København

Danish Design

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I took this photograph during my first afternoon at the Black Diamond public library. I emphasize the word public due to the initial shock I experienced when I discovered this space. Public libraries at home, in Connecticut, are beautiful as well. Typically limited to old, renovated brick homes, the interiors are often child-proof and loud. I find that systems promoting academia are often invested in, almost as a measure of the city’s values. I suppose my initial shock was in response to the modernity of a public space. There is such a polished aesthetic to the black diamond that it almost felt as if I was the first guest the library had ever seen. 

Not to my surprise, however, the library sees hundreds of civilians each day. Each level of the library serves a different function, partitioning certain floors for different amounts of talking, or cafes, or reserved spaces for private meetings. This public sphere caters towards the greater needs of the public in a way. For instance, all I needed on this Sunday was a quiet area with Wi-Fi to do some homework. Once I found a table near the top of the escalator, my needs were surely met. A group of professionals might reserve a conference room or decide to eat at the impressive restaurant. Chilly tourists might stop inside the cafe to warm up and reorient themselves through use of a map. 

There is also this concept that we discussed in class regarding the public spheres - anonymity. I mentioned that I had felt as if I was the library’s first guest of the day. This speaks towards the common value of cleanliness and respect for the public space at use. Not a stray piece of paper or trash was left behind at the table where I sat, suggesting that I too should leave a spotless table. We see these unwritten codes of conduct throughout each zone of public space. The Black Diamond, in particular, operates through cleanliness and quietness. These qualities promote the greater clean and sharp aesthetic of the building’s design - a modern twist on the traditional library.  

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At night, the Cirkelbroen looks almost like a maze. Danish for “Circle Bridge”, this pathway to Christianshavn is one of the most uniquely designed bridges I have ever seen. The bridge is a connection shared by four or five larger circles, providing enough space for bikers and pedestrians alike. Curious by the unusual nature of the design, I decided to look up the reasoning behind the circular shape. I read that the architect, Olafur Eliasson, believed that if the bridge took an alternative path to the typical straight shot from Point A to Point B, they might look around and appreciate their setting more than usual. 

We see the focus on the individual again, this time illustrated through architectural design. Rather than design the most efficient or simplest connection between origin and destination, Eliasson decided to utilize the greater space at hand. In class, we have discussed the role of nature in design. In my opinion, the canals and the waterfront are the most prominent aspects of nature in Copenhagen. Encouraging the pedestrians to appreciate the nature by steering them off a straight path seamlessly integrates nature into a design. 

This bridge also touches on the same idea I had when analyzing the function of the trampolines. Although the trampolines have only ever served the purpose of creating a public space, this bridge also manipulates a simple task into a more artistic and intentional design to employ nature as a resource. This bridge provides excellent views of the harbor as well as the canal, creating a venue separate from the indoor spheres. 

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Reminiscent of the iconic “egg chair”, I stumbled upon this minimalist design in a boutique window. I wandered in, curious to get a better look at the design. In one of our first lectures on furniture design, we toyed with the practicality of minimalism. I remember a particular example of a minimalist chair, and we dissected how the design could be made simpler through removal or alteration of certain elements. Reducing the legs too little made little difference but reducing the legs too much made the chair collapse, eliminating its original function. The egg chair is an iconic piece of Danish design, creating more of a pod than a traditionally structured piece of furniture.

This design serves as an evolved or modification of the egg chairs original spherical shape. The slight arch in this design provides more of an arm, reminiscent of the traditional chair design. This chair serves as an example of the evolution or fusion of different elements of design, creating a more personal design by adjusting the original design to the customer’s comfort. We see this traditional shift in functionality to focus on the customer, and in this case, the customer’s comfort. 

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This photo was taken inside the Christianborg Palace. The featured tapestries are some of the exhibition’s focal points. Embodying the historical values of ornate detail and craftsmanship, the tapestries took over eleven years to complete. The tapestries feature centuries of Denmark’s history, spanning different Kings, Queens, and references towards different trends of design or global figures. 

