism based on the required reading. Instead, I did a little research into Danish History between the late 1700’s and mid 1800’s and ended up finding more interesting and relevant material than the reading presented. For instance, I think the Copenhagen fires and the rebuilding that followed were very interesting examples of how the city was designed for a more democratic living experience.

Also, quite by chance, in my Memory & Identity: France course that previous Monday, a guest lecturer mentioned the Grande Arc de la Defense in Paris that was designed by a Danish Architect. When she also mentioned that it was built to celebrate humanitarian victories as opposed to military ones, I thought it was a perfect example of what our group was trying to describe. A design that not only reflected democratic ideals but could be enjoyed by anyone. It was a very small aspect of our presentation but I was pleased with it nonetheless. I thought Holly’s idea for the Tiger game was very clever and made the class interact with the presentation. I do wish that they could have been more awake but over my last month at DIS, I have come to realize that students here just do not participate as much as they do at my home university. That said, our group was planning on doing a debate, with one half of the class arguing that Democratic design has to be for the “other 90%” and the other side arguing that it does not, but because of their low level of participation, I don’t know if it would have been successful and so in retrospect, I am a bit relieved that we did not end up carrying it out.

La Grande Arche de la Défense
http://www.channel4.com/4homes/images/mb/Channel4/4homes/architecture/styles-of-architiecture/french-architecture/La-Grande-Arche-La-Defense---gt_full_width_landscape.jpg

In the end, I certainly learned a lot - about Danish history, product design, and democratic design. And I think the conclusion I walked away with is that democratic is an ideal more than anything else. It is an aspiration that can never quite be attained because people will never be quite equal. But, I think a very good point was raised that our group never considered: the aspect of choice. Democracy is not equitable with social equality but it does imply the ability to choose. If this is the case, then perhaps democratic design can and does exist.

2/10/10 Fieldstudy: Royal Copenhagen, Georg Jensen, Illums Bolighus

2010-02-13T07:42:00.000-08:00

Arne Jacobsen's Series 7 Chair, Historical v. Contemporary Designs

When Arne Jacobsen designed the Series 7 chair in 1955, the set of the chair was made of lacquered wood and available in natural, black, and white finishes. Designed to be functional (the chair stacks, is lightweight and comfortable) the chair was relatively simple and easily produced. Today, countless reproductions and variations of the Series 7 Chair exist, many good examples of which I saw today at the Illums Bolighus. Although it is still possible to purchase a Series 7 Chair in lacquered wood in one of the three original finishes, those options are now eclipsed by a multitude of materials, colors, and even sizes that the chair comes in today.

As opposed to the 1950's, present day society's consumer, so heavily and thoroughly influence by globalization, is often most interested in displaying their individuality through their possessions. Despite the irony of displaying one's uniqueness through a mass produced product, this urge to be individualized has created a product market that is obsessed by variation. Therefore, when you walk into the area of Illums Bolighus where Series 7 Chairs are sold, you are confronted with a wall of possible chair finishes - green, pink, various woods - so that the processing of buying a chair becomes more like defining yourself through color.

Variety of Colors and Finishes

In regard to material, many of the Series 7 Chairs showcased were not made of lacquered wood but plastic. I can't help but think that this shift, while admittedly more economical, marks a step away from craftsmanship. If the multitude of colors that the chair comes in makes it more personal, than it's plastic-ness balances the scales once more by eliminating any sense that the chair you're sitting on has ever been crafted by hand. Additionally, this switch to plastic displays a disregard for material and natural resources. Instead, today's product market is more often than not most concerned about ease of production and the bottom line. Plastic is cheaper and easier to work with - and it does not require skilled craftsmen. Therefore, plastic is marketed to the masses under the claim that it is more durable, in spite of the fact that plastic is not biodegradable and therefore unsustainable.

