AKUT #5 ... CARE & REPAIR

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AKUT is an umbrella title for a series of exhibitions at the design museum that address “topics where design and designers are at the center of major societal dilemmas and challenges.”

In the past, textiles and clothing were expensive and were carefully stored and, when necessary, were repaired.

In the homes of the middle classes and the wealthy, clothes and bed linens were kept carefully in presses (large cupboards) or in a chest or a chest of drawers and seamstresses and tailors could re-hem or alter clothes if they were handed down or had to be “let out” as a child grew.

Both my grandmothers and my mother knitted and sewed and I remember through my childhood, that expensive Christmas cakes and fancy chocolates often came in tins and these were repurposed so all three women had tins with phenomenal collections of threads and yarns, patches of fabric and every sort and size of button to repair and alter our clothes. All three made their own curtains and cushion covers and no one in the family considered these tasks exceptional but as necessary skills that were common in most households.

One of the information panels in the exhibition suggests that “historically, the task of maintaining household textiles has fallen mainly to women” but my grandfather - my mother’s father - reupholstered chairs, made rag rugs, had a hefty iron cobbler’s tree on his work bench so that he could put new heals on our shoes and he had a leather hole punch so he could adjust or alter belts and straps. He was also a passable knitter as he had grown up on the east coast where men in his family - North Sea fishermen - knitted.

In the 1950s and through the 1960s and 1970s, most department stores had large haberdasheries and most towns had wool shops (for knitters) and fabric shops for dress makers and for curtains and upholstery.

Today, does anyone replace a zip or darn a sock or sew a leather patch on the arm of a jacket or a jumper? Surely now we have to repair and recycle for environmental reasons and this exhibition is a timely reminder that looks at techniques used to repair and reuse textiles.

AKUT #5 CARE & REPAIR / AKUT #5 CARE & REPAIR
Designmuseum Danmark / Design Museum Danmark
Bredgade 68, 1260 København K

from 3 November 2023 through to 18 February 2024

 
 

detail of a Danish “sampler” where a young girl practiced her skills in darning and needlework

MINDMAP #66 ... a site-specific installation by Gitte Svendsen

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An installation of works by Gitte Svendsen with heavily-tufted material and fringes in strong colours that are combined with panels of plexiglass, wood, metal and print.

GITTE SVENDSEN

MINDMAP #66
DANSKE KUNSTHÅNDVÆRKERE & DESIGNERE
(Association of Danish Craftsmen & Designers)
Officinet, Bredgade 66, 1260 Copenhagen K

28 October 2023 - 11 November 2023

Stolt / Proud .... modern folk costumes designed by Nicholas Nybro

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Twenty-one modern folk costumes by the Danish designer Nicholas Nybro were inspired by cities and regions across Denmark to explore our relationship to clothing that “transcends geographical local disparities” to “reveal a pride in our origins and a sense of belonging.”

Stolt / Proud
Designmuseum Danmark / Design Museum Danmark
Bredgade 68, 1260 København K

from 5 October 2023 to 3 March 2024

Stolt / Proud
Sonderborg, Nørrebro and Aalborg
Christiania
Strynø
Tisvilde
Fanø

 

SPOR ... the work of Dorte Østergaard Jakobsen and Jacob Hilmer

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An exhibition at Officinet of works in acrylic and textiles by the designer Dorte Østergaard Jakobsen and metal panels by the architect Jacob Hilmer.

SPOR
Danske Kunsthåndværkere & Designere
Officinet, Bredgade 66, Copenhagen
19 May to 17 June 2023

Dorte Østergaard Jakobsen
Jacob Hilmer

Frue Plads Marked 2022

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Today was the first of the three days of the craft and design market on Frue Plads in Copenhagen …. the square on the north side of the cathedral.

It is an annual event of K&D … Danske Kunsthåndværkere & Designere … the association of art crafts makers and designers. This year there are 110 artists and designers showing their work. All are members of the association.

