The Philosophy of Scandinavian Design

• Scandinavian design represents a design philosophy that’s

characterized by functionality, simplicity, and clean lines. According to
its design principles, one should be in harmony with his/her
environment, and things should be made to last rather than be
replaced. To complement the art of living well, the design philosophy
promotes a simple home environment that enhances an
unencumbered lifestyle.
• Scandinavian Design History
• The minimalist style of Scandinavian design emerged during the 1930s
within the five Nordic countries of Denmark, Finland, Iceland, Norway and
Sweden. The term “Scandinavian design” originated from a design show
with the same name that traveled through the United States and Canada
between 1954 and 1957. It promoted simplistic ways of living and
showcased various works by Nordic designers. The minimalist philosophy
emphasized clean lines and simple designs that were inspired by nature
and climate to create the Nordic design. It promoted beautiful designs and
quality, sustainable products that were affordable and easily accessible to
people in all walks of life. Exhibitions showcasing Scandinavian design
during the 1950s played an important role in the influence of these design
principles in Europe and North America
• Design Principles and Designers
• The main purpose of Scandinavian design is to improve daily life. To accomplish that,
designers focused on interior design style with furniture, lighting, textiles, accessories,
and everyday utilitarian items like dishes, silverware, cooking utensils and linens. In
Scandinavian interiors, there’s always a strong relationship between design elements and
nature. It’s often seen in the stark contrast between abstract and natural shapes, as well
as hard and soft surfaces and materials. Natural materials like stone, wood, leather and
hemp are used sparingly in most home interiors.
• Within the golden age of Scandinavian design from the 1930s to the 1970s, there were a
number of prominent furniture designers that had a huge impact on design philosophy
and style. Known as the founders of Scandinavian philosophy and style, their influence
on modern design is still evident today in areas like San Francisco and San Mateo where
you’ll find wonderful shops like Article, Muuto, Innovation, and ScanDesign. The brilliant
Scandinavian designers who rewrote history with their innovative designs include Alvar
Aalto; Poul Henningsen; Arne Jacobsen; Borge Mogensen; Verner Panton; Hans J.
Wegner; and Maija Isola. Just pick up any book on Scandinavian or Nordic design and
architecture and these designers will certainly be noted.
• Scandinavian Design Trends
• Floors – Wall to wall carpets never became popular in Scandinavian countries. Interiors typically have
wooden floors, in light wood tones, in all rooms except the bathrooms. If rugs are used, they are usually
limited to area rugs.
• Interior Surfaces –Warm woods are often used on walls, ceilings, cabinetry, and furniture. Warm tones found
in teak and oak are preferred. If pine is used, it’s often grayed down with a special oil that reduces the yellow
wood tones.
• Eco-Friendly Materials – Scandinavian design principles promote eco-friendly homes with organic,
sustainable building materials for flooring, walls, siding and roofing.
• Colors – White walls and cool blue and gray textiles are common. In some homes, brighter pops of color like
yellow and orange are found in Marimekko fabrics and rugs.
• Accessories – This minimalist style promotes the design philosophy “less is more.” Accessories are usually
scaled back to create less clutter and fewer visual distractions.
• Fireplaces – Scandinavian winters are harsh, so most homes have large fireplaces to provide adequate heat.
Fireplace designs are usually simple, but often embellished with beautiful tiles.
• If you’re inspired by Scandinavian design, Nordic Design is a great resource for lifestyle tips and style trends.
Historical Context

