Oslo Design Fair: What's Hot and What's Not in Norwegian Design
Norway is the underdog of Nordic design – but is that about to change? Houzz visited 2019's Oslo Design Fair to find out
Kasper Iversen
7 September 2019
At the 2019 Oslo Design Fair, Danish furniture and interiors were on display as far as the eye could see: classic sofas from Fredericia Furniture stood next to iconic chairs and candlesticks from By Lassen and beloved pieces from Normann Copenhagen. A few metres away was a cafe designed by Finnish company Artek, furnished with seats by iconic Finnish designer Alvar Aalto and Swedish-based Taf Studio.
Held from 28 to 30 August, the Oslo Design Fair was on the outskirts of the Norwegian capital. Although it is Norway’s largest forum for interior design, attracting thousands of professionals from the Norwegian design world twice a year, designs from abroad have traditionally dominated the fair’s large furniture show hall.
Siri glass series, designed by Willy Johansson, first launched in 1954 and relaunched in 2019. Produced by Hadeland Glassverk, Norway’s oldest continuously operating crafts company, established in 1762.
That’s not to say that there was no Norwegian presence – design from the relatively smaller Norwegian contingent included modern sofas with a characteristic Nordic minimalist touch from Norwegian furniture manufacturer Hovden Møbel, which has supplied furniture in Norway for more than 70 years.
It also included glass manufacturer Hadeland Glassverk, which exhibited several series of tableware and home accessories designed in collaboration with renowned Norwegian interior designers.
Find a local interior designer or decorator on Houzz to embrace Nordic design in your home
That’s not to say that there was no Norwegian presence – design from the relatively smaller Norwegian contingent included modern sofas with a characteristic Nordic minimalist touch from Norwegian furniture manufacturer Hovden Møbel, which has supplied furniture in Norway for more than 70 years.
It also included glass manufacturer Hadeland Glassverk, which exhibited several series of tableware and home accessories designed in collaboration with renowned Norwegian interior designers.
Find a local interior designer or decorator on Houzz to embrace Nordic design in your home
Norwegian designers’ smaller presence is not exactly unexpected. Close your eyes and think of Scandinavian design. What comes to mind first? Maybe it’s a Danish design classic, such as one of Arne Jacobsen or Hans J Wegner’s chairs. Perhaps it’s some of Swedish furniture giant Ikea’s countless popular, budget-friendly furniture items. Or maybe a chair or vase by Finnish designer Alvar Aalto springs to mind.
Most likely, Norwegian designs are not the first ones you think of. For a number of reasons, Norway is far from enjoying its neighbours’ international renown for furniture design – but perhaps that’s about to change. We asked Norwegian design and architecture experts to weigh in on the past and future of Norwegian design.
Most likely, Norwegian designs are not the first ones you think of. For a number of reasons, Norway is far from enjoying its neighbours’ international renown for furniture design – but perhaps that’s about to change. We asked Norwegian design and architecture experts to weigh in on the past and future of Norwegian design.
The fact that Norway’s design culture is less well known than its Scandinavian neighbours is a matter of priorities and visibility. One reason why Norwegian design has not enjoyed as much of the spotlight is due to the country’s long-standing focus on raw materials and natural resources – first on the agriculture and fishing industries and then, in recent decades, on gas and, not least of all, oil.
“Norway is an oil country and has simply chosen to focus all its effort on things directly or indirectly related to the oil industry. It is what has been fostered and made the country extremely rich,” says Louise Byg Kongsholm, trend researcher and CEO of trend consultancy and publisher PEJ Group. “Design has never been a priority in Norway.”
“Norway is an oil country and has simply chosen to focus all its effort on things directly or indirectly related to the oil industry. It is what has been fostered and made the country extremely rich,” says Louise Byg Kongsholm, trend researcher and CEO of trend consultancy and publisher PEJ Group. “Design has never been a priority in Norway.”
Connect modular sofa system designed by Norwegian design duo Anderssen & Voll (founded by Torbjørn Anderssen and Espen Voll) for Danish company Muuto
Marketing is also less of a priority, says Tor Inge Hjemdal, CEO of the government-funded organisation Design and Architecture Norway (DOGA). “In Norway, we design products that are really good and of very high quality. But when it comes to promoting, marketing and selling them, we lag behind. For Norwegians, as long as the product is good enough, then it is up to others to discover it. It is a cultural challenge and one of the main reasons why we are not better known around the world,” says Hjemdal.
