Given Denmark’s reputation for being a world leader in design, one might have certain expectations Designmuseum Denmark, and it certainly did not disappoint. They currently have seven different, well-proportioned exhibitions on display.
'The 20th Century' exhibit chronicles the progression of regional design movements that took place around the turn of the century, eventually converging to form Modernism. During the second half of the century, further amalgamation took place as Modernism was rejected in favor of Post-Modernism.
In the final years of the 19th century, artists were looking for fresher perspectives than those offered by prevailing Historicism, which encompassed reinterpretations of past styles, often from the Gothic and Renaissance eras. The new Avant Garde movement was known under different names depending on the country, Art Nouveau in France and Belgium, Jugendstil in Germany, and Secession Style in Austria. However, they shared common principles and similarly drew sources of inspiration from nature, especially plants. A common objective among these movements was to achieve ‘synesthesia’, or interaction between the different forms of art, including architecture, furniture, painting, and sculpture. Despite their similarities, each regional Avant Garde movement had enough nuance to distinguish it as its own style.
Gold-leafed furniture accompanied by wallpaper, both designed by Georges de Feure. Although originally from the Netherlands, de Feure is regarded a principal figure in the French Art Nouveau movement.
This chair by Josef Hoffmann exemplifies the Vienna Secession Style, which although founded on common principles to the Art Nouveau movement in France, was markedly different with its linear form and lack of organic ornamentation.
As the 20th Century progressed, new values were introduced, such as populism and functionality. Within the Modernism, new movements were formed, preserving some of the ideas of the century’s earlier philosophies, while rejecting other. The Bauhaus movement in Germany, for example, sought to produce something new, with contemporary aesthetics. Danish Functionalism, on the other hand, thought all things should be designed as good tools, while exemplifying tradition and craftsmanship. “A chair should come from a good old family”, said Kaare Klint, a head of the School of Furniture Design at the Royal Danish Academy of Fine arts. Klint often sought inspiration from older furniture displayed inside the Designmuseum.
Despite these varied approaches, both had an emphasis on mass affordability and production. While Bauhaus furniture was commonly made with sweeping steel tubes, which represented industrialism and progress, Danish Modern furniture stuck with more conservative forms and traditional, typically organic materials, often applied in a new way.
‘Safari Chair’ (1933) Kaare Klint demonstrates the Danish Modern use of natural materials and conservative form, emphasizing ergonomics and functionality.
By the end of the century, people had grown tired of the constant emphasis on functionality and production-friendly design. Postmodernism rejected the notions of “less is more” and “form follows function” that defined the mid-century, in favor of more colorful and playful designs.
The ‘Panton Chair’ (1960) designed by Royal Danish Academy of Fine Arts Graduate Verner Panton, demonstrates the Postmodern departure from everything that defined mid-century Danish modern furniture.
The ‘Danish Design Now’ exhibit explores the recent global resurgence of Danish-inspired design, which fell out of favor during the 80's and 90's with the widespread rejection of modernist design philosophies. The new movement is rooted in these previously rejected modern Danish traditions, while incorporating the postmodern appetite for flare. A distinct emphasis on environmental sustainability and global social welfare, facilitated by new manufacturing technologies, are key aspects to the movement. The exhibit features everything from furniture to fashion, industrial design artifacts, graphics, and spaces.
The 'Anchor Chair' (2016) designed by Stein Weigelt and manufactured by FDB Møbler using FSC certified sustainable oak embodies the new emphasis on sustainability through material selection, while paying tribute to some of FDB’s chair designs from the Modern era.
This stack of drawers illustrates the blending of traditional Danish-modern design language with playful characteristics (the helical orientation), to create something that is both simple and fun.
'Turning Boxes' (2016) Hans Sandgren Jakobsen - Manufactured by Aksel Kjersgaard
The 'Fair Chair for the Future' (2006), designed by Jakob Berg, is made from sustainably harvested Bolivian ipé. Berg took advantage of the fact that the production of this chair was not very technical, and used it as an opportunity to implement fair trade practices by having it made in Bolivia with local labor.
The ‘Slice chair’ (1999, variant 2017) by Mathias Bengtsson, is made from individually laster-cut layers, demonstrating the use of new manufacturing technologies. This variant, made of brass, is reminiscent of the hardware that was typical of the pulls and hardware from iconic Danish-modern teak case pieces.
‘The Danish Chair - An International Affair’ exhibit was a highly potent dose of furniture design. While it emphasized iconic Danish chair designs, it also had non-Danish chairs on display, not only to provide context, but also illustrate the inspirations for the Danish works.
The exhibit explores the significance of chairs over time. The chair is an object that communicates so much about both the designer, as well as the person who occupies it. One can draw inferences about the occupant from the posture and ornamentation. Once reserved only for the most revered members of a society, chairs overtime became ‘tools for sitting’, and then vehicles for personal expression. As a piece of furniture, the chair is unique, with its stringent emphasis on ergonomics as a container for the body.
One of the museums temporary exhibits, ‘Creme De La Creme’, displays some of the most exquisite pieces from the museum’s collection, typically from earlier periods than most of what you see in the rest of the museum. Its contents include Persian silk carpets from the 1600’s, tapestries by Henri Matisse, silver by Georg Jensen, and Chinese ceramics from the Tang and Ming dynasties
This cupboard from 17th century Southern Germany was most certainly the centerpiece of a wealthy home, and was likely used to store expensive textiles and linens.
‘Learning From Japan’, a two year long exhibition, explores the inspiration that Japanese crafts have had on Danish design, and contains authentic Japanese artifacts, as well as objects created by Danish designers with a Japanese influence.
Danish furniture made with a Japanese aesthetic
The two remaining permanent exhibitions are ‘Fashion and Fabric’ and the ‘Porcelain Study Collection’, however, I simply passed through these sections without spending much time.
One of several aisles in the museum’s porcelain collection
Since the museum building was formerly a hospital, the cleverness of it’s layout was constrained compared to some of the other design museums that I visited. It has a great collection that has plenty of variety, but a distinct emphasis on Danish design, which is exactly what I was hoping for. I certainly gained a greater understanding of contemporary design, as well as design history, and the Danish design culture based on my short visit.