Wood v. Plastic

Another thing I found interesting was how the chair now comes in a child size. By using 1:1 scale models, Jacobsen was able to produce chairs that were perfectly contoured for the human body. But that ergonomic design is lost if it is simply reduced to a smaller size without consideration of the different proportions of a child's body. Therefore, the chair becomes less about function and more about filling an untapped niche in the market. In today's society where parenting has become "cool" and children are often just another opportunity for parents to accessorize their life (I'm being a bit extreme here, but bare with me), this child sized Series 7 Chair becomes less design and more of a money making tool. As adorable as the chair is, I can't help but think of it as a much more than a gimmick.

Child Sized Series 7 Chair

And just a final note. I did a google search of the Series 7 Chair just to see what would come up and one of the first results was from hive. A great modern design store whose website, hivemodern.com I often enjoy perusing in my free time, hive sells a wide variety of the Series 7 Chair in 12 different colors and countless different variations such as a rolling chair, one with arms, a child's chair, etc. The website describes the chair as the ingenious design of Arne Jacobsen and being perfect for any setting. Nevertheless, this chair that seems to perfect for everybody and ideal in any circumstance is a whopping $466.00, for ONE chair. I wonder what Arne would think about that.

http://hivemodern.com/pages/products.php?view=sub_product&sid=1590&cid=

2/9/10 Lecture Reflection: Product Design

2010-02-09T05:15:00.001-08:00

What in Danish Design is Borrowed and Where Then do We Find Ourselves in the Multitude of Creations?

Living in a globalized society, I can't quite imagine many things that are entirely unaffected by outside influences. Even the oldest cultures were influenced by their contemporary cultures. For example, Classical Greece was heavily influenced by Egypt among others. Nevertheless, we can look back on Greece as a specific culture with particular artistic styles not because it was an entity separate from all others but because through tradition, Greek style was able to crystalize into its own entity.

If we consider Danish Design then, yes, Denmark was heavily influenced by Western Europe and Scandinavia. By the 19th century, American ideas of democracy and freedom began to incorporate themselves into the Danish mindset. And as we see in Bindesbøll's ceramics, Japanese and Mexican artistic traditions managed to inspire new designs. But regardless of all of these outside influences, we can still recognize a distinct Danish Design tradition, not only because of it's rich history but also because of the Danish rooted schools of thought, a common mindset shared by Danes, and the influence of the Danish landscape.

Glazed Earthenware Dish, by Bindesbøll, Thorvald
http://media.vam.ac.uk/media/thira/collection_images/2006AU/2006AU9413_jpg_l.jpg

The role of history in design is inescapable, especially when we consider design as a process of reformulation rather than creation. Although Danes were (and still are) constantly influenced by outside forces, they were nevertheless working within a Danish tradition that from the very beginning valued craftsmanship, resourcefulness and functionality. Furthermore, these traditions were the result of Denmark's landscape - the limited resources, cold ad windy climate, and gently rolling hills. And of course, then there is the traditional master/apprentice relationships and the art institutions such as Bauhaus and Ulm School, both of which created designers who were dedicated to upholding the Danish tradition of greatness all while pushing the bounds of design further. Therefore, Danish design exists in the designers who are admittedly influenced by a multitude of outside forces, nevertheless exist in a Danish society.

Arne Jacobsen
http://michaelkaminer.files.wordpress.com/2009/06/jacobsen_320_336-1.jpg

And I believe it is this Danish mindset that allows Danish Design to get close to achieving democratic product design. Gruntvig's educational philosophy that promoted the importance of an education focused on education for all created a nation of people that expects to have design in their daily lives. The welfare society also created a nation that is invested in one another so that they truly believe that good design should be available to the masses. And again, Denmark's limited resources established a dedication to making produces that were not excessive but highly functional and resourceful. With these values in the forefront of the Danish mindset, designers were prepared to products that could be easily mass produced while still being highly aesthetic in their simplicity of form. Perhaps then it is this end product that can reconcile borrowed inspiration and true Danishness.