Although these tapestries are not a common piece of Danish design, I find the history embedded absolutely stunning. From far away, the tapestries may appear to be “busy” or extremely colorful. To the eye of a Dane, however, these tapestries symbolize much of the country’s origin and development over time. Design can be a tool in memorializing figures and pieces of our past. Woven by over sixty workers, the craftsmanship is unparalleled. In contrast, the history of the United States is limited to a fraction of the amount of time Denmark has existed. Our history cannot be traced back to royal lines, reducing our historical backgrounds to our own foreign ancestors. We would not see this type of ode to history in the States, and I think that is part of the reason I am drawn to these tapestries. 

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Christiansborg Palace

The Christianborg Palace, pictured above, speaks to the city’s societal structure from a historical perspective. Built in 1928, the palace functions as a governmental building on “Palace Island”, an area on the islet of Slotsholmen in the center of Copenhagen. The building is utilized by the Danish Parliament, the Danish Prime Minister’s Office, and the Supreme Court of Denmark. There are also spaces within the palace still utilized by the Danish monarch. The palace today encompasses three eras of Danish architecture, as a result of reconstruction after two fires.  

The palace is designed almost as a C shape, with two wings extending from the main body. This design provides a large courtyard, functioning as a parking lot and also a promenade for those that work in the palace to use. 

Aesthetically speaking, the palace is beautiful. The historically baroque design using dark stone and gold accents is contrasted wonderfully on the reflection from the canal. Although historical, the building still functions as a governmental space and I think this combination of the past and the present is really interesting.

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The Nimb Hotel, located in the heart of Copenhagen’s famous amusement park, Tivoli, adds an entirely new dimension to the park’s landscape. Nimb is located on the side of the park near the entrance, which provides some structure to the massive property. When I first entered Tivoli, I did not know what to expect. The few amusement parks that I have been to have not been known for much besides the rollercoasters or water parks. In contrast, Tivoli is renowned as a sort of fairytale land. I suppose I expected to find some theme of castles or the typical Prince/Princess theme that I would associate with a fairytale. However, the design of Tivoli is hard to deduce to a common trend.

Nimb, for instance, is one of the most prominent venues in the park. The hotel contains a number of restaurants and bars, as well as an expansive green complete with fountains and gardens. In my opinion, the hotel’s design is extravagant. The arches and wrap-around walkway almost elude to a palace of sorts. I found that Nimb’s ode to Asian architecture is also prominent in an entirely Chinese area located farther down the path. 

This reference to other cultures reminded me of the Chinese exhibit in the Museum of Danish Design. Although much of Danish design is rooted in tradition and historical designs, a lot of the concepts of detail in tapestries and ornament can be traced back to Chinese styles. This connection between Danish and Chinese design is exacerbated through the pagoda’s located throughout Tivoli. Although different than I had expected, this multicultural component transports the public away from the streets of Copenhagen and into a different world - accomplishing the “fairytale” aspect in an unexpected way.

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Carlsberg Beer has one of the most iconic beer logos in the world. Upon researching the logo’s history, I learned that Carlsberg did not always have a logo. Since the company only produced barrels, local bottlers were able to label the bottles with their own “Carlsberg” labels. As we learned in class, a company looking to brand their product needs to streamline the desired image. One product with multiple logos will not create any sort of icon, but rather confusion. As different companies began to export the beer, the logo shifted from Alliance’s six-pointed star to a twelve-pointed star. Next, Carlsberg saw a wave of lions, anchors, and even a swastika. In 1903, Carlsberg built their own bottling factory. This development nullified any contractual obligations to external companies, like Alliance or Activ. The Carlsberg Pilsner, labeled by Thorvald Bindesbøll, was exported in 1904.

The label, iconic for the green and cream design, contains a crown. The crown symbolizes Denmark’s monarchy and the elements of red even remind me of the hearts seen throughout Copenhagen’s signs. At first glance, the logo seems extremely simple. Perhaps this is a commentary on the traditional minimalist design native to Denmark. As the logo has evolved, the color green has darkened and the label’s writing has been outlined in efforts to bolden the name. 

