Form and function

The Scandinavians talk about design like other people talk about food or sex, writes Julia Bruce

‘Plus Black’ salt and pepper grinder by Muuto.
‘Babel’ by Fredrik Mattson and Stefan Borselius. Table with columns of rings in compression-moulded birch. Colours gradually change from a black footplate to a white or red tabletop.

From forklift trucks to watches, crash helmets to bicycles, trains to running shoes, the Scandinavians seem compelled to design the world in their image. So what is it with the Nordics and their obsession with design?

One common explanation is their harsh climate, the theory being that people are forced to spend so much time indoors during winter that they avoid going stircrazy by surrounding themselves with interior design beauty.

Says Justin Baddon of the Edinburgh interiors shop Moleta Munro: “Scandinavian design is about the marriage of form and function, embracing modernism in the production of beautifully simple products with clean lines. A lot of Scandinavian design is timeless. Many designs which are popular today were in fact originally designed in the 1930s, ‘40s and ‘50s. Scandinavian design stands the test of time.”

He continues: “The Scandinavian countries appear to share similar outlooks on life and have similar ways of living. Thus creative ideas are easily shared and adapted between them. My own experience of Danish people is that creativity is held in high regard, and many aspire to work within the creative industries. The nation also believes in its talent and is happy not only to promote, but also invest in design.”

Scandinavian designs are often multifunctional: a saucer without a ring which can also be used as a small plate; a cappuccino cup which can double as a soup or dessert bowl; stackable, space-saving crockery – reflections of post-war austerity and the move from an agricultural to an industrial economy. According to the Finnish designer Kaj Franck (1911-1989), to be designated good and beautiful, an object had to be durable, robust, easy to clean, functional, do justice to the materials used for it and be indispensable – principles which are still evident in Scandinavian design today.

Wood Lamp’ by Muuto. Pinewood with emphasised bolts and screws, very light weight.
‘Arrow Hanger’ by Gustav Hallen. Lacquered metal.
‘Pinocchio’ by Hay. Coral and black rug, handwoven 100% pure new wool rug.

Although what we think of as Scandinavian design first emerged in the 1950s, the 20th century Swedish painter and interior designer Carl Larsson is often credited with creating Scandinavian style, his combination of the neutral colours of the Norwegian, Swedish and Danish landscapes giving a casual, aged look. The long, dark Scandinavian winters created a need for airy, sleek interiors to reflect as much of the short sunlight as possible.

Colours in many Scandinavian designs range from shades of white to beige, light blues and natural light wood tones. To this neutral colour scheme is often added bright red for dramatic contrast. Similarly, textures and fabrics follow natural themes, often striped or checked. Floral patterns or small, repeated motifs against a solid background are also common.

The use of natural resources in Norway, Sweden and Denmark encouraged strong craft traditions. A number of institutions were established early on to protect makers against an influx of inferior, foreign mass-produced goods.

Uniquely, Scandinavian design was furniture-driven and is today virtually synonymous with furniture design. Uncomplicated furniture was a departure from the large, ornate pieces found in many different European styles of design.

Typically both functional and attractive, it often combines natural woods, such as teak, beech, pine and ash, with aluminium, steel, chrome or glass - materials which are all relatively accessible and inexpensive. Design trademarks include straight lines with curved detailing, thin, generally tapered legs and a staple of benches and bench-like sofas with minimal upholstery.

The obsession with Scandinavian design continues today. IKEA, the Swedish homeware giant praised for its light, compact and easily assembled designs, can be found in many major world cities.

RETAILERS

BoConcept, 257 Sauchiehall St., Glasgow, T 0141 341 4920, www.boconcept.co.uk
DesignShop, 116-120 Causewayside, Edinburgh, T 0131 667 7078, www.designshopuk.com
Moleta Munro, 4 Jeffrey St., Edinburgh, T 0131 557 4800, www.moletamunro.com

“Functional things give pleasure to our everyday life. We can enjoy their aesthetic beauty in moments of peace and calm. We have a relationship with the objects. The meaning of each object is defined by the user.”
Tuija Aalto-Setala, communications manager with the Finnish housewares company, Iittala

“Is it not the ultimate meaning of the beautiful to be essential, functional, justified, truthful?” Designer Kaj Franck, often described as the conscience of Finnish design

“The scale and scope of our work extends from city to objects, strategy to detail. Our mission is to make the world more interesting and enjoyable.”
Helsinki-based design practice, Now