2/9/10 Required Reading Reflection: Excerpts from "Danish Design", edited by Svend Erik Møller and translated by Mogens Kay-Larsen

2010-02-08T12:15:00.000-08:00

Reading about the fathers of Danish Design in relation to democracy made me think of the Founding Fathers of the United States. And both groups seem paradoxical, hypocritical even.

Although the American Founding Fathers have gone down in history as champions of democracy, looking back with a critical eye reveals that these men were anything but Democratic. Perhaps they were Republican idealists, with a grand notion of equality - but equality for a select few. Considering the original Constitution, only white, male property owners were able to vote. Women were not, poor men were not. And then there was slavery. So although the great American experiment was revolutionary, in actuality, the status quo changed very little. A small group of men decided the fate of the nation based on their superior education, class, and influence.

And then we get to the Danish Designers. These (well-educated, privileged, white) men turned away from design traditions that valued the ornate and showy and instead concentrated on form, function, and material. On one hand, this design shift can be seen as an effort to create products not for an elite, select group of people, but for the everyday experience of the average person. But the sections on Arne Jacobsen and Henning Koppel in 'Danish Design,' edited by Møller and translated by Kay-Larse reveal interesting paradoxes in these "democratic" types of design. Repeatedly, Jacobsen's designs are described as being so "distinguished by a natural elegance" that his works are all easily recognizable as his own (58). Then again, his works were characterized as having a "conception of shape that immediately tells us who the man is" (63). Which begs the question, which man? The man who designed the chair, or the man who owns it? If design is to be democratic, can the designer be so prominent in his design? Or should he disappear into its seamless, functional design? As for Koppel, Møller acknowledges that although Koppel believed "that people should have the opportunity to surround themselves with marvelous things," by working with silver, his sentiment becomes paradoxical (91). Again, then, the designer is placing himself above the consumer, even while claiming to be designing for the people.

SAS Hotel, Copenhagen, Denmark, designed by Arne Jabobsen - What kind of person was (and still is) able to stay in this hotel? http://style-files.com/images/sas500.jpg

Silverware designed by Henning Koppel, now being auction off by Cristie's for thousands of dolars
http://www.christies.com/lotfinderimages/d52518/d5251870l.jpg

Just as the American Founding Fathers were an elite group of men that established a country for the masses even as they established a system that benefited their own social circle, so too do the Danish Designers design products that reflect democratic ideals while ultimately designing products that are most enjoyed by those who can afford their handcrafted furniture, silver, and porcelain. Nevertheless, American government, as exclusionary as it may have been, has been greatly expanded to include women, people of color, and people of all classes. Similarly, Danish Design has trickled down to the homes of average people. Both still have a long way to go to actually become democratic. But, at least in regard to Danish Design, we can see how great design does exist in the everyday Danish experience. Consider the Black Diamond. A marvelous example of architecture and design which is accessible to everyone. Or even Jacobsen's Chair 1954. He wanted to make the chair out of wood but it was too costly. So instead, she made it out of laminate, a decision that not only made it less expensive but also able to come in a wide variety of colors. Therefore, the chair became not only affordable but desirable to a wide array of people.

Copenhagen Royal Library, "Black Diamond," designed by Schmidt Hammer Lassen Architects

http://upload.wikimedia.org/wikipedia/commons/8/83/Den_Sorte_Diamant_1.jpg

Perhaps, a truly democratic design is impossible as long as there is a designer. The position of knowledge invariably places the designer in a position of power over the consumer. And, there is a human desire to put one's mark on the product he/she designs. Nevertheless, the aspiration is a good one. Products can be designed more efficiently, the consumer (regardless of class) should be considered, and function should continue to be of the utmost importance. The more design becomes accessible to everyone, the more people will demand good design. This demand should reduce the gap between what the designer wishes to spend and what the consumer believes is really necessary. Maybe democratic design is possible.

And just a side note: I appreciated designer Børge Morgensen's principle against using plastic as it was a material that did not decompose. An early sustainable designer, perhaps?