Marketing is also less of a priority, says Tor Inge Hjemdal, CEO of the government-funded organisation Design and Architecture Norway (DOGA). “In Norway, we design products that are really good and of very high quality. But when it comes to promoting, marketing and selling them, we lag behind. For Norwegians, as long as the product is good enough, then it is up to others to discover it. It is a cultural challenge and one of the main reasons why we are not better known around the world,” says Hjemdal.
Framed mirror designed by Anderssen & Voll for Muuto
“It is embedded in Norwegian culture not to stand out, be different or noisy, and that is a problem,” says Marie Aune, a Norwegian interior designer and Houzz professional. “We need the young generation of designers to make up for it and be more daring.”
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“It is embedded in Norwegian culture not to stand out, be different or noisy, and that is a problem,” says Marie Aune, a Norwegian interior designer and Houzz professional. “We need the young generation of designers to make up for it and be more daring.”
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Maya cutlery designed by Norwegian Tias Eckhoff. Originally produced by Norwegian Norstaal in 1962, today it’s produced by Danish company Stelton.
At the same time, Norwegian culture is characterised by a fundamental focus on making things useful, says Hjemdal. While aesthetics and design are seen as an integral part of cultural identity in Denmark and Sweden, design tends to be perceived differently in Norway.
“Norwegian design has traditionally been dominated by the idea that functionality always comes first, while there is much less focus on the aesthetic expression,” says Hjemdal. “While it’s good that Norwegian design is not just about the icing on the cake, it is also the case that aesthetics are perceived by many Norwegian consumers as something elitist, something that just costs extra money, that is not necessary, and therefore superfluous.”
At the same time, Norwegian culture is characterised by a fundamental focus on making things useful, says Hjemdal. While aesthetics and design are seen as an integral part of cultural identity in Denmark and Sweden, design tends to be perceived differently in Norway.
“Norwegian design has traditionally been dominated by the idea that functionality always comes first, while there is much less focus on the aesthetic expression,” says Hjemdal. “While it’s good that Norwegian design is not just about the icing on the cake, it is also the case that aesthetics are perceived by many Norwegian consumers as something elitist, something that just costs extra money, that is not necessary, and therefore superfluous.”
Oslo series sofa designed by Anderssen & Voll for Muuto
Norwegian architect and Houzz pro Einar Wahlstrøm agrees. “Differences in culture and attitude cause many to view the creative professions (film, music, design and architecture) with scepticism. In contrast, both Swedish and Danish politicians have been good at promoting their countries’ creative professions,” says Wahlstrøm.
Norwegian architect and Houzz pro Einar Wahlstrøm agrees. “Differences in culture and attitude cause many to view the creative professions (film, music, design and architecture) with scepticism. In contrast, both Swedish and Danish politicians have been good at promoting their countries’ creative professions,” says Wahlstrøm.
Tripp Trapp high chair, designed by Peter Opsvik for Stokke, surrounded by Wishbone chairs by Hans J Wegner
On the other hand, design expert Mats Linder – who is Swedish, but lives in Norway and has researched Norwegian design for over 20 years – points out that Norway has a long design history. Nonetheless, only a few Norwegian designs have become famous around the world. The most prominent is the Tripp Trapp high chair, designed by Peter Opsvik for Stokke, which has sold more than 11.5 million units since its launch in 1972.
On the other hand, design expert Mats Linder – who is Swedish, but lives in Norway and has researched Norwegian design for over 20 years – points out that Norway has a long design history. Nonetheless, only a few Norwegian designs have become famous around the world. The most prominent is the Tripp Trapp high chair, designed by Peter Opsvik for Stokke, which has sold more than 11.5 million units since its launch in 1972.
Series 7 chairs by Arne Jacobsen
“Norway definitely has an interesting design history, not least with designs and design-related stories from the 1950s and 1960s, when the most famous Danish design classics were also being created. But unlike its neighbours, Norway has been incredibly bad at communicating and spreading its design history,” says Linder, who is the author of six books on Norwegian design.
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“Norway definitely has an interesting design history, not least with designs and design-related stories from the 1950s and 1960s, when the most famous Danish design classics were also being created. But unlike its neighbours, Norway has been incredibly bad at communicating and spreading its design history,” says Linder, who is the author of six books on Norwegian design.
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Tiki sofa by Norwegian designer Andreas Engesvik for Swedish company Fogia
So will Norwegian design remain relatively unknown, or is there a resurgence on the way? Will it become the ‘new black’ of Nordic design?
It seems Norwegian design is now making its presence felt globally. Ida Aandal Røijen, who works in international promotion at DOGA, points out that Norwegian design has been present at London Design Festival under the name 100% Norway since 2003, and at Milan’s design week, Salone del Mobile, with the Norwegian Presence exhibition.