Dansk Kunsthåndværkere & Designere Markerd 2022
exhibitors for 2022 with background information and links
Thursday 11 August, 12 - 19
Friday 12 August, 10 - 19
Saturday 13 August, 10 - 16

 

Into the Woods - an exhibition of work by Lene Thomasen

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Into the Woods is an installation by the Danish textilformgiver (textile designer) Lene Thomasen at Officinet - the gallery of Danske Kunsthåndværkere & Designere - the Danish Association of Artisans and Designers.

Created over the last year and created specifically for this exhibition, the works were inspired by trees, leaves, moss and, perhaps above all, the layering of light and form and colour found in the natural setting of woodland.

Lene Thomasen is a textile designer who trained at Kolding and now works primarily with screen printing. Works shown here are printed on silk, linen, or cotton and on very fine wool and she uses sheer fabrics and textiles that are layered and draped to create depth and a sense of space with weaving, sewing and gathering, where different materials are combined, for an intriguing and strong sense of volume.

In some works Lene Thomasen applies resist techniques - ways to block the dye reaching the fabric and often used to create texture - for instance by using a temporary coat of wax that is removed after the fabric has colour applied with a squeegee.

Patterns are overlaid or shifted or slightly offset and different intensity of dye are used, again to create a sense of depth, so, for example, to create an interpretation of the dappled light through layers of leaves and branches in the canopy in the woods.

Generally, there can be a temptation to see textile printing as simply a form of graphic design, so flat, but here, with the textiles displayed on wood frames, Lene Thomasen shows that textiles can have a strong presence in three dimensions as the works have to be explored from all angles as you walk around the gallery space.

Into the Woods continues at Officinet until 5 June 2022
Officinet, Danske Kunsthåndværkere & Designere, Bredgade 66, 1260 København K 

Lene Thomasen

 

 

knotting strips of fabric through an open canvas base is a technique found not only in this part of Scandinavia but also in the UK and was a traditional and rural way of making rugs … known in some areas as rag rugs because salvaged or worn fabrics - rags - are torn into strips to make a heavy rug often used in front of the fire or hearth of a farm house or cottage
here, some of the strips are velvet so the nap - the short, soft fibres on one side - add to the depth and richness of the effect

 

Lene Thomasen uses rope or cord in some of these works … not only as part of the way of hanging the textile but they become another layer of the design like vines or aerial roots in the wood

many of the works here are about how patterns overlay …. a large repeat can be off-set, or turned through 90 degrees, or overlaid in a different colour or in a different density of dye, to create an impression of depth, or the same pattern is printed on a fine, almost transparent, fabric that is draped or hung in front

note:
As for many of the artists and designers working towards a major exhibitions at Officinet, Lene Thomasen was able to spend several months at Statens Værksteder for Kunst in Copenhagen.

It is an amazing resource, in an old warehouse - Pakhus at Gammel Dok in the centre of the historic city - where designers and artists, with a scholarship or attachment, can use extensive facilities there that they may not have access to in their own studio or maybe not with the space to work at scale. The workshops also provide an environment for the intense focus and the long hours required for a complicated or demanding project.

The online site for the workshops has pen portraits of artists and projects that include photographs of their work in progress and that gives, at least, an impression of the level of technical skill and the mastery of materials that is at the core of the work of formgivers and crucial to the development or evolution of their work.

Lene Thomasen at Statens Værksteder for Kunst
Statens Værksteder for Kunst

Thea Dam Søby at Muji

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Until Sunday 10th April, Thea Dam Søby is showing her textiles and demonstrating sewing and repair techniques at the Danish flagship store of MUJI on the 4th floor of the Illum department store in Østergade in Copenhagen. Given how much she has been inspired by Japanese techniques for working with textiles it has been an appropriate venue.

Many of the works shown - both clothing and high-quality household textiles - have been given a second life by using various techniques of tie dye and resist die and by beautiful repairs that become part of the story of the piece.

