Modernism in Finnish Furniture Design and Production

When looking at the development of Modernism in Finnish furniture design from abroad the conventional image is Alvar Aalto´s Paimio chair descending in 1931 into a desert of traditionalism and starting a new, bright era of Modernity. This cliché is partly, but only partly true. In the following I will outline some major trends in design, use of materials and techniques of production in Finnish furniture before World War II

Innovation versus tradition : the architect Lars Sonck : works and projects 1900-1910.

Architectuurfocu

Establishing the basis for the elaboration of the Estonian design policy measures: final report

This report presents a proposal for an Estonian design policy. The underlying hypothesis is that good design is a strong competitive factor. Design is marginal to production costs and paramount in terms of market impact. The proposal for an Estonian design policy is based on three research studies. The studies deal with Estonian design supply, Estonian demand for design, and design policies in a number of comparable countries. The analyses of supply and demand are based on desk research, interviews and questionnaires. The analysis of design policies is based on desk research. A vision for Estonian design seven years from now was made to establish a direction for the policy proposal. Comparing present supply and demand with the vision and examining design policies in other countries led to the proposal. One clear result of the supply and demand studies is that there exists a strong interest for professional design and that there is ample room for improvement

Enhancing the capabilities of small producers in developing countries to meet global challenges : an investigation into the contribution of international craft development initiatives

Worldwide, externally supported craft development initiatives aim to enhance the capability of local craft producers to succeed in globalized markets. However, the contribution that these organizations make towards the abilities of local actors remains unclear. Following a hermeneutic reflection on literature, empirical field experience derived from the African and South Pacific contexts and a multiple case study analysis of craft development organizations, the research investigates the pre-conceptions that lie behind approaches adopted in craft development initiatives. Two emerging elements of particular importance have been identified. Firstly, the Western ideological notion of craft, influenced particularly by the Arts and Crafts movement, and secondly the ethos of social design, built on the legacy of the appropriate technology movement. It is argued that both of these have a constraining impact on the development of indigenous design skills that underpin successful participation in global markets. Noting that craft covers a wide range of practices, the research at hand furthermore identifies a category of craft that has become the epitome of Non-Western craft. These decorative and exotic artifacts are labor-intensive to produce, making them only marginally profitable for the makers. Yet there is an apparent emphasis on the promotion of this category within international craft development initiatives. The research concludes that the current practice of craft development initiatives cannot fully contribute to the development of the response capability of the local craft producers. Enhancing the impact of these initiatives would require serious reconsideration of product strategies and a re-think of the premises under which initiatives are undertaken. A new approach is suggested, one that examines design within a framework of social, economic and ecological sustainability, taking into consideration such socio-cultural issues as the peoples’ right to economic freedoms and the use of capabilities, building on the work of the economist and Nobel Laureate Amartya Sen.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Wilson meets Wirkkala : the story of Tapio Wirkkala Park, designed by Robert Wilson

This book tells the story of Tapio Wirkkala Park. Robert Wilson's first visit to Arabianranta acted like the conductor's first downbeat in the process of creating the park. The chapter titles, derived from the world of music and opera, introduce readers to the place, the makers, the planning process, the working methods, and, ultimately, the park's artistic elements. The planning phase lasted for 9 years. The creation of the park involved the use of temporary on-site field rehearsals with the designer and members of a local project team. The actual construction of the park by the city of Helsinki took place during 2012. The book presents the protagonists of the piece: the artists Robert Wilson and Tapio Wirkkala. Articles on the art policy of the Helsinki Art Museum and on the percentage-for-art project in the Arabianranta residential area provide background information. The book also highlights the invisible, behind-the-scenes work that an art coordinator does in getting works of art realised. The book includes scores of photographs and collages of images, and Robert Wilson's ideas and sketches for the park. Solargraphy images of the arcs of the sky and the sun over Tapio Wirkkala Park complete the story