Menu katalog 2017

Grethe Meyer’s speech on the occasion of receiving
the Danish Design Award. December 8, 1997.
Grethe designed the Boligens Byggeskabe modular Ildpot series by Grethe Meyer.
storage system in cooperation with architect Børge
Mogensen. Photo: Boligens Byggeskabe ©
In the 1950s, collaborating with fellow Dane Børge Mogensen, Grethe
designed Boligens Byggeskabe, a groundbreaking and best selling
modular storage system that was beautiful in its simplicity. Grethe was
drawn to products for the kitchen and dining table, most famously
creating timeless ceramics for Royal Copenhagen, including the iconic
Blåkant dinnerware set in 1963 and, later, the Ildpot range. Designed
with busy working women in mind, the Ildpot collection could go from
freezer to oven to table, withstanding massive swings in temperatures.
She also designed the iconic Copenhagen cutlery set for Georg Jensen.
Grethe enjoyed a long career throughout the 20th century, before
her death in 2008 at the age of 90. In a speech in 1997, she marveled
at the wonders of nature. “I get dizzy when I think about it, especially
considering that I know how much time it takes just to make a simple,
small object such as a spoon, which is composed of only one material
and which only has to fulfill a few functions, and certainly never can or
shall grow as a plant or an animal.”
Grethe inspired many female architects and designers, pushing
open the door to gender equality in the industry. At MENU, we have
used her original sketches from 1984 to create the GM Pendant Lamp—
available in two sizes. Hang one lamp over the dining table, two smaller
ones as a pair, or install together in installations.
I think it would be appropriate to explain a little about my method of
working. Mostly, I meet new tasks by trying to build on earlier inspirations
and ideals, improving them and, where needed, bringing
their qualities up to date while preserving what I think is important—
namely that the design must be uncomplicated, the product easy and
comfortable to use and as simple and anonymous as possible in the
expression of its properties. In this way, I think that beauty will present
itself—a beauty that gives the people who are using the product a natural
pleasure, a pleasure which preferably grows stronger the more the
product is used. I would like to quote a line from a hymn:
“If all the kings went forth one day with all their might and fettle,
They could not set the smallest leaf to grow upon a nettle”
The humility Brorson expresses here is something we designers can
carry with us. I must say that the older I get, the more I wonder and feel
how fabulous the whole creation of the universe is.
I have a deep, deep admiration, reverence and respect for the powers,
forces, call it what you will, that could create our wonderful world.
I get dizzy when I think of it, especially considering that I know how
many decisions and how much time it takes just to make a simple, small
object, such as a spoon, which is composed of only one material and
which only has to fulfill a few functions, and certainly never can or shall
grow as a plant or an animal.
When we consider the universe which is continually expanding
and evolving, and we try to understand—of course in vain—how infinitely
great it is, we know that each of us can’t even be perceived as a
tiny little dot.
All the same, I find it very important that each of us put our full
endeavor into the work we do, and for us creative individuals to persevere
until we reach the core, the essential, the soul of the matter.
Fulfillment of this demand requires both discipline, precision,
engagement and complete attention, but also love for the work.
We are not just born with these abilities. They can only be acquired
during a lifetime. It can happen in many ways, as for example in
fellowship and cooperation with people who are important for our
development. Often it begins with our parents, then teachers and other
inspiring and charismatic people. These are people to whom you owe
something. There is one person in my life that I want to mention: Børge
Mogensen, with whom I cooperated on Boligens Byggeskabe. We probably
had many common strains in our minds, plus his stubborn axiom:
“Go back to the beginning and start all over again if, at the back of your
mind, you know that not all is right in what you are doing.” Working
this way was natural to both of us. He was the most creative and artistic
designer I have known in our profession. It was a privilege to meet and
work with him.
I’m not a painter or a sculptor, although I would have liked to have
been both. And as I’m not, I do not translate my intentions into physical
specimens or unique pieces. I therefore share this prize with all the
artisans, silversmiths, chemists, technicians and other specialists who
have understood my thoughts and drawings and turned them into the
finished products. They are, or have all been, linked to Royal Copenhagen
where it all started or maybe, should I say, some of it got started.
Today, I want to express a strong wish that in future much more
consideration be given to the environment in all areas than has previously
been the case. And, of course, also in the field of design in order to
safeguard our beautiful but fragile earth—something that my generation,
unfortunately, has not been very dedicated to.
And now, as we are assembled in this house [The House of Industry],
I will take the liberty of addressing my opinion to the Industries. I recommend
that they keep as many jobs in this country as possible, while
at the same time making sure to keep good craftsmanship alive, which
is essential for the quality of products to be maintained. Thus: Get many
more jobs for apprentices, keep and maintain the machinery at the factories
and start new, smaller companies. They were the ones that have
established the quality of Danish craft and industry in the past.
If this is not heeded, we shall be left one day with an impoverished
country, without living companies and a population without opportunities
for decent employment opportunities.
Then we can start all over again to rebuild a country that hasn’t
developed, but instead has deteriorated and turned into a service industry.
We have seen this happen in many places in the world.
Finally, I will thank the Danish Design Center. You have all been so
kind and helpful in connection with this event. Lastly, I will turn to the
board of directors and say thank you for giving me the prize. Thank you
for making me happy.
72 PROFILE: GRETHE MEYER
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