Thea has demonstrated some of the sewing and patching methods for classes held in the store and for that work she sells amazing Japanese needles - the best in the world - and kits with sewing needles and thread.

We talked about this for some time. My mother and both my grandmothers sewed and knitted. They made curtains - not out of necessity but to get exactly what they wanted - and both grandmothers repaired and darned. All three - my mother and both grandmothers - had drawers or boxes or large bags full of thread and offcuts of material and buttons and patches. Anything and everything was kept in case it could be useful because that was what most women of their age did.

Now, Thea cannot assume that women who come to her classes have needles at home or even a grasp of basic skills.

On Thea's Instagram site there are photographs of a re-dyed white-denim jacket she produced for a fashion journalist ... and I then realised that I had completely forgotten that there was a period when people wore white or faded denim .... jacket, trousers and shirts ... the whole works.

I'm not convinced that I could get away with wearing one of Thea's kimono-style jackets but the household textiles are amazing. The strong colours - mostly deep blue but also some mauve - are striking and where they are applied to antique linens the textures and the patterns of the weaving are incredible and they have a feel and a quality that is rarely matched by modern textiles.


Theas Handmade Textiles
Thea Dam Søby on Instagram

 
 

3daysofdesign - COME AGAIN 2.0

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I didn’t get out to Cable Park until the very end of the third day of 3daysofdesign. That was not deliberate apart from the fact that I was trying to take a logical route from place to place to avoid doubling back or making long jumps across the city but there could not have been a better way of ending what was, by then, beginning to feel like a marathon run.

By a very long way, this was the most relaxed show of them all and - out on the edge of the sound - the light coming off the water was amazing.

The venue was the studio of the designer, illustrator and ‘paper poet’ Helle Vibeke Jensen and the works, by craftsmen and designers, were shown on the board walks and the hung on the walls of the wooden sheds and outbuildings of the water sports centre and were even shown wrapped around or draped over wakeboards.

Kids in wet suits were not phased and this showed an important aspect of Danish design …. here good design and an interest in art can be just a part of everyday life.

This is the second outing of COME AGAIN, and as with the exhibition at the Offcinet - the gallery of Danske Kunsthåndværker & Designere in Bredgade - this was curated by the jeweller Helen Clara Hemsley and Helle Vibeke Jensen.

Helle Vibeke Jensen
Helen Clara Hemsley

Copenhagen Cable Park
Kraftværksvej 24, 2300 København S

 

Exhibitors:
Helen Clara Hemsley, Janne K. Hansen and Mette Saabye with George William Bell, Katrine Borup, Rasmus Fenhann, Line Frank, Helle Vibeke Jensen, Lise Bjerre Schmidt, Lotte Myrthue, Martine Myrup, Anne Fabricius Møller, Annelie Grimwade Olofsson, Camilla Prasch and Tina Ratzer.

Tina Ratzer
Reeds

Helen Clara Helmsley
Looking back, to look forward 2

Lotte Myrthue
Strøtanker 3

Rasmus Fenhann
Air Bee n’ Bee

 

Censuum … a new design store on Nørre Farimagsgade

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A new design store has opened on Nørre Farimagsgade - close to Israels Plads and the food halls of Torvehallerne but a block away towards the lakes.

It is an interesting space in what looks, from the outside, like a relatively familiar style of large Copenhagen apartment building from the late 19th century. It looks as if it will have relatively low spaces in a half basement just down from the street level that would have been either for commercial use or simply services and store rooms for the apartments above. In fact the interior is much more interesting and much more dramatic because the space that runs across the whole of the half basement was previously a printing house with large areas that were double height.

There are relatively small windows along the street frontage that are at pavement level with an entrance door, at one end of the front, with steps down into a low space that is now an area for a coffee and a food outlet but then there are steps that go on down to the rest of the space along the front that has high ceilings so there is good natural light and interesting spaces.

Here, within the retail area of about 500 square metres, there are products from 40 small independent companies who are generally at that intermediate stage between selling on line or at design fairs and markets but before they expand to open a dedicated shop of their own.