Symposium #2: Design as a Tool for Marketing and Branding

2010-02-08T11:23:00.000-08:00

ABSENT DUE TO ILLNESS

1/29/10 Lecture Reflection: From Where Does Danish Design Stem? What are its Roots?

2010-01-31T06:44:00.000-08:00

The Story of the Stools reconciled Thyssen’s assertions that “as a rule, the design process is more one of reworking than creating from scratch” (036). Kaare Klint's and then Paul Kjærholm's re-workings of the Bronze Age stool speaks to the way that design does not have to be the creation of something never before. Instead, some of the most interesting design can be the improvement or reconsideration of something previously crafted. Both men acknowledged precedents and traditions but them pushed passed them. The framework and limitations of the past provided inspiration for these men who then designed stools that showcased their craftsmanship and understanding of materials. Although inspired by the same design and consisting of the same basic design, Klint's and Kjærholm's stools have a radically different aesthetic feel, underlining the importance of material and individual perspective in the process of design.

Bronze Age Stool
http://www.gallica.co.uk/bronzeage/guldhoj_stool_s.jpg

Propeller Stool, Kaare Klint
http://cfs4.tistory.com/upload_control/download.blog?fhandle=YmxvZzE3MTQ3MEBmczQudGlzdG9yeS5jb206L2F0dGFjaC8yNi8xODAwMDAwMDI2MDUuanBn

Propeller Stool, PK-41, Paul Kjærholm
http://www.furnituredesign24.com/furniture/poul-kjaerholm/pk41-folding-stool_s.jpg

These designer's respect for precedent reflects the way that Danish designers study under previous masters, passing down techniques, styles, and mindsets, as well as respect for tradition. This linear progression of design genius has given Danish Design a cohesive feeling so that although innovation and modernity are always present, an adherence to craftsmanship, reductionism, and respect for materials is continuous. I appreciate this design legacy and the way it produces designers who are at once aware of the past but still desire to go beyond what came previously, to get ever closer to the perfect design.

Nevertheless, I can't help but think that such a system is exclusionary and overshadows designers who do not fit into the master/student relationship. This becomes particularly problematic when one considers the male dominated nature of the design field. I did a quick google search of "Bauhaus school, women" and came across an interesting article from The Guardian. Women were accepted into the school, in fact, when she school opened, more women applied than men. But why then are the men remembered? According to the article, Gropius believed that "women thought in 'two dimensions,' while men could grapple with three" and so female students were relegated into weaving fabrics and few others were able to work with ceramics. Both textiles and ceramics are thought to be crafts and associated with women. Therefore, they can less respect in the art world. As the Bauhaus school became primarily concerned with architecture, women were given less and less opportunities. I can't help but think that the sexist prejudices held by the Bauhaus school are partially the responsibility of the master/student relationship that has been and still is male gendered.

The Women of Bauhaus
http://static.guim.co.uk/sys-images/Guardian/About/General/2009/11/4/1257348837613/Bauhaus-women-001.jpg

I would like to think that if this male-centeredness of design can be eliminated anywhere, it is Denmark, with it's egalitarian society and relative gender equality. However, it will be the adherence to precedent that will hold it back.

---

Haus proud, The women of Bauhaus: When the Bauhaus art school opened in 1919, more women applied than men - so why have we never heard of them?

1/29/10 Required Reading Reflection: "Design, an Integral Part of the Danish," by Anne Maria Summerhayes

2010-01-28T12:45:00.000-08:00

After only spending two weeks in Denmark, I am constantly struck by the prevalence of design, from architecture, furniture and fashion, the level of Danish aesthetic seems very high, especially compared to the United States. To provide some insight into my question as to why this is the case, Ann Maria Summerhayes explains that "the country's geographical location, the landscape and climate, the late diversification of the economy to include industrialization, the high standard of education, and the Democratic government" all influenced Danish Design (3).

