Norway

The new generation in the Norwegian design field is characterized by a change of pace. Scandinavian heritage has been a great source of inspiration for designers in Norway. Quality, functionality, and a toned-down minimalistic expression have left their mark on products. Over time, sustainability and climate challenges have influenced what is designed and developed.

At the same time, manufacturers and the larger design industry have had a great deal of influence, leading to a conformist and homogeneous expression. With the new generation, there has been a reaction that challenges the established, where designers need to find their own expression in the present.

We also find several abstract interpretations of products that are intended as a function. These interpretations are experimented freely in clay, in a piece of raw nature, or in the recycling of something that is basically waste. The analog and handmade in the face of a digital and virtual world. Roots from trees, the mystery of the forest, and burnt wood contrast with surfaces that are smooth, defined, and modernist. Natural materials and processes that take time, with imprints of the hands in their creation. Designers go back in time and bring out traditional techniques and the use of raw materials from nature, but they make it their own. The expression is wild, organic, and unique.

Read our interview with curator Kirsten Visdal on Adorno Editorial.

(Re)New Generation

Curated by Kirsten Visdal

Pedestal
by Vilde Hagelund

The “Pedestal” side table series consists of geometric parts made by machine. A hand-carved texture is added on the surface for a tactile experience, enhancing the material agency and the value of craft. In a way, they can be seen as a representation of how machine and hand can coexist to make rare products in a world with overconsumption and mass production.

Side Table Made With My Own Squares
by Ali Gallefoss

“In this project, I made my own sandbox from pallet collars that you normally use to plant flowers or greens. I moved around the sand to make some obstacles for the aluminum and poured liquid aluminum into the sand. And this is when it gets exciting – watching the metal run through the mold, creating its own way. If I see a hole created by the metal’s unexpected path through the mold, I decide whether to pour more to close the hole or stop pouring to keep it. This is a very intuitive and instinct-based way of working. The shapes created in aluminum are then welded together. This time, it became a side table/shelf. If I made it today, it might have become something different.”

Fantasma
by Edvin Klasson

Fantasma is a small side table consisting of a thin circular disc on top of three solid legs. Visually, the tabletop seems to be made of a material so soft and elastic that it has started to deform against the legs. The bumps left on the tabletop break with the even and smooth surface, reducing the visual impression of emptiness when not decorated with things.

“Næss” Lounge Chair
by Christian Udjus

“Næss” is a chair so low that you can see straight into the fireplace. Certainly with a book and low shoulders. The back consists of 20 stiles, which are mounted floating so that the chair adapts to the sitting position. The stiles give the chair a light and airy look, which balances the robust frame. The chair is treated with furniture wax, this provides a soft and natural shine and leaves a natural tactile surface. It looks good and is good for the environment.

Edgy Object, “Panna Cotta”
by HLIN studio

Sculptural coffee table cast in jesmonite. HLIN studio is comprised of designers Julia Conley and Hannah Hansen. “Panna Cotta” is part of their “Edgy Object” series.

POM
by Studio Sløyd

“POM” by OBJEKT is a three-legged stool made out of solid Norwegian pine. We wanted to create an object that used pine in a contemporary manner. Using a common typology, we explore how far we can push the shape and structure of the wood to create something unique. The result is a bold stool with massive legs that displays the intricate patterns within the material itself.

The Stoneware Ritual no1
by Kaja Dahl

In “The Stoneware Ritual”, designer Kaja Dahl continues her exploration of sculptures combining ceramic and stone. Carved, polished and raw stone contrasts and balance with porcelain. In her work, Dahl has the intention of enhancing the sensorial relationship humans have to the natural materials around them. From this, her idea about exploring new typologies of objects that enable sensory activities interior and our spaces has emerged. In the process of making, the focus on functionality has been eliminated and the sculpture remains, with the indication of touch and ritual gestures.

“Vride” Stool
by Anna Maria Øfstedal Eng

“Vride” is a series of organic, solid wood furniture inspired by morphed twigs and twisted roots. The series challenges today’s traditional right-angled furniture with a more abstract and playful expression. The chair and table are as much sculptural as a functional object. Each product is intuitively hand-shaped into expressive objects and shows that furniture can also be applied art.

White Tubes’ Form
by Mingshu Li

“All my works are focused on two keywords: holes and airflow. I believe a hole itself has as much shape-meaning as a solid mass. I use holes as the extension of the surface and enter into a dialogue with the material to discover something new: space. Also, I’m working with holes to represent airflow. In Chinese, we use “qì” to describe air. This multiple-meaning character also symbolizes breath, material energy, and energy flow. I’d like to let my works express those energies—not only in a kiln, but also when displayed in a physical exhibition space.”

Ash Wood Calligraphy
by Løvfall

Hand carved ash wood from Tjøme in Norway. Charred, brushed, washed, and colored. Løvfall designer Anders Pfeffer Gjengedal’s first contact with woodwork was in the workshop of his grandfather, who was a carpenter. There, he was allowed to try different tools including the lathe. While his education originally led him down a different path, a need for a career change eventually led him back to the creative field. In his workshop, Gjengedal draws on his background in dance, working daily with the sense of form to create evocative and sculptural pieces.

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