The Carlsberg brand development illustrates a successful evolution in terms of design. Once the company was able to entirely own the product top-down, the company grew closer to accomplishing the goal of “total design”. The same logo is used on barrels, apparel, and bottles for retail distribution. 

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Papirøn, a must on every study abroad student’s list of Copenhagen attractions, is a street-food haven. Located across the water from Nyhavn canal, “Paper Island” bustles with tourists and locals alike, all surveying the eclectic collection of street food vendors. In a sense, Paper Island seeks to accomplish the same function as Superkilen - cultural integration. Although not established as an intentional ode to the multiculturalism of Copenhagen, Paper Island offers an alternative to the homogenous city’s culture. A quick stroll of the street food island displays a range from displays of Moroccan pitas to North Carolina BBQ, Greek tzatziki and French crème brulée donuts. 

The venue itself almost resembles an empty warehouse of sorts. Bare-boned of much decoration, small stands frame narrow aisles of the market. Each stand’s sign and decor operate as the stand’s only opportunity to brand their stand and draw customers. 

Interested in Paper Island’s designed function, I decided to look into its background. To my surprise, I found Paper Island is about to get entirely redesigned. The municipality company, By og Havn, ran a competition to find the best design proposal. The winner, an architect firm titled Cobe, proposed to emphasize total use of the island for cultural and recreational purposes. On Cobe’s website, I read that the new development will include a series of new halls for “informal, public functions as such as an event hall and a swimming hall”. 

As we have discussed in class, the proposed designs seem to combine ideas of public and private spheres. Often seen as a duality, the public will utilize thermal baths, street food, and open seating whereas locals can opt to live in apartments or occupy professional spaces. The new design of Paper Island offers an entirely different approach in utilization of the space. 

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Although I have passed the Rosenberg Castle a number of times, I remember taking this picture as I was struck by the castle’s beauty. The Rosenberg Castle was originally designed as a summerhouse in 1606, overlooking the property’s massive park and gardens. Although hidden from this angle, the castle is surrounded by water. This design provides some privacy and distance from the rest of the public. We see this concept of entering/exiting the castle’s private sphere through the lion statues at the footbridge’s gate. This entrance constitutes a sense of home rather than just a public landmark. Although historical and still the remaining host of the crown jewels, we see the spheres of public and private permeated through the Rosenberg Castle. The park is now used as a public space, often filled with families or friends picnicking or locals jogging through the paths. 

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On my walk home from FitnessDK, I stumbled upon a tote bag store. I wandered inside and spoke with the owners for a bit. The tote bags are made of entirely recycled elements, reflecting the trend towards sustainability within design. The relatively small store was filled with over a hundred different designs - ranging from edgy pop-art, like the tongue designs above, simple color-block, and graphic phrases. The variability within designs provides a certain realm of personality for the customer. Although the store offers deals for making a larger purchase, the multitude almost suggests that there is a bag for every style. Combined with the bright lights, the red floor highlights the tote bags as the main display. From the window display, we can see the owner’s intentional style of highlighting the bags and displaying the most colorful, graphic, and attention-grabbing bags. Rather than just a store of different bags, this design grows closer to the concept of “total design”, as the theme of color and graphics is maintained through the store’s sign outside, minimal furniture, and red floors. As a result, the store achieves a sort of recognizable aesthetic. 

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Denmark’s coastline is breathtaking - not to mention enormous. I am lucky enough to live on the water and enjoy views of the Danish Architecture Museum and the beautiful waterfront properties of Christianshavn. As any guide book will direct you, Christianshavn is home to one of the city’s most iconic landmarks, the Church of Our Savior. The Church’s ornate spire can be spotted from kilometers away, serving as a sort of compass while navigating the city.