Danish Countryside

http://www.novalynx.ca/NLDenmark/photographs/Himmelbjerget_Mountain_24.jpg

I was first struck by Summerhayes' explanation of the relationship between Danish landscape and Danish design. She references Denmark's "gently rolling landscapes" which present "no dramatic natural contrasts, and similarly the climate has no extremes" (4). This mellow landscape seems to have influenced designers to create design that was not ornamental but as simple and clean as the place they lived. Because of their limited resources, quality of craftsmanship, as opposed to quantity, was of the foremost importance. Such a dedication to craftsmanship, Summerhayes explains, stems from Denmark's late participation in the Industrial Revolution. Understanding Denmark's landscape and their dedication to craftsmanship as a byproduct of a reluctance to become industrialized presents a clear contrast from the United States. Contrary to Denmark, who over time lost wide expanses of territory, the United States encompasses vast areas of land, many of which are highly productive. The United States' notion that they had a never ending array of resources in addition to their highly expansionist mindset and quick entry into the Industrial Revolution as a means of surpassing their European counterparts explains why design is not as integral to Americans as it is to the Danes. Where as Danes are most concerned with function, craftsmanship, and even beauty, Americans are most interested in quantity, rapid production, and quick turnover. Americans are not as concerned with longevity, and as a result design suffers.

Another interesting point Summerhayes makes is in reference to Danish schooling, especially in regard to the Folk High Schools that "emphasized the importance of technical skills in everyday life, so that today creativity is an essential part of Danish living" (8). Unfortunately, the American educational system does not emphasize creativity as an essential part of everyday life, nor does it value it highly, especially in public schools. Here then, I gained an important insight into my design in Denmark is not just in boutique furniture stores or the homes of the very wealthy but is integrated into the everyday life of all Danish people. Referencing the Danish Designer, William Morris, Summerhayes explains that there was "a need for art and the crafted object to no longer be created solely for an elite, but to be available for the enjoyment of everybody" (10). This need is precisely what Danish designers were able to fulfill and reflect their true dedication to Democratic government, much more so than the United States who seems to be increasingly interested with Corporate interests than the needs of its people. Their respect designs reflect these values.

Hans J. Wegner, Shell Chair, 1948
http://www.danish-furniture.com/images/hans-wegner-shell-chair.jpg

Reading Summerhayes' essay gave me the impression that the Danes held a great deal of respect for their design, especially considering that it reflects their values, history and geography. That said, I was surprised to read "A new Danish design strategy," by The Danish Fund. It's focus on China and New York was not what I expected to hear. But as a read further, I understood that the international marketing was less about combining ideas and more about spreading Danish design across the globe. Also, I considered the importance of exporting for a country as small as Denmark. It seems as if the livelihood of Danish design will depend on larger foreign markets in the future. If this means more of the world will gain more of the Danish aesthetic, I fully support the strategy.

'Lunch Box' by Sai Mai, from New York Design Week 2008: Danish Crafts

http://www.designboom.com/weblog/read.php?CATEGORY_PK=&TOPIC_PK=2910

1/26/2010 Symposium: "Form & Distinction," by Ole Thyssen

2010-01-26T04:56:00.000-08:00

Now knowing that a design element must serve a function, how is the design of an object informed by the system in which you belong? Chose a design that fits within your system and discuss how it exposes that system.

http://ny-image3.etsy.com/il_430xN.67963471.jpg

The gender binary system is possibly one of the most naturalized in current human society. Although differing over time and across cultures, the assumption that there are two sexes, that there has always been two sexes, and that these two sexes exist to serve different evolutionary purposes runs deep. This gender binary permeates society so thoroughly that it is often difficult to see the system considering that it is a part of daily life. However, with a critical eye, the gender binary system can be spotted everywhere. In particular, the gender binary can be seen through clothing design. Most obviously, clothing is separated into male and female. Shops are either dedicated to one sex or the other, or they are physically spilt, separating and demarcating female clothes from male clothes. The design of shops then, although seemingly natural, is actually a reflection of the gender binary system that demands that men and women be differentiated at all times.