Here you can find a good range of clothing, beauty products, jewellery, linens and items for the home. In terms of style, the range of products here reminds me of what can be found in the FindersKeepers design markets. Note …. that’s praise and not veiled criticism - the FindersKeepers markets are great but are only held once or twice a year.

Censuum describe themselves as a new form of department store because they focus on products that are responsible, sustainable, and climate friendly and they work with brands who can show that they are socially conscientious.

The cafe is good, serving coffee from the specialist roaster Prolog - now in the Meatpacking District - as well as craft beers and bread from the Andersen Bakery so they are setting their level high. There are tables and chairs inside and small tables and chairs set up along the pavement. 

Censuum, Nørre Farimagsgade 47, 1364 København

 

CHART Architecture

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CHART Architecture is an annual competition to design pavilions that are erected in the two courtyards of Charlottenborg and they have a major role as they are the venues for drink and food served through the four days of the CHART Art Fair.

To give focus to the initial design process, there is a theme for each year and this year it was to explore the concept of Social Architecture where spaces and objects “sets a tone and a stage for social or private engagements.”

Forty-six proposals were submitted by graduate students or newly-graduated architects, designers and artists from 28 different countries.

In the Spring five finalists were selected by an international jury that included:

Bjarke Ingels, architect and founder of BIG
the architect Shohei Shigematsu, from OMA
David Zahle, architect and partner from BIG
Sabine Marcelis, award winning designer from Holland
Simon Lamunière, director of OPEN HOUSE
Danish artist Nina Beier

CHART 2021
CHART Architecture 2021

courtyard stage by the Swedish designer Fredrik Paulsen

Situated Exteriors
by Kathrine Birkbak, Anja Fange, and Joe Mckenzie

 The architecture of Charlottenborg is echoed in wire panels.

OM
by guilt.studio
Diana Claudia Mot, Marius Mihai Ardelean, Claudia Lavinia Cimpan, and Mihkel Pajuste

 A pavilion constructed with aluminium ventilation ducts.

 

Leverage
by Rumgehør
Rasmus R.B. Maabjerg, Nikolaj Noe, and Victor Tambo

Made from dunnage bags - light inflatable bags used generally to secure and protect freight.

Winner of CHART Architecture 2021

CURTAIN CALL
by Rosita Kær, Nina Højholdt, Thomas Christensen, Sam Collins, and Lauda Vargas

The textiles are reused to create “curtain walls” that define and divide the spaces.

 

 

FIELD
by Torsten Sherwood and Benedicte Brun

 The green canopy over a long communal table is fresh bean shoots.

 

Solutions at Royal Danish Academy

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Architecture Design Conservation: graduate projects 2021

Shown here are 220 projects from the students in the schools of architecture, design and conservation who have graduated from the Royal Danish Academy in 2021.

This is an opportunity to see the work of the Academy schools, with their focus on the UN Sustainability goals, and these projects show clearly the ways in which teaching has taken onboard the challenge of climate change and the need to reassess our approach to materials for new developments and our approach to the increasing need to conserve or adapt existing buildings.

Here are the young architects and designers of the next generation whose designs for buildings and for furniture, industrial products, fashion and graphics will have to provide solutions to the new challenges.

As last year, the graduate projects can also be seen on line.

note:
after an initial opening in late June, the exhibition closed through July but then reopened on 2 August and can be seen daily from 10.00 to 17.00 through to 20 August 2021

Royal Danish Academy Architecture Design Conservation
Philip de Langes Allé 10
1435 Copenhagen K

Graduation 2021: SOLUTIONS
the exhibition on line

 
 
 
 
 
 
Solutions Grid.jpeg
 

Absent Bodies at Designmuseum Danmark

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Amina Saada

Ishara Jayathilake

A new exhibition has opened on the entrance courtyard of Designmuseum Danmark with works selected by Designers' Nest and Designmuseum Danmark.

