5 Trends and New Scandinavian Decor From 3 Days of Design
Danish tradition meets today's needs at the 2022 edition of the iconic 3 Days of Design festival in Copenhagen
Inspiring ideas in lifestyle, lighting, furniture and interior design took over the streets of Copenhagen, Denmark, for the 3 Days of Design festival. This year due to the pandemic, the annual design event took place from 15 to 17 June 2022 and not in September as usual, but in no way did this dampen interest in the fair. Quite the opposite: in the radiant sunshine, showrooms, galleries, museums and even embassies drew crowds of design enthusiasts. More than 200 brands and organisations showcased design classics, current trends and visions of the future to make the world a tiny bit better.
PK0 A and PK60 chair and coffee table by Poul Kjærholm as exhibited in the Fritz Hansen pavilion.
1. Good design is timeless
Tradition and classic designs, particularly from the 1950s, were everywhere at this event. Manufacturer Fritz Hansen, for example, which is celebrating 150 years since its founding, presented its classics and two re-editions in its own exhibition pavilion in the Design Museum’s gorgeous garden.
The anniversary collection of the PK0 A and PK60 chair and coffee table by Poul Kjærholm “combine the absolute best from our history using exclusive new materials,” as Fritz Hansen put it in their press release. This sculptural chair is a trailblazing part of modern design history, while PK60 is one of several previously unreleased furniture designs, which was inspired by modern art and combines quality craftsmanship and innovative techniques.
1. Good design is timeless
Tradition and classic designs, particularly from the 1950s, were everywhere at this event. Manufacturer Fritz Hansen, for example, which is celebrating 150 years since its founding, presented its classics and two re-editions in its own exhibition pavilion in the Design Museum’s gorgeous garden.
The anniversary collection of the PK0 A and PK60 chair and coffee table by Poul Kjærholm “combine the absolute best from our history using exclusive new materials,” as Fritz Hansen put it in their press release. This sculptural chair is a trailblazing part of modern design history, while PK60 is one of several previously unreleased furniture designs, which was inspired by modern art and combines quality craftsmanship and innovative techniques.
Foyer series, Carl Hansen & Søn.
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Vega chair, Carl Hansen & Søn.
The same goes for the two revamped pieces Carl Hansen & Søn exhibited in their centrally located Flagship Store: the airy and stackable Vega chair (VLA 26) and the sculptural Foyer series, both by Vilhelm Lauritzen. They were originally custom designs for two iconic Copenhagen buildings, the Folkets Hus – now the Vega entertainment venue – and the Radiohuset, the former headquarters of the Danish national broadcaster DR.
Carl Hansen & Søn collaborated with Vilhelm Lauritzen Architects to revive these pieces. “Vilhelm Lauritzen’s architecture and design are part of the Danish cultural heritage and perception of functionalism,” says Knud Erik Hansen, CEO of Carl Hansen & Son in a statement. “We at Carl Hansen & Søn have an extensive portfolio of Danish masterpieces from the 20th century, which Vilhelm Lauritzen, with their uncompromising emphasis on aesthetics and craftsmanship, fit into perfectly.”
The same goes for the two revamped pieces Carl Hansen & Søn exhibited in their centrally located Flagship Store: the airy and stackable Vega chair (VLA 26) and the sculptural Foyer series, both by Vilhelm Lauritzen. They were originally custom designs for two iconic Copenhagen buildings, the Folkets Hus – now the Vega entertainment venue – and the Radiohuset, the former headquarters of the Danish national broadcaster DR.
Carl Hansen & Søn collaborated with Vilhelm Lauritzen Architects to revive these pieces. “Vilhelm Lauritzen’s architecture and design are part of the Danish cultural heritage and perception of functionalism,” says Knud Erik Hansen, CEO of Carl Hansen & Son in a statement. “We at Carl Hansen & Søn have an extensive portfolio of Danish masterpieces from the 20th century, which Vilhelm Lauritzen, with their uncompromising emphasis on aesthetics and craftsmanship, fit into perfectly.”
2. Foregrounding the circular economy
The second trend we observed was circular design, a term that is often heard these days and seems to dovetail with the term ‘sustainability’.
Fritz Hansen highlighted this trend powerfully in the structure of its pavilion, which the brand built in collaboration with renowned architecture bureau Henning Larsen. It was built with a view to circularity, and is designed to be taken apart completely so all the materials can be reused elsewhere.
