Scandinavian design of the XXI century: traditions and modernity

This article presents the analysis of Northern design of the XXI century, its achievements, and significance. Design is viewed as a phenomenon that has evolved since the era of industrial revolution. The current trends in environmental design are explored. The author comprehends the years-long trend for environmental friendliness and responsible consumption in design as a whole, as well as the vectors of development of object design in particular. The key approach is the analytical approach, within the framework of which the design development trends are assessed as a part of popular culture. At the same time, their designated purpose to increase the competitiveness of goods on the markets. The design is based on the principles of functionality and feasibility. The goal design is to impose certain qualities upon things, such as aesthetic appeal, convenience, commensurability. Working on the design project implies certain stages: functional analysis, layout, construction, creation of a spatial and graphical structure. Design employs the data from multiple scientific disciplines: semiotics, ergonomics, sociology, aesthetics, philosophy, and culturology. The fundamentals of design originate in the history of art, architecture, modern trends and styles in art,  conceptual art, crafts in terms of industrial production, synthesizing with innovative technologies and materials. Use of the stylistics of Northern design is substantiated by demand for the things of high quality, but inexpensive design.

Translating Hygge: A Danish Design Myth and Its Anglophone Appropriation

Hygge, the lifestyling trend that offers a path to ‘authentic’ Danish contentment, is one of the more curious instances of cultural translation in recent years, both semantically and in terms of how an everyday Danish concept has been transformed by London publishing houses into a marketable commodity. Despite the widespread international popular success of the phenomenon, hygge has received little academic attention. What is particularly lacking is an analysis of the cultural transferral of the concept, of the rather different set of meanings constructed by the remodelling of hygge by English-speaking commentators. This article proposes that design history can offer a helpful framework for this kind of understanding. By approaching the case of hygge as a ‘mythology’ in the Barthian sense, we will argue that the concept builds upon the legacy of the mythologies imprinted on Anglophone societies by the branding of Scandinavian Design since the 1950s. Highlighting the links between such myths and the manufactured British version of hygge, we will posit that the meaning of hygge—the way it operates as a sign in British culture today—is dependent upon longstanding structures of understanding.

The Influence of Scandinavian Furniture Design in the Development of Modern Rattan Furniture in Indonesia

<p>In Indonesia, rattan is one of the natural resources used for furniture materials such as wood. Therefore, rattan furniture has grown has long been developed since the traditional model and developed rapidly in the era of modern design. In the period of traditional furniture, rattan furniture was viewed as cheap furniture, quickly damaged and therefore rarely used for middle-class home furnishings. With the efforts of several design lecturers who are also furniture designers, rattan furniture was then developed with a modern design approach with influence from Scandinavian furniture design. As a result, modern rattan furniture can be accepted into middle-upper class. This study aim is to examine the influence of Scandinavian furniture design particularly Danish furniture design in the early development of modern rattan furniture design in Indonesia. The influence will be describe in two ways those are product design concepts acquired from Scandinavian design media and academic influence from Indonesian designer who study in Scandinavian countries and develop the rattan furniture in Indonesia. This paper uses the comparative study method to gain an understanding and description of Indonesian rattan furniture design with the influence of Scandinavian furniture design especially Denmark. The result show that Indonesian furniture designers are able to adopt the characteristics of mdoern Scandinavian furniture design that is generally made of wood into the modern design of rattan furniture.</p><p> </p><p> </p>