Although the church’s architecture is a wonderment in itself, I prefer the view from the spire. After climbing the 400-something stairs and shimmying through the church’s ancient quarters, the cityscape can take your breath away. From this view, I can see my apartment, Nyhavn, the Royal Danish Opera House, Tivoli, and much more. I can see bikers the size of ants and families enjoying the public trampolines. I can also see trends in the traditional Gades, apparently forming sorts of rectangles or rows. The organization of Copenhagen speaks towards its public transportation. The streets are much wider than other European cities to compensate for the most common form of transporation - biking. 

This ariel view also speaks towards our discussion of nature’s influence on Danish architecture. The buildings of Christianshavn and København K face inward, towards the canals. The houses of Nyhavn are iconic for their vibrant colors, designed to provide color during the winter’s infamous dark hours. The city’s landscape is altered by its geographic location and consequential natural elements. 

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Making High Quality Design Available to the General Public

Has this been achieved in Copenhagen?

In their symposia, Group 3 presented on the public availability of high quality design in Denmark. The group commented on the common trend of integrating lower cost items with particular higher cost items. For instance, the group toyed with the concept of investing in design. Well-made craft, although perhaps twice the cost, will last significantly longer than mass-produced products. As a class, we began to then question which items we would deem as “investments” and how we choose to prioritize such items. 

In my opinion, this conversation is universal. Certain products are necessary. Think about designing a home. Kitchens require appliances, seating, and cutlery. Living rooms need furniture and upholstery, facilitating some sense of comfort. These necessities vary across cultures. Perhaps in China, some cutlery is unnecessary as a result of their cultural diet. Despite cultural variations, the concept of basic necessities remains. 

In this symposia, I believe it was Madeline, referenced the idea of a sofa. Living spaces demand comfortable seating. This is a fact, unlikely to change despite trends or time elapsed. For this unwavering need, many people are likely to invest great deals of money in solid pieces of furniture. We are likely to pay double the amount knowing that the sofa will not have to be replaced in the next ten years. These investments of high quality design are manipulated for this very logic. For instance, they mentioned that certain producers of high quality sofas will sell upholstery that can be changed every couple years without changing the structural sofa. These slight variations encourage the consumer to believe that an investment in this sofa is a wise investment. We see this personalization as a comforting option, as there is a sense of empathy from the designer towards the consumer for exceeding his/her budget. Although high quality design is not always attainable, there are certain instances in which the general public would prefer high quality design to its cheaper model.

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Our symposia, Craftsmanship & Mass Production through the “Duplika Exhibition” & “Repetition vs. Montage”, my group shed light on a popular controversy within the Nordic design industry. Traditionally, Danish design traces roots to ornament and craftsmanship on detailed objects, like porcelain. However, in the wake of industrialization, proponents of Danish design fear the culture has shifted towards the mainstream, mass-produced trends. Proponents of mass production and new wave technology argue that the level of craftsmanship is not lost, but modernized. 

Mass-produced design is ubiquitous today. The computer on which I am typing is one of a billion identical previously produced. The desk at which I am writing serves to seat numerous attendees of the Black Diamond each day, functioning as a workspace rather than a piece of design. Needless to say, our group did not find illustrating mass-produced designs imperative. In efforts to illuminate traditional craftsmanship, however, we displayed a snippet from “The Duplika Exhibition”. Accompanying this picture of textiles, the caption read,

“The scarves are in cotton and warp rib weave, which fully covers the wool. This makes the lengthwise boundaries between the colours quite sharp. In the two scarves on screen parts of the warp are tie-dyed before weaving so that white and black areas appear in every other strip” 

Nielson, Kristtan Berg. “The Duplika Exhibition”. Danish Design at the Millenium. 1995. p.45.

