Part-1: Carefully select any singular piece of DK design (specifically from the Post-war period) as seen/experienced in Kunstindustrimuseet’s exhibits today. Select a piece that you feel strongly embodies and typifies DK design as discussed in class and elucidated in the required readings.
Part-2: Select any one of the 7 themes below, and discuss your chosen DK design piece in terms of this thematic. You are moreover encouraged to take the chosen thematic and then focus it down further into a specific question of your own formulation (i.e. a question stemming out from the thematic). This thematic/question should be discussed concretely in terms of the specific design --and its designer-- that you selected in ‘Part-1’.
I have chosen to analyze Verner Panton’s S-Chair. Although it isn’t made of fabric and wood like most Danish chairs, it possesses key elements beyond materiality, which I believe, embody and typifies Danish design.
Panton's S-Chair
1) First, the chair is innovative, forward thinking and different. Danish furniture designers are known for their new ideas – Arne Jacobsen’s Egg Chair anyone? Panton’s slick, psychedelic curves added another dimension to the old trade and the mass produce-able plastic made it easier for the average Dane to obtain one of his masterpieces. Not only did he create a piece of furniture, but Panton also experimented with complete environments (another trademark of Danish designers) and found success especially with his lamps. Today, we continue to see exploration of the now “classic” S-Chair with modern colors, materials and sizes.
2) Already touched upon, Panton’s S-Chair brings to the table a discussion of (#3) the roles and representations of individual craftsmanship coupled with mass production in Danish design during the post-war period. Yes the materiality of the chair allows for easy mass production (plastic), but so does its shape. The chair’s curves interlock well with one another providing one the opportunity to sack them. Additionally, the chair takes up less space. It’s tall, not wide. As for the individual craftsmanship of the chair? Well, beyond the initial design there isn’t much. Plastic is plastic, but I think Panton put enough thought in on the front end that the handcrafted label everyone looks for on furniture isn’t as important to this piece. It doesn’t hide anything. It doesn’t make you think it’s something it’s not. The S-Chair is very honest about being plastic and a product for mass production – and I’m okay with that.
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