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Kristine
Tillge Lund_Trophies
One
thing about the Nexø furniture factory that I took particular
notice of was the fact that they have had to close down, like so many
other local (and often nationally well-known) small production facilities.The
demand for either cheap products, or modern costumized furniture, has
made survival impossible for factories where functionality and durability
have been the main focus.
Today the concept of what a piece of furniture is has changed. Furniture
designers of today wish to influence people’s behaviour and way
of thought. For instance by lending the furniture a playful character.
Deer antler wall trophies and their place in the interior design of
yesterday have fascinated me for a long time now, since they have suffered
the same sad fate as the factories and no longer have their place in
the design of many homes.
I have desired to give the antlers a renaissance, in a contemporary
version that interacts with the modern furniture of the home. The antlers
have slipped down from their usual place on a shield on the wall, and
have been allowed to crawl up upon tables and chairs, or where ever
they care to go. Tired of being ignored, they wish to participate in
the fun.
Signe
Schjøth_Hallucinations
My work is based on an incident that occurred while the furniture factory
was still in operation – back when the furniture was still given
a cellulose lacquer coating. The former shop steward told us about a
day when the tap on one of the barrels containing cellulose lacquer
was left open. When two assistants were sent in to clean up the mess,
they soon became so intoxicated by the fumes that one sat down on a
barrel and started talking about all the angels and colours in the room.
This story gave me inspiration to the theme: hallucinations.
Christin
Johansson_Factory
environment
I’ve focused on the workshop and the workshop environment in the
former furniture factory. The notion of an empty and deserted shop floor.
By taking segments and details from a production line and presenting
them in ceramic form, I want to create an atmosphere of industry, production
and workshops.
The objects refer to machines, assembly lines, lamps, waste and filty
shop floors. Now they are obvious references to industrial and factory
environments. To me, the assembly line is a powerful symbol of factory
work, which is all about efÄciency and speed. The bright and colourful
car paint finish of the objectsaccentuates their connection to the workshop.
Waste
and half-completed things easily imagined left lying around in the abandoned
factory become symbols of activity and liveliness.
David
Carlsson_Coffee
& Cigarettes
I
ve found inspiration in all the people, the workers in factories and
other workplaces. The great
number of people who together make up the very foundation of production,
each one of them with their own history and personal experience. I’ve
considered the moments when we, as employees, get the opportunity to
meet each other as we are, or want to be. When the hard work stops and
we have the time to just be ourselves, or the time to discover one another.
Oppositional conceptions as ‘the group’ and ‘the individual’
have been essential in my work process, as have our need for breaks:
the moments that interrupt routines and maybe make us cope a little
longer.
My work is about things that constitute the personal framework around
the daily work tasks. When we think about work, we often tend to remember
the special moments and our colleagues more than the job itself.
Jakob
Robertsson_Furniture
with counterparts
Instead of using the conventional material, wood, I wanted to create
furniture out of clay. Fairly soon I realized why you never see clay
furniture, clay is simply not the ultimate material for making tables
and stuff. However, I ended up with three pieces; a couch, a stool and
a table, all of them with its own personality. The distinctive features
of the pieces were accentuated when I gave them company of smaller,
surrounding objects. These objects rhyme with
the various pieces of furniture and give them an environment and a context
– furniture with counterparts.
Frøydis
Lindén_Ideals
What research is done to form a piece of art or a designed object? Is
it derived from dreams and ideals or from the real world? In the process
of creating I often wander between the real world and everyday life,
and the abstract and absurd expressions. In this project I wanted to
investigate our ideals through a back-flash into times when right and
wrong solutions existed.
How did the architect, who designed the furniture at the factory in
the 1950s, work and think? Did he make anatomical investigations to
find the ideal surface and form to sit on? Is it possible to make a
one chair fits all?
Drawings made by the architect were left behind at the furniture factory.
They showed detailed plans of a new kitchen, standardised to fit into
any home at the time. Functional and hygienic solutions, preferably
scientifically proved, should ease the work and daily chores in the
female domain, the kitchen.
During the winter of 2006, IKEA launched a campaign “Dream kitchen
for all!” - kitchens which invite to playfulness and functions
accustomed to your needs. Yes, flexible solutions to fit your identity.
Who decides your ideals today?
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