Despite a limited background in design, I immediately read the caption with a sense of intention behind every ounce of the textile design. Each element of the scarves’ material, color, and length were considered and manipulated in order to achieve the designer’s desired effect. This intention and care to detail does not occur in the mass-produced designs, but is characteristic of historical Danish design. Although application of modern technology might produce this scarf in a fraction of the time needed for this level of craftsmanship, this scarf’s function is not just in its form. Rather, this scarf is intended to be appreciated by a consumer equally as knowledgeable or attentive to detail as its designer. A scarf from H&M may keep a consumer equally as warm, but the scarf will not remain nearly as personal to the consumer.

Nielson, Kristtan Berg. “The Duplika Exhibition”. Danish Design at the Millenium. 1995.

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Iconic for its winding black and white striped design, Superkilen park of Nørrebro captivates the public eye. Personally, when I first encountered the park, I was confused. I wondered if I had taken a wrong turn or found myself at an interactive art exhibit. In contrast, I became a participant in the park’s function. Designed to facilitate every member of the public, Superkilen serves as a space for bikers, skaters, and walkers alike. This much is apparent to the eye. What many tourists may not know, however, is the park is much more of a political tool than a park. As we discussed in class, Superkilen was designed by the arts group Superflex. In collaboration with Bjarke Ingels, the park opened in June of 2012. The City of Copenhagen sought to create a celebration of diversity through honoring the city’s different local inhabitants. Objects are sprinkled throughout the park to symbolize the 60 nationalities that weave the city of Copenhagen. 

In his article, “Informal Co-Existence and Amenities for All Democratic Urban Spaces in the Nordic Countries”, Tom Nielson unpacks the park’s symbolic design. As he remarks,

“The spaces of the city must manifest the welfare state’s vision of creating settings for the activities of free, equal human beings” 

“Informal Co-Existence and Amenities for All Democratic Urban Spaces in the Nordic Countries”, Tom Nielson, 2011, p.166

This passage from his article references a few key arguments that we discussed in class. Primarily, the welfare state’s vision in designing such a public space was rooted in respect for external cultures and a desire to permeate these spheres into Copenhagen’s culture. Classmates of mine have questioned the sincerity of this desire as the park was in fact designed by artists of Copenhagen. As a result, my peers have questioned why local artists in Copenhagen from these external cultures were not commissioned to design what they thought symbolized their country. 

Although I understand the critical thinking my classmates demonstrate, I challenge them to settle. In my opinion, Superkilen is a commendable attempt at a monster of a goal. As I mentioned, the park attempted to recognize over 60 nationalities. That is no easy feat. Criticism has also drawn from the particular symbols chosen to represent each country, sparking questions like ‘How can a country’s culture be reduced to the design of a trash can?’. Although I too am skeptical of how these decisions were made, I encourage my classmates to find an instance of such cultural inclusion in the States. I am from Connecticut, an extremely white part of New England. However, the United States is a country comprised of immigrants. We all, to some extent, contain a tie to an external culture. Although Americans pride ourselves on the diversity within our country, we struggle to accept the consequential differences between minority and majority groups. In contrast, Superkilen represents an attempt to address the cultural differences within Copenhagen - an extremely homogenous city. Due to such criticism, I expect this park will most likely be modified or reproduced by artists of the cultures portrayed with a more critical understanding of how to symbolize this culture.

Nielson, Tom. “Informal Co-Existence and Amenities for All Democratic Urban Spaces in the Nordic Countries”. New Nordic Architecture and Identity. 2011.

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Located in the heart of Nørrebro, the local boutique known as Ladyfingers draws a particular customer and usually, a local. While cities like Copenhagen have experienced an infiltration of global brands, like Zara or & Other Stories, boutiques like Ladyfingers capitalize on the missing element of personal connection to a design. The silver and gold jewelry store, a collaboration of six local designers, echoes the simplistic and minimalist designs characteristic of Copenhagen’s culture of design. 

In the midst of globalization, certain consumers reject the mass-produced design and yearn for times when the bracelet he/she purchased was the only one of it’s kind. Boutiques like Ladyfingers offer the neglected relationship between designer, design, and customer. As Cheek and Johansson reflects in their piece, “Design in Scandinavia”, 

“The limited markets we have in Scandinavia, the fact that mass production does not exist in the real sense of the world, means that the boundary between industry and handicraft is very vague... Artisan production, moreover, encourages experiments with form and material which inevitably benefit also the mass-produced article” (20).  