The museum remains closed for extensive work to the building due to be completed in 2022 but there is access to the courtyard.

the works:

the love scene & the balancing act
Courtney Makins
sugarcoated cotton houndstooth, wool tartan and ripstop

the red bride
Amina Saada
polyester satin and foam

follow4follow
Oliver Opperman
recycled polyester and dead-stock neoprene

people go to work
Fredrik Stålhandske
cardboard and polyester

east meets west
Ishara Jayathilake
screen-printed cotton canvas

 
 
 
 

Courtney Makins

 Absent Bodies continues on the entrance courtyard of
Designmuseum Danmark, Bredgade ,Copenhagen
until 22 November 2020

 

COP25 - the United Nations Climate Change Conference in Madrid

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cotton-4649804.jpg

The 25th UN Climate Change Conference and the 25th session of the Conference of the Parties - COP25 climate talks - opened in Madrid on Monday 2 December and continues for two weeks. This is the summit that was scheduled to be held in Brazil but was then moved to Chile and, with the political unrest in Santiago, the venue was moved again to Madrid.

A report on the world's "carbon budget" revealed that governments are far from meeting the goals of the Paris climate agreement - greenhouse gas emissions are still rising though by smaller amounts that in previous years - and there are still problems over carbon markets and disputes over carbon credits.

Serious work begins this week with the arrival of senior politicians including environment ministers and finance ministers and the EU is due to reveal its new green deal to halve Europe's greenhouse gas emissions by 2030 and set a legally binding target to reach net-zero carbon by 2050 although that appears to be overshadowed by the retention of what is called the Energy Charter Treaty - or ECT that still allows fossil fuel companies to take governments to court about any green policies that they feel threaten their business or, more important, their profits.

One interesting development was the release yesterday (9 December) of a communique from the fashion industry inviting governments to collaborate on Climate Action. It can only be hoped that this is rather more than green washing and any developments to control waste and monitor sustainability and recycling in the fashion industry should be tracked and echoed by the broader industries in design and in construction.

In more general news about climate change, it was announced yesterday that Denmark has risen up the rankings of the Climate Change Performance Index (CCPI) from the New Climate Institute in Germany and, of the 57 countries assessed, Denmark is now second with Sweden ranked first. This is significant because the rankings were made before the new Danish Climate Act that was voted through on Friday so actually too late to be taken into consideration.

 
COP25Madrid.jpg

Finders Keepers at Øksnehallen

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select any photograph to open all in a Lightbox slide show

Today - Saturday 24 August - was the first of the two days of the design market at Øksnehallen - the old market hall in the Meat Packing District of Copenhagen that is just to the south and west of the central railway station.

Finders Keepers is a celebration of small independent design companies in Denmark and includes clothing, household textiles, leather goods as well as ceramics and glass and furniture. There are play areas for children and food stalls on the forecourt.

Finders Keepers continues tomorrow 25 August 2019
at Oksnehallen in the Meat Packing District of Copenhagen

 
 

Frue Plads Marked

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For three days at the end of the week, the annual craft market will be on Frue Plads - the square next to the cathedral in Copenhagen.

Organised by Danske Kunsthåndværkere & Designere - The Danish Association of Craft Workers and Designers - this is an opportunity to see and to buy some of the very best ceramics, glass and textiles made in Denmark.

Thursday 8 August 12 - 19
Friday 9 August 10 - 19
Saturday 10 August 10 - 16

for further information about the craft market 

320x320-Mobil_final-high.jpg

Biennalen for Kunsthåndværk & Design 2019

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The exhibition for the prestigious Danish award for the crafts - the Biennalen for Kunsthåndværk & Design - opened today at Nordatlantens Brygge / North Atlantic House in Copenhagen and continues until 5 May 2019.