“We are experiencing what I would describe as the beginning of a new golden age for Norwegian design. It started out small as an underground movement in the early 2000s with young design collectives led by, among others, Norway Says and the design talents Andreas Engesvik, Torbjørn Anderssen and Espen Voll,” says Røijen.
So will Norwegian design remain relatively unknown, or is there a resurgence on the way? Will it become the ‘new black’ of Nordic design?
It seems Norwegian design is now making its presence felt globally. Ida Aandal Røijen, who works in international promotion at DOGA, points out that Norwegian design has been present at London Design Festival under the name 100% Norway since 2003, and at Milan’s design week, Salone del Mobile, with the Norwegian Presence exhibition.
“We are experiencing what I would describe as the beginning of a new golden age for Norwegian design. It started out small as an underground movement in the early 2000s with young design collectives led by, among others, Norway Says and the design talents Andreas Engesvik, Torbjørn Anderssen and Espen Voll,” says Røijen.
Oslo series sofa and Five pouf designed by Anderssen & Voll for Muuto
The future also looks bright from an interior designer’s perspective. “I think Norwegian design is heading towards a brighter future with more international recognition. Just in the few years I’ve lived here, I can see how Oslo is gaining momentum when it comes to interior design, and there is a whole new generation of designers starting to gain international attention,” says Alexia Lundgreen. Originally from Belgium and Germany, Lundgreen studied and worked in the Netherlands, France and the USA before relocating to Norway in 2015.
The future also looks bright from an interior designer’s perspective. “I think Norwegian design is heading towards a brighter future with more international recognition. Just in the few years I’ve lived here, I can see how Oslo is gaining momentum when it comes to interior design, and there is a whole new generation of designers starting to gain international attention,” says Alexia Lundgreen. Originally from Belgium and Germany, Lundgreen studied and worked in the Netherlands, France and the USA before relocating to Norway in 2015.
Tablecloth by Norwegian designer Andreas Engesvik for Danish company Georg Jensen Damask
Røijen notes that a significant obstacle for the Norwegian design industry is that it is far from being geared towards design booms on a large scale, such as those experienced in Denmark and Sweden. Linder points out that young Norwegian designers have left a mark on some of the world’s top design firms – but often from outside Norway.
“We have a great number of young Norwegian designers who are extremely talented,” he says. “Unfortunately, the industry is not ready for change, which leads the designers to work for foreign companies and achieve success in collaboration with, for example, Kähler, Knoll, Panasonic, Muuto, Hay, Luceplan and others. So this of course means that value creation from Norwegian minds takes place outside the country.”
Røijen notes that a significant obstacle for the Norwegian design industry is that it is far from being geared towards design booms on a large scale, such as those experienced in Denmark and Sweden. Linder points out that young Norwegian designers have left a mark on some of the world’s top design firms – but often from outside Norway.
“We have a great number of young Norwegian designers who are extremely talented,” he says. “Unfortunately, the industry is not ready for change, which leads the designers to work for foreign companies and achieve success in collaboration with, for example, Kähler, Knoll, Panasonic, Muuto, Hay, Luceplan and others. So this of course means that value creation from Norwegian minds takes place outside the country.”
On the other hand, some of these difficulties have given the country’s design industry an advantage: its strong collaborative mentality.
“Communal thinking is very typical of Norwegian design. Many young designers have quickly realised that they gain more from working together in groups and collectives than by competing,” says Røijen.
She points to the Klubben design collective, which consists of more than 30 Norwegian designers working together in various disciplines. “I have been approached by colleagues in Sweden, who see it as both refreshing and visionary that we do not have the same focus on competition and instead have built a strong community of designers,” says Røijen.
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“Communal thinking is very typical of Norwegian design. Many young designers have quickly realised that they gain more from working together in groups and collectives than by competing,” says Røijen.
She points to the Klubben design collective, which consists of more than 30 Norwegian designers working together in various disciplines. “I have been approached by colleagues in Sweden, who see it as both refreshing and visionary that we do not have the same focus on competition and instead have built a strong community of designers,” says Røijen.
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Kongsholm predicts Norway has a good chance for an international design breakthrough in the coming years, but believes the country will need to understand the value of its design history – and to sell it.
“You have to go back and dig for gold in the design archives because there is both old, classic wooden furniture and a classic approach to ceramics, knitwear and wool, so there is much to draw on. But it has to be made commercially and meaningfully for people abroad who want to buy it,” she says.
