ROBERT SEVER CELEBRITYJI - DalCasa

The term “Scandinavian design” has long been a part
of general knowledge, although most of the superficial
observers will attach the word IKEA the very minute you
mention Scandinavian design. However, the “Scandinavian
way” of design reaches much further into the past,
and for over half of century, it has been synonymous for effortlessness,
modesty, functionality and democracy.
The exhibit “Scandinavian Design: More than a Myth”, running
from September 23rd to November 18th at the Museum
of Arts and Crafts in Zagreb, offers an unusually deep insight
into the very philosophy of the Scandinavian designer
thought.
Over the last fifty years, that thought has been the subject
of numerous scientific discussions, informative exhibits and
marketing campaigns. It’s no accident that Scandinavian
design now enjoys a larger amount of respect and popularity
than ever before. It experienced its first period of blossoming
in the early 1950s, on the wings of the rise of democracy
and general optimism. The magnificent results of that original
“golden era” of Scandinavian design are still the subject
of studying, inspiration and admiration by the designer
community of the world. After it nearly disappeared during
the postmodern utopias of the 70s and the 80s, Scandinavian
design started its rise again in the early 90s under the increasing
influence of the up-and-coming globalisation and
revalorisation of practical values. Today’s Scandinavian design
is one of the most important factors of global designer
events precisely because of the compatibility of its ideological
foundations with the contemporary social happenings
in the world.
Alongside the ever-increasing globalisation, nationality is no
longer the most important premise. It has become natural
to observe larger units, and Nordic countries opposed to the
global community make for an excellent choice. Today’s
Scandinavian designers are oriented towards the global,
but draw their strength and inspiration from their local roots
at the same time.
In his text Six Suggestions for the Next Millennium, famous philosopher
Italo Calvino has looked into some of the values
that will be of great importance for the designers of the new
millennium: effortlessness, quickness, accuracy, visibility, multiplicity
and consistency. The exhibit itself has the concept
of putting over 200 items into groups that do the best job of
epitomising each of the abovementioned values.
The exhibit confirms that Scandinavian design stands as a
crucial element in the history of design, but it also looks into
myths and stereotypes that have piled up around this subject.
The final part of the exhibit, titled “Plenty of Stereotypes”,
is represented by a string of objects that paraphrase the elements
connected to the Scandinavian design and the preconceived
picture the world has of the Nordic countries.
Visiting this exhibit is a very special and inspirational experience.
From generally familiar products to rarely seen exotics,
the observer develops discrete and logical sequences that
reveal all the enchantments of the thoughts from the cold
north, as their shapes and warmth speak in a language that
is unusually easy to understand. The items are filled with irresistible
beauty, sincere lack of pretentiousness and calming
practicality, as this is one of the rare exhibits with a message
that can be interpreted by anyone in any way, without fear
that they will go wrong. Is there any better way to pay homage
to democracy and the significance of the individual in
modern society?
Events
Oglasni materijali, dizajn Hördur Ágústsson, 1955-60. /
Advertising design by Hördur Ágústsson, 1955-60
Sofa Flying Carpet, dizajn Ilkka Suppanen (Finska), 1998. /
Sofa Flying Carpet by Ilkka Suppanen (Finland), 1998
Telefon Ericofon, Gösta Thames,
Švedska, 1953. / Telephone Ericofon by
Gösta Thames (Sweden), 1953
37