“Celebrating the 150-year anniversary of Fritz Hansen, we wanted to create a spatial experience that makes a sustainable home for the furniture it exhibits. A facilitator for the design of Fritz Hansen. Built in solid wood, the Pavilion is [inspired] by the garden it is situated in, creating a hybrid space with fluid transitions between inside and out,” says Eva Ravnborg, market director for Denmark and a partner at Henning Larsen.
The second trend we observed was circular design, a term that is often heard these days and seems to dovetail with the term ‘sustainability’.
Fritz Hansen highlighted this trend powerfully in the structure of its pavilion, which the brand built in collaboration with renowned architecture bureau Henning Larsen. It was built with a view to circularity, and is designed to be taken apart completely so all the materials can be reused elsewhere.
“Celebrating the 150-year anniversary of Fritz Hansen, we wanted to create a spatial experience that makes a sustainable home for the furniture it exhibits. A facilitator for the design of Fritz Hansen. Built in solid wood, the Pavilion is [inspired] by the garden it is situated in, creating a hybrid space with fluid transitions between inside and out,” says Eva Ravnborg, market director for Denmark and a partner at Henning Larsen.
In fact, circular design was perhaps the theme of 3 Days of Design this year. There is clear interest in the afterlife of objects. What happens to a chair once it has served out its useful life? What new things can be made from it? How effective is the company’s recycling and waste management? Almost every manufacturer had ready answers to these questions – some even placed them at the centre of their communications.
While furniture classics continue to take pride of place in Danish design, it is now clear that timeless design built to last is no longer sufficient on its own to designate a product as sustainable. This edition showed how new ideas can fill beloved design with meaning.
This was also clear at the Circular Furniture Days, one of the platforms for new, sustainable design, which ran concurrently with the festival. Here not only technical capabilities were discussed, but also products made out of offcuts by both younger designers and long-established manufacturers.
While furniture classics continue to take pride of place in Danish design, it is now clear that timeless design built to last is no longer sufficient on its own to designate a product as sustainable. This edition showed how new ideas can fill beloved design with meaning.
This was also clear at the Circular Furniture Days, one of the platforms for new, sustainable design, which ran concurrently with the festival. Here not only technical capabilities were discussed, but also products made out of offcuts by both younger designers and long-established manufacturers.
Manufacturer Mater Design showcased a particularly innovative waste-management program in its pop-up store. A mix of upcycled fibres – from waste such as coffee beans and plastic offcuts from industry – serves as the raw materials for sustainable-material versions of Børge Mogensen’s Conscious Chair, first designed in 1958, as well as other classic pieces.
Reworked in this way were old fishing nets pulled out of the oceans, but also plastic offcuts – including those from the production of toilet flushing mechanisms and the plastic casks that Danish brewer Carlsberg uses to deliver to restaurants. This efficient upcycling of industrial waste simultaneously reduces the CO2 emissions of the companies producing the waste to begin with.
Reworked in this way were old fishing nets pulled out of the oceans, but also plastic offcuts – including those from the production of toilet flushing mechanisms and the plastic casks that Danish brewer Carlsberg uses to deliver to restaurants. This efficient upcycling of industrial waste simultaneously reduces the CO2 emissions of the companies producing the waste to begin with.
Muuto at 3 Days of Design. Linear Steel furniture, Framed mirrors, Kink vases.
3. Feeling the connection to nature and yourself
Many manufacturers underscored their connection to nature with beautiful bouquets in meticulously decorated showrooms, inviting courtyards or rooftop terraces.
What makes a room feel just right for me? Muuto asked this question during the fair, seeking to explore the deeper meaning and possibilities of design.
3. Feeling the connection to nature and yourself
Many manufacturers underscored their connection to nature with beautiful bouquets in meticulously decorated showrooms, inviting courtyards or rooftop terraces.
What makes a room feel just right for me? Muuto asked this question during the fair, seeking to explore the deeper meaning and possibilities of design.
Manufacturer Verpan also explored self-examination and the connection to nature. Its ‘Inspired by Nature’ exhibit invited people to relax on a playful sofa surrounded by an impressive array of blooms and in the historic surroundings of the Lindencrone Mansion in central Copenhagen. In this way, Verpan made the original world of Verner Panton, which celebrates life and colour, come alive.
The exhibition’s palette was based on Panton’s 1997 ‘Notes on Colour’. It took visitors through the colours of the day, starting with the warm yellows and oranges of sunrise and morning, through to the Panton’s Cloverleaf sofa in daytime green, then on to the 123 system in rose and burgundy tones before finishing at dusk in various shades of blue (pictured).