Artists and designers selected to exhibit this year are:

Anett Biliczki
Helle Vibeke Jensen og Mette Saabye
Mariko Wada
Mia Lagerman
Signe Fensholt
Margrethe Odgaard
Ole Jensen
Kristine Mandsberg
Christina Christensen
Katrine Bidstrup
Kunstnergruppen RØRT: Ædelmetalformgiver og sygeplejerske Kristina Villadsen, Ædelmetalformgiver og arkitekt Maja Røhl, Ædelmetalformgiver og cand.comm. Maria Tsoskunoglu, Ædelmetalformgiver og grafiker Nanna Obel
Katrine Borup, Pernille Mouritzen og Bess Kristoffersen
Sarah Winther
Sarah Oakman og Maj-Britt Zelmer Olsen
Bitten Hegelund og Uffe Black
Bodil Manz og Jacob Manz
Charlotte Østergaard
Sisse Lee

Nordatlantens Brygge

Danske Kunsthåndværkere & Designere

a special edition of The Egg

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my thanks to staff of Fritz Hansen in Valkendorfsgade in Copenhagen for allowing me to photograph the chair and for the time we spent discussing the work of Jacobsen and the designs and colours of the Hallingdal range

 

The Egg in suede at the Copenhagen store but showing clearly the same strong and more sculptural look seen when the chair is covered with leather

To mark the anniversary of The Egg - Arne Jacobsen designed the chair for the SAS Royal Hotel in Copenhagen in 1958 - Fritz Hansen have released a special version covered in the Kvadrat fabric called Hallingdal that was designed by Nanna Ditzel in 1965 … a textile that is not as well known or as easily recognised outside Denmark but, like the chair itself, a design classic that has been in continuous production since it was launched. 

Although I can’t know the real figures, there is a very good chance that more people have sat on a chair covered with Hallingdal - without realising what they were sitting on - than have sat in an Egg chair … in the late 60s and through the 1970s for its well-deserved reputation for being hardwearing and for the range of colours it was the go-to fabric for upholstery for commercial seating for office chairs, chairs for schools, and seating for doctors’ and hospital waiting rooms.

It was a revelation seeing the chair covered in Hallingdal in the Copenhagen showroom of Fritz Hansen. 

Now we tend to know The Egg in the version covered in leather emphasising the bold sculptural quality of the design and often making the piece in a room a sort of statement of status. However, covered in a fabric, particularly in a soft natural colour, the chair immediately looks more subtle, more discrete, more inviting and comfortable and, curiously, smaller.

Initially, Jacobsen wanted these chairs in the hotel to be covered with leather but for fairly obvious economic reasons had to agree that chairs used in hotel rooms would be covered in fabric. He designed a relatively heavy fabric in a mix of the deep blue and green shades he often used but also gave it a stronger texture with distinct wavy lines through the weave.

The Hallingdal fabric is actually a bit of a chameleon for it takes on very different characteristics depending on the combination of colours … in natural greys or browns or creams used in combination then it looks like a Harris Tweed but with contrasting colours for warp and weft it gains a sharp pin or small check pattern that is quite sassy and in strong bold single colours - for instance a strong red - then an Egg can look just as powerful and assertive as when the chair is covered with leather.

This shows that even when a form is as bold and as distinctive as The Egg, colour and texture are incredibly important in reinforcing the character of the design or modifying it and toning it down.

note:
I understand this special edition is currently available only in Denmark

Kvadrat

Republic of Fritz Hansen

 

Oak Tree - an exhibition of work by Tina Astrup

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 Tina Astrup graduated as a textile designer from the Danish Design School but also completed a post-graduate degree in furniture and spatial design.

Inspired by the timber and the colours seen in a local saw mill, where oak was stacked and seasoned, the work shown here is a project that has evolved over four years. She takes large disks of timber - sections of tree trunk - or substantial wedges of oak and baulks of wood and enhances both the pattern of the natural grain that mark the growth of the tree but her process seems also to echo mechanical cuts and saw marks that show how a tree is felled and the trunk cut into planks.

She uses vinegar poured over the timber that has been wound tightly with wire … a process that brings out tannins in the timber and creates slashes of dark colour in a way that echoes the effect when textiles are tie dyed.

