As someone who has always been fascinated by the intersection of design and functionality, I find the Icelandic design icons highlighted here to be truly inspiring. Having had the opportunity to travel extensively across Europe and Asia, I’ve seen my fair share of unique and innovative designs. However, there is something distinctly captivating about these pieces that hail from Iceland.
Iceland, with its small population, is renowned for its breathtaking, rugged terrain, frequent volcanic eruptions, and natural hot springs. Yet, the country’s design background often remains overlooked compared to its Nordic counterparts.
Despite this – the country boasts a vibrant community of creative individuals, who work in various fields such as textiles, furniture, fashion, and architecture. Many of these artists are showcased during Iceland’s annual design event, called “DesignMarch”.
As a gamer, I’d describe it like this: In 2008, the “Iceland Design and Architecture” organization, funded by the government, was born with the goal of putting Iceland’s creative scene on the global map. This year, they hosted their festival in May, brimming with talks from international speakers. Beyond that, Reykjavik’s venues were filled with a diverse mix of design projects – some speculative and out-of-the-box, others commercial. From a knitted pizza cafe to showcases by 66°North, there was something for every design enthusiast.
As a passionate gamer, I can’t wait to explore the Museum of Design and Applied Art, a must-visit destination on my travel itinerary. This cultural gem is led by the brilliant Sigríður Sigurjónsdóttir, who has gathered an impressive collection of iconic designs from her homeland for us to marvel at. Here’s what she shared about 10 standout pieces:
Delirium Tremens wine rack
Ólafur Þórðarson, 1997
In a playful manner, Ólafur Þórðarson created this design. Made of polyurethane, every piece in this collection is unique, and each wine rack bears a distinct number.
Sigurjónsdóttir explains that his designs are known for their lively and whimsical feel. However, what truly sets them apart is Ólafur’s daring design philosophy: he consistently challenges conventional norms by thinking outside the box and experimenting with aesthetics to create innovative, adaptable objects.
Stóll í kassa/Chair in a Box
Tinna Gunnarsdóttir and Karen Chekerdjian, 2001
The transformation of a chair into an image in a box explores the intriguing connection between objects and their representations, and how images can alter an object’s significance. Designers Tinna Gunnarsdóttir and Karen Chekerdijan worked on this project from separate locations, Reykjavik and Beirut, exclusively using emails for communication. They were amazed by the metamorphosis of their thoughts, sketches, and messages into visual images, ultimately becoming infatuated with the potent influence of images on reality. The outcome was the creation of boxes featuring renowned chair designs imprinted on them.
Spíra sofa
Þorkell G. Guðmundsson, 1965
In Icelandic, the word “spíra” translates to “to sprout.” With this meaning, Guðmundsson chose the name “sprouting” for his design as it can be transformed into a bed by folding down its sides in both directions. This piece is commonly found in teen bedrooms across Icelandic homes, according to the museum.
“Þorkell Guðmundsson, the designer, was responsible for creating the well-known wool fabric used on the sofa, which came in multiple colors for an extended period. He also invented the innovative design enabling users to transform the sofa into a bed and secured a patent for it,” Sigurjónsdóttir explained.
Sóley chair
Valdimar Harðarson,1983
The collapsible Sóley chair is built with functionality in mind. It boasts an ingenious sliding mechanism where its steel legs fold along a track on the back bar, making it a global sensation until its discontinuation in 2003. Yet, due to strong market demand, production of the Sóley chair was resumed a decade later.
Orion chair
Pétur B. Lúthersson, 1999
The Orion chair is an aluminium garden chair, designed by Pétur B. Luthersson. Crafted from a single material, the design tells the tale of Luthersson’s appreciation for craft, with details across its backrest and seat. “Pétur regards himself first and foremost as a craftsman,” Sigurjónsdóttir said. “The Orion chair was produced very late in Pétur’s career and he himself has stated that it wasn’t until he was well into his 60s that he finally mastered the basics of chair design and had a firm idea of what he truly wanted to achieve with his designs.”
Apollo chair
Gunnar Magnússon, 1969
The Apollo chair is inspired by the space era and gained popularity in the 1970s. With its circular seat at the center, this design features wooden panels that curve to create its structure. Sigurjónsdóttir referred to it as an “exploration of geometric shapes.”
She notes that the shape, feel, and hues were forward-thinking, reflecting a trendy pop culture vibe, specifically designed for the youthful and open-minded.
Rock n Roll chair
Sigurður Gústafsson, 1998
In 1999, only 99 Rock n Roll chairs were created as a design experiment. This unique piece is constructed without using screws or glue to explore the strength and versatility of various materials when molded in specific forms. The De Stijl and Russian Constructivist art movements provided inspiration for this innovative chair, along with the designer’s aim to give a fresh perspective on a common object. Sigurjónsdottir explained, “This project is not about inventing a new style or movement, but rather discovering the hidden potential within everyday items, waiting to be unveiled.”
Out of (Red) Line cabinet
Ólafur Þórðarson, 1992
Ólafur Þórðarson’s unique approach to furniture design is particularly evident in the Out of (Red) Line shelves. Here, Ólafur repurposes ready-made materials, assembling them to embody a specific vision. The raw, unsanded surfaces of these shelves challenge conventional notions of finished products, presenting instead as thoughtful constructions. Ólafur’s work delves into the tension between the mass production of uniform objects and the spontaneous, varied application of color that ensures each piece is one-of-a-kind.
Date chair
Manfreð Vilhjálmsson
Manfred Vilhjálmsson, an architect, created the distinctive Date chair with a shape resembling the letter S, perfect for two individuals to face each other and spark deep conversations. Noteworthy features on this chair include bright yellow tennis balls adorning the armrests, inspired by Vilhjálmsson’s friend and collaborator Dieter Roth. This unique piece is a one-of-a-kind creation; it wasn’t manufactured for mass production but instead serves as a visual symbol of an intriguing concept.
Zig Zag shelving
Dögg Guðmundsdóttir, 2006
Dögg Guðmundsdóttir, the designer, blends age-old materials and artisanal methods with modern manufacturing processes. The result is unique objects marked by striking contrasts. Her creations straddle the line between form and function, showcasing sculptural elements while retaining practicality. They all fit cohesively within her collections.
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2024-07-23 19:26