This process has already begun with companies including Norwegian manufacturer Fjordfiesta, which has been reproducing classic Norwegian designs such as the 1001 armchair by Sven Ivar Dysthe, pictured here.
“You have to go back and dig for gold in the design archives because there is both old, classic wooden furniture and a classic approach to ceramics, knitwear and wool, so there is much to draw on. But it has to be made commercially and meaningfully for people abroad who want to buy it,” she says.
This process has already begun with companies including Norwegian manufacturer Fjordfiesta, which has been reproducing classic Norwegian designs such as the 1001 armchair by Sven Ivar Dysthe, pictured here.
Perhaps Norway’s biggest advantage was on display at the Rethink trend exhibition at this year’s Oslo Design Fair. Displayed in modern, cubist cabin-modules in timber (pictured here and in the first image in this article), the spaces were created from a collaboration between the Vardehaugen and Aslak Haanshuus architectural studios, among others, and presented a new way of creating a sustainable fair.
With sustainability as the starting point, the driving idea is that the cabins should not simply be thrown out when the fair is over. Instead, they will be relocated to Træna in northern Norway, where they will be integrated into new building projects.
With sustainability as the starting point, the driving idea is that the cabins should not simply be thrown out when the fair is over. Instead, they will be relocated to Træna in northern Norway, where they will be integrated into new building projects.
This is a good example of how architects and designers are thinking of new solutions with sustainability in mind. The global focus on sustainability may be the perfect opportunity for Norwegian design, as several experts have pointed out.
“The Norwegian way of working with durability and quality is steeped in sustainability. We have grown up with the idea that products must be of good quality and last a long time, and we have not had the same use-and-throw-away culture that characterises many other places,” says Røijen.
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“The Norwegian way of working with durability and quality is steeped in sustainability. We have grown up with the idea that products must be of good quality and last a long time, and we have not had the same use-and-throw-away culture that characterises many other places,” says Røijen.
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Kongsholm sees the rise of sustainability and today’s growing anti-plastic culture as a unique opportunity for Norway. “Some of the things they are really good at are wood and natural materials, so this is where they should focus. At the same time, modern consumers are demanding almost everything be associated with natural experiences and tranquility,” says Røijen.
“In that aspect, Norway has something completely different to offer than the other Nordic countries.” Røijen explains that the Norwegian mountains and diverse nature is a wholly different experience from the notoriously flat Danish landscape.
“In that aspect, Norway has something completely different to offer than the other Nordic countries.” Røijen explains that the Norwegian mountains and diverse nature is a wholly different experience from the notoriously flat Danish landscape.
Framed mirror designed by Anderssen & Voll for Muuto
And the final advantage the Norwegian design industry has on the world stage? According to Linder, the very fact that Norwegian design has been relatively unknown so far can be its main selling point.
“Norway is unknown and exotic to many. If you manage to market it with the great quality that lies in its design, then I think we will see a Norwegian design boom in the next few years,” says Linder.
And the final advantage the Norwegian design industry has on the world stage? According to Linder, the very fact that Norwegian design has been relatively unknown so far can be its main selling point.
“Norway is unknown and exotic to many. If you manage to market it with the great quality that lies in its design, then I think we will see a Norwegian design boom in the next few years,” says Linder.
Scandia chair by Hans Brattrud, produced by Fjordfiesta
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What aspects of Nordic design are you excited to embrace? Tell us in the Comments below, like this story, save the images, and join the conversation.
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Need to brush up on more news about contemporary design divas? Meet Laura Gonzalez, Maison et Objet’s 2019 Designer of the Year
Your turn
What aspects of Nordic design are you excited to embrace? Tell us in the Comments below, like this story, save the images, and join the conversation.
More
Need to brush up on more news about contemporary design divas? Meet Laura Gonzalez, Maison et Objet’s 2019 Designer of the Year
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Interesting article, though perhaps fewer photos from Muuto (nice as they are!) and more showcasing different companies would have been more fitting, e.g. Northern.
An interesting introduction to Norwegian design, which I knew little about but it seems I'm not alone in that. Maybe, as the article suggests, Norway's day has come, with their emphasis on sustainability and durability and preference for natural materials. It's worth following the links at the end of the article to see the work of specific designers. In particular, I was blown away by Daniel Rybakken's transparent OLED TV, just a wooden box with a transparent screen that becomes a tv when you turn it on. No more huge black screens dominating our lives; just a clear picture frame, which you can fill with a piece of art, a collection of objects or nothing at all. That could be a real game changer for modern living. Link here: https://www.danielrybakken.com/Milan_2019.html