 
 
 

This changes the character of the oak to make it darker both in terms of colour and in the sense of being much more dramatic.

We tend to see oak now only after it has been worked - so finely cut and planed and smoothed and pale - and see oak as the ideal wood for wide, hard-wearing floor boards or for strong finely-made furniture.

Along with beech and ash, pale or almost white oak is still a hall-mark if not the hall-mark wood for the modern Scandinavian interior. Through the classic period of modern furniture design, the English even talked about ‘light oak furniture’ to distinguish the look they wanted from the ‘dark’ oak of 19th-century and earlier furniture that was regarded as old fashioned or unfashionable.

But oak trees, in the wood or the forest, can be twisted and gnarled - powerful and impressive - and even disturbing.

The cuts and marks on these pieces by Tina Astrup reconnects us with what is, after all, the force - the almost aggressive force - of chopping down a large tree and cutting it into planks and should take us a step back from the product to the natural material and to the way we work with timber to see new possibilities in how designers could work with and use oak in very different ways.

 

Kunsthåndværkere & Designere
Tina Astrup

the exhibition continues until 28 October 2018
at Officinet - the gallery of Danske Kunsthåndværkere & Designere - Bredgade 66, Copenhagen

 

Helene Vonsild at Frue Plads

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The textile designer Helene Vonsild was at the market on Frue Plads with a wide selection of the designs that she markets through her company 1+1Design. 

As well as commercial designs for textiles she uses fabrics she designed for Kvadrat to produce a range of cushions and bags. 

A shoulder bag with an adjustable strap in dark grey rubber was interesting because it illustrates well an important aspect of good design that is not discussed enough. 

The straps for the bag, with a series of slots and with notches along each edge, is an industrial product used for tree ties … a robust strap to hold a young sapling against a supporting stake … so strong to prevent the tree moving and snapping in wind but soft so it does not rub the bark of the tree with any movement and adjustable so it can be moved outwards as the tree grows or as a new and thicker stake becomes necessary.

Fixed to the bag with the right size and the right colour of button it could hardly be better for an easily-adjusted shoulder strap. This is a designer using ingenuity ... seeing an existing product in a new way for new uses or identifying a problem and finding the best way to come up with a solution.

1+1Design

Lives & Works in Fiskars ..... an event for June at Design Werck in Copenhagen

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On Thursday evening there was the launch of a special event at Design Werck.

In partnership with ONOMA - the Cooperative of Artisans, Designers and Artists in Fiskars - Design Werck will show furniture, art, textiles, graphics; ceramic works and glass made in the historic village that is 80 kilometres west of Helsinki in Finland.

Founded in 1996, the association now represents 117 members. Twenty members of the cooperative will be showing their work here in Copenhagen and the exhibition, with works for sale, will continue through until 30th June.

Design Werck, Krudtløbsvej 12, Copenhagen K

 

 
 

Artists, designers and makers showing their work:

  • Heikki Aska, cabinet maker
  • Marko Escartin, wood worker
  • Antrei Hartikainen, cabinet maker
  • Lulu Halme, graphic designer
  • Sonja Tuulia Halttunen, graphic designer
  • Elina Makkonen, goldsmith
  • Olli Kari, muscician
  • Petri Koivusipilä, cabinet maker
  • Minja Kolehainenen, cabinet maker
  • Ivan Kulvik, cabinet maker
  • Camilla Moberg, industrial and glass designer
  • Piitu Nykopp, visual artist
  • Deepa Panchamia, textile artist
  • Katja Öhrnberg, visual artist
  • Ari Turunen, jewellery smith
  • Arto Vuohelainen, photographer
  • Karin Widnäs, ceramist
  • Tuulia Penttilä, cabinet maker
  • Matti Söderkultalahti, cabinet maker
 

food for the opening event was by Restaurant Kuparipaja in Fiskars and iced cider, gin and akvavit was from the Ägräs Distillery in Fiskars