Juxtaposed by the over-crowded storefronts of Strøget, boutiques like Ladyfingers ironically address the trend of globalization by capitalizing what they can offer that other worldwide brands cannot: connection. Copenhagen street style is an eclectic combination of all things streetwear, business-wear, and polished details. Many fashionable women whom I have encountered that embody this look are often adorned in simplistic hoops or midi rings, accenting the traditionally masculine style they have stylized. In a sense, the city’s iconic combination of multiple looks speaks towards the efforts of smaller, local businesses, like Ladyfingers, to permeate into the mass-produced wardrobe. 

Cheek & Johansson. Foreward. “Design in Scandinavia”. 1954. 

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This photograph was taken in the front terrace of the Louisiana Museum of Modern Art. Although not located in the heart of the city, the Louisiana is an iconic representation of Danish design. The museum teeters on the edge of the coastline, providing an incredible panoramic view of the waterfront. This installation of artwork is located in the Sculpture Park. Designed by Poul Gernes, The Pyramid above is part of an exhibit entitled ‘I cannot do it alone - want to join in?’. This installation encompasses the concept of interaction between art and the public and how certain pieces of design function for public use. Museum goers are encouraged to scale the pyramid and enjoy expansive views of both the museum and the rest of the Sculpture Park. The aesthetic of this work of art follows the minimalist trend of Danish design that we have studied in class, as the pyramid lacks any ornament or particular decoration. 

As Lars Dybdahl outlines in his piece, “Danish Design’s DNA”, a crucial component of Danish design’s culture is rooted in 

“Equal foundations in aesthetics, simplicity, and detail”

 (Dybdahl, 2014). 

The aesthetic of The Pyramid reflects simplicity in the angles yet detail in the steps and the size, allowing multiple people to stand on the lower levels but only a couple at the very top. 

Lars, Dybdahl. Danish Design’s DNA. N.d. 2014. 

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"Flying Tiger Copenhagen." Wikipedia. Wikimedia Foundation, 6 Oct. 2016. Web. 09 Nov. 2016. Flying Tiger Copenhagen, more commonly known as simply “Tiger”, is a price point retailer chain. Originally opened in Copenhagen circa 1995, Flying Tiger has permeated into the UK, Spain, and Italy with over 500 stores (”Flying Tiger Copenhagen”, 2016). To any consumer, the name Tiger triggers visions of brightly colored household products that you may not intentionally shop for, but purchase regardlessly. As Group 2 reflected in their symposia of ‘Design as a Tool for Marketing and Branding’, this sentiment towards the inevitable purchases made at Tiger stems from a psychology of sorts. For instance, Tiger stores are all similarly designed - Group 2 insisted this shared design is a part of the chain’s brand. The store is designed as a maze, figuratively and literally -considering the customer must walk past all of the merchandise in order to reach the register. Most stores provide a comprehensive layout in which the customer can read an index or sign to easily locate the product he/she seeks. In contrast, Tiger’s intentional design functions to encourage the customer to browse all merchandise before leaving. On a less exacerbated level, Fisker comments on the psychology of design as he reflects, 

“The architect creates not life, but conditions of life” 

(Fisker, 1947, p.39). 

The architects or designers of Tiger’s iconic layout do not force a customer to buy an extra selfie-stick or pack of gum on their way to the notebooks. Rather, the designer creates the condition - the pathway past the cheap selfie-stick or the flavorful pack of gum he/she had not thought he/she needed previously. Through the psychological lens of design, the layout of a store can be used as a tool for the store’s overall function.

"Flying Tiger Copenhagen." Wikipedia. Wikimedia Foundation, 6 Oct. 2016. Web. 09 Nov. 2016. 

Fisker, Kay. The Moral of Functionalism. N.p.: n.p., 1947. Print.