• Modernism, a cultural movement that started at the end of the 19th

century, was a break from the Realism that dominated the art world
before. Realism’s source was the invention of the photograph and the
artist’s desire to produce work that looked “real.” It was, hence, fairly
conservative, and the art created in that movement was intended to
be truthful and accurate. Modernism was an escape from this rigidity,
and a multitude of cultural and aesthetic movements grew from it.
• Shortly after 1880, William Morris and the Arts and Crafts Movement,
inspired by the social theories of John Ruskin, began expressing their
distaste for the Industrial Revolution’s machine-made designs. They
denounced the uniform and monotonous products that the machine
stood for, and they revitalized traditional methods of manufacturing;
in the textile arts, for example. Defending and praising nature in art,
human creativity and faithfulness to traditional materials, they upheld
Romanticism and folk tradition in all manner of crafts.
• Art Nouveau, also known as “Jugendstil,” was the first widely popular
art movement of the 20th century. It was conceived as a “new style
for a new century.” With a focus on decorative and applied arts, the
movement was a conscious resistance to the ruling art and design
institutions of the era.
• Dating roughly from 1880 to 1910, Art Nouveau marked the
beginning of Modernism and took nature as its inspiration. The use of
decorative elements in domestic settings could even be viewed as
metaphors for the status of the individual in society, and they made it
evident that people were eager to break away from forms and set
rules. More obvious social commentary was starting to emerge in art.
• Left: Cover art for the Norwegian woman’s magazine Urd, Andreas
Bloch and Olaf Krohn, 1900–1905. Right: An Art Nouveau building in
Borås, Sweden, by Swedish architect Lars Kellman, 1907.
• Fluid shapes were used in all manner of work, be it architecture,
furniture, textiles, painting or print. The style was widely celebrated
as a break from the past, incorporating new and exotic materials from
foreign countries, and with so-called “Japonisme” becoming popular
in Western circles.
• Scandinavia Early On
• Scandinavia here means the countries of Northern Europe: Denmark, Sweden, Norway. Design
from there is described by many as being fairly minimalist, with clean simple lines. Highly
functional, the style is effective without needing heavy elements; only what is needed is used.
Survival in the north required products to be functional, and this was the basis of all design from
early on.
• The subtle decorative qualities stemming from the early-20th century art movements and the
simple lines deriving from the inter-war art movements gave this style its elegance. The concept
of “beautiful things that make your life better” was highly regarded. Scandinavian design is often
referred to as democratic design, because of its aim to appeal to the masses through products
that are accessible and affordable.
• This ideology comes from local institutions, such as the long-established Swedish Society of
Industrial Design. The goal of this association was to promote design that the general public could
access and enjoy. Such goals were greatly affected by social changes taking place in Europe at the
time. Even though the designs were democratic and meant for the masses, they were not
stripped of all beauty in order to make them as easy to use as possible; an inspiring thought. The
importance of this balance was identified by Scandinavians early on and has been maintained
ever since.
• Several exhibitions of Scandinavian design were held throughout
Europe and North America. One of the earliest was the Stockholm
Exhibition in 1930, where functionalism blossomed and artists and
companies showcased their latest products. And concurrent with an
official visit by the Danish Royal couple in 1960, the Arts of Denmark
Exhibition was held at New York’s Metropolitan Museum of Arts.
• Social Consciousness In Art Movements
• From about 1916 onwards, more political and social art groups became
prominent in the European art world. The centuries-old establishments,
academies and guilds had a long history of being steered by the ruling
bourgeois. They were deeply interested in maintaining the social order, and
the art that they created and commissioned reflected that. Holding on to
old methods in painting and afraid of the turmoil represented by new
movements, the establishment favored work that didn’t disrupt the status
quo. The new movements viewed their work as being stagnant and as
holding back the progress of the arts. These new movements celebrated
the machine and embraced manufacturing technologies in the creation of
art. Among these were the Constructivists in Russia, the Futurists in Italy,
De Stijl in the Netherlands, Bauhaus in Germany and the Dadaists in
Switzerland.
• The Constructivist movement viewed art as part of the social
structure and used it as tool to communicate political and social
messages. Some of the movement’s most famous artists were
Vladimir Tatlin, Alexander Rodchenko, El Lissitzky, Malevich, Wassily
Kandinsky (who later taught at Bauhaus) and the Stenberg brothers,
Georgii and Vladimir, names still well known among graphic designers
today. Participating heavily in public events and partially supported by
the ruling political parties, they celebrated new technologies and
machine art.