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The exhibition’s palette was based on Panton’s 1997 ‘Notes on Colour’. It took visitors through the colours of the day, starting with the warm yellows and oranges of sunrise and morning, through to the Panton’s Cloverleaf sofa in daytime green, then on to the 123 system in rose and burgundy tones before finishing at dusk in various shades of blue (pictured).
Browse beautiful, contemporary Australian living rooms
4. Colour: the exceptions and the rule
Verpan was not the only brand that found joy in colour, though colourful exhibits were the exception at an event dominated by more pared-back, blue-toned palettes.
Montana Furniture’s display was particularly colourful: taking the motto ‘Remember to Play’ literally, the Danish manufacturer presented its modular and multi-functional furniture system, not only decisively taking joy in colour, but also creating a playful nursery atmosphere. Its display (pictured) featured the brand’s Mini boxes on wheels to make toys mobile, the Monterey children’s desk in a bold blue and more colourful Minis transformed into a doll’s house. Montana Furniture grabbed attention with a wealth of imagination and myriad possibilities for use for the colourful, playful pieces.
Verpan was not the only brand that found joy in colour, though colourful exhibits were the exception at an event dominated by more pared-back, blue-toned palettes.
Montana Furniture’s display was particularly colourful: taking the motto ‘Remember to Play’ literally, the Danish manufacturer presented its modular and multi-functional furniture system, not only decisively taking joy in colour, but also creating a playful nursery atmosphere. Its display (pictured) featured the brand’s Mini boxes on wheels to make toys mobile, the Monterey children’s desk in a bold blue and more colourful Minis transformed into a doll’s house. Montana Furniture grabbed attention with a wealth of imagination and myriad possibilities for use for the colourful, playful pieces.
Louis Poulsen displayed the Pale Rose series of its classic light collection, PH, designed by Poul Henningsen. The new additions feature pale-pink shades made of handblown Italian glass, and elements in brushed brass.
Nonetheless, these colourful displays were not the rule at the event. Although some manufacturers, including &Tradition and Hay, expanded their already extensive palettes with new colours, most manufacturers held themselves back in their use of hues. This was despite the bright orange event posters that could be found throughout Copenhagen, which inspired manufacturer Normann Copenhagen to revamp its head office in central Copenhagen into ‘The Orange Edit’ and celebrate this colour in all its shades.
Rock please! the KufenKarl chair in the rocking-chair version places movement front and centre.
5. Natural materials
No other material could be found so frequently and in such a variety of set-ups in the festival as timber. Oak was unbeatable this year, from the form of a solid-wood table or a veneered sideboard to a new interpretation of the classic KufenKarl school chair – now as a rocking chair, armchair or a standard chair after a design from Boris Berlin Design.
5. Natural materials
No other material could be found so frequently and in such a variety of set-ups in the festival as timber. Oak was unbeatable this year, from the form of a solid-wood table or a veneered sideboard to a new interpretation of the classic KufenKarl school chair – now as a rocking chair, armchair or a standard chair after a design from Boris Berlin Design.
Likewise, one of Denmark’s most-sold chairs, the J39 from Fredericia, is primarily oak. In honour of its 75th birthday, the manufacturer has re-released the original version with a hand-woven wicker seat instead of the paper cord that has long been used. It was exhibited at the company’s Copenhagen headquarters alongside many other objects that have long become design classics.
Returning to handwoven (and fast-growing) reed, the Folkestolen, which Børge Mogensen designed in 1947, is now available in a particularly sustainable version.
So it is what’s inside that counts the most – always, and at this year’s 3 Days of Design. Let us hope that this is not a small trend in reaction to current affairs, but rather the first steps on the way to an even more sustainable furniture industry.
Your turn
Which of these five design directions are you most excited about? Tell us in the Comments below. And if you enjoyed this story, like it, save the images and join the conversation.
More
Are you up-to-date with the latest in international trade fairs? Get your next news update here from Salone del Mobile 2022: Key Trends From the Iconic Trade Fair
Returning to handwoven (and fast-growing) reed, the Folkestolen, which Børge Mogensen designed in 1947, is now available in a particularly sustainable version.
So it is what’s inside that counts the most – always, and at this year’s 3 Days of Design. Let us hope that this is not a small trend in reaction to current affairs, but rather the first steps on the way to an even more sustainable furniture industry.
Your turn
Which of these five design directions are you most excited about? Tell us in the Comments below. And if you enjoyed this story, like it, save the images and join the conversation.
More
Are you up-to-date with the latest in international trade fairs? Get your next news update here from Salone del Mobile 2022: Key Trends From the Iconic Trade Fair
How playful, really, are the current trends in the Scandinavian furniture and decor industry, and where is Danish design headed? Houzz was on the scene to find out.