And then consider the clothing itself. Men’s clothing often comes in darker colors, is made from sturdier material, and is more tailored. Women’s clothing, conversely, is often lighter, both in material and color, and more focused on leisure as opposed to men’s clothes that either has a professional or active focus. Men do not inherently desire somber colors. It is not natural for women prefer to wear flowy cotton as opposed to wool sweaters. But the gender binary system demanded that men work outside the home (whether in professional or manual work) where as women remained inside the domestic. Therefore, men required clothing that was appropriate for their work, where as women could wear less practical and less serious clothing because of the sphere in which they existed. The design of clothing, from the fit to the material to the color all reveals how this binary considers to dominate every day life, even in an age where separate spheres has been greatly diminished. Also, consider the skirt. Granted, through history, men have worn garments similar to skirts, but for the purpose of this argument, I will focus on the last few centuries in the Western world. The skirt is not only impractical for traditionally male activities (e.g. construction, exploration, sports), but also reflects society’s consideration of sexuality. In the Western world, the female body has traditionally been the domain of men. Therefore, the skirt reflects men’s sense of entitlement to a woman’s body by providing easy access (in comparison to pants) to sex. Thus, the design of the skirt reveals a female vulnerability that was (and still is) the product of the gender binary system.

Thyssen's cynical point of view regarding art and design system suggests that we are all "Cogs in the machine" and that everything to be done has been done before and everything that will be created will be made obsolete immediately. So why continue pursuing design?

Although design cannot escape the system, although design is more of a process or reworking as opposed to creation, people continue to design because of the desire to express a personal point of view. Because the system provides the backdrop for every idea, history and culture cannot be escaped, regardless of the level of nonconformity present in a particular design. Nevertheless artists and designers can produce art and designs that offer different perspectives on the world around them, on the system, even on art and design itself.

Sol LeWitt, Wall Drawing 56

Sol LeWitt, Wall Drawing 415D

I cannot help but think of the artist, Sol LeWitt. Although he was neither a designer nor Danish, I believe his wall drawing project that includes hundreds of wall drawings completed over decades, illustrates Thyssen’s second suggestion of how designers can work within the current system. LeWitt was able to delve into a particular location within the art system so that he pushed the definition of what drawing was through repetition, experiment, and creativity. Although he did not break out of the system, he was able to change the system in the sense that his drawings questioned where drawings were supposed to belong, how they should look, what materials should be used, and who should be making them. Many of his drawings consist of nothing more than straight lines, squiggles, or geometrical shapes, none of which are a new idea. Nevertheless, he made his art not to draw pictures that had never been drawn before but to play with line, color, light, location, to push the art system, and to offer the world his perspective. Just because his art builds upon countless past artistic traditions does not lessen the value of his wall drawings at all.

Being unique is not a requirement of art or design. It is an impossible standard. Artists and designers study those who came before them not to learn what not to design, but to be inspired. There is inherent value in a system that fuels itself with a never ending source of inspiration.

1/26/2010 Required Reading Reflection: “Form and Distinction,” by Ole Thyssen

2010-01-25T10:00:00.000-08:00

Guggenheim Bilbao, deigned by Frank Gehry

I was struck by Thyssen’s assertions that “as a rule, the design process is more one of reworking than creating from scratch” (036). I agree that something cannot be created out of nothing, that every idea has inspiration behind it, and that every designer comes with her own set of cultural preconceptions about the world that invariably affect her work. It is this social construction of design that interests me; the idea that social forces both in a designer’s past and future are unavoidable in the process of creation. All designers, regardless of whether they are imitating a past style or rejecting all previous conventions, are working within a system that contains them and cannot be avoided. Likewise, it does not matter whether a designer is appealing to the masses or abandoning aesthetics altogether in an effort to be nonconformist, both actions can only exist if the framework of previous design existed. There can be nothing new without everything old.

This idea of the artists was interestingly described by Thyssen when he explains that although many “designers have attempted to break out of the glass bubble, their breakaway from art occurs within the art system and is perceived as art” (045). Although this art system cultivates creativity and nonconformity, it nevertheless is limiting in the sense that it defines the artist’s identity, permits her to be one on thing and create only art, regardless or her desires. Here, we must not only question what it means to be an artist and how one is able to claim the title, but also the importance of the spectator. If being an artists means creating art even if that is against their intention that it is a non-artist, a spectator that ultimately must determine art and design from everything else. Therefore, the art system, as it stands depends as much on spectators as it does on artists.

This dependence on the spectator, or the consumer, seems especially true in regard to design where the design product is not form alone but function. Beauty (or at least visual creativity) cannot stand on its own to create a truly successful design. Frank Gehry design for the Guggenheim Bilbao would not have been implemented if his design had been structurally unsound. Arne Jacobsen's Egg Chair would not have been put into production if it broke as soon as someone sat in it. Therefore, designers must appeal to both peoples’ aesthetic tastes and their demand for functionality and efficiency, even when these two expectations are not necessarily compatible. Here then, it is quite clear how restricted designers are, how dependent they are upon society even when their designs are efforts to change or even reject the society they live in.

Design may, at its most basic, be the human effort to change the environment, a desire that has always existed. Nevertheless, as natural as it may feel, it is still just as socially constructed as any other aspect of human life and experience.

1/22/2010 Lecture Reflection: What is Design?

2010-01-25T08:45:00.000-08:00

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List of Manufactured Items Touched in the Morning Before Class:

Clothing including Levis jeans, a sweater from The Gap, socks and underwear, a jacket from The North Face, Adidas sneakers, Brooks Brothers glasses, hat, and gloves
Toiletries including Nutrogena face wash, Rembrant toothpaste, a toothbrush, Acuvu contact lenses, Dove shampoo and conditioner, Clinique moisturizer
Furniture including a bed, a desk, a nightstand, a dresser, a kitchen table, kitchen cabinets, and chairs
Electronics and appliances including a MacBook, an iPod, a cellphone, a hairdryer, multiple sinks and toilets, a refrigerator, an espresso machine and a dishwasher
School supplies including Moleskine notebooks and a planner, Bic Pens, a backpack from The North Face
Food including a box of corn flakes, a packet of instant espresso, and a milk carton

Reflection:
Many of the manufactured items that I touch in the morning I did not choose. Living with a host family means the space I am living in is not my own and does not necessarily reflect my personal tastes or preferences. Luckily, I live in a home that has a high sense of style, one that is modern and clean, simple yet elegant. Such a beautiful environment helped me feel comfortable in this new space. In this sense, I see design as something that both creates and is environment. It is something so central that often, you don’t think of it, don’t consider it unless it is especially beautiful, especially creative, or, on the other hand, especially unsuccessful.

Many of the manufactured goods I touch, especially my clothing, convey my own style and how I would like to be viewed in the world. Things that others can see, such as my jacket, are brand names that I like and trust, where as I cannot even remember the type of underwear I wore considered that it is out of sight and so out of mind. To me, this demonstrates the importance of the visual element of design. Of course, as was discussed in class, form should follow function. As beautiful as a bottle of face wash may be, I would not buy it if it did not clean my face properly. Nevertheless, a product’s design is an essential part of its success. I bought my sneakers not because they are better than another pair but because I appreciate how they look and what they say about me. Because of the interconnectedness of form and function, as well as design’s ability to convey ideas, to me design is a physical manifestation of creative processes that successfully balance aesthetics and usefulness and it is capable of sending messages, expressing ideas, being persuasive, and is in dialogue with society such that it either reflects or contests its values and beliefs.

It is ironic that design is at once so visual and tactile and yet so illusive precisely because it is everywhere. It dictates our choices, makes life easier, creates a more beautiful environment, and still many go through life rarely noticing the design of their pen cap or the layout of the supermarket. These little and big elements of daily life are all designed and so integral to life that we see them not as design but simply as the world is. Design then is something integral to the human experience.