Decorating
Is Norway The New Black in Nordic Design?
Norway is the Nordic design underdog – but is that about to change? Houzz went to Oslo Design Fair to find out
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 there was no Norwegian presence. Design from the relatively smaller Norwegian contingent included modern sofas with a characteristic Nordic minimalist touch from 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 Norwegian interior celebrities.
That’s not to say there was no Norwegian presence. Design from the relatively smaller Norwegian contingent included modern sofas with a characteristic Nordic minimalist touch from 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 Norwegian interior celebrities.
Norwegian designers’ smaller presence is not 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 some of Swedish furniture giant Ikea’s countless popular, budget-friendly furniture items? Or maybe a chair or vase by Finnish designer Alvar Aalto? Most likely, Norwegian designs aren’t the first you think of.
For a number of reasons, Norway is far from enjoying its neighbours’ renown for furniture – 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.
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For a number of reasons, Norway is far from enjoying its neighbours’ renown for furniture – 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.
Find the right people to help with your home project in the Houzz Professionals Directory.
The fact that Norway’s design culture is less well known than its neighbours’ is a matter of priorities and visibility. One reason why Norwegian design hasn’t enjoyed as much of a spotlight is the country’s long-standing focus on raw materials and natural resources – first on the agriculture and fishing industries and then, in recent decades, gas and, not least, 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’s 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,” she says.
“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’s 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,” she says.
Connect modular sofa system by Norwegian design duo Anderssen & 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,” he says.
“For Norwegians, as long as the product is good enough, then it’s up to others to discover it,” he continues. “It’s a cultural challenge and one of the main reasons why we’re not better known around the world.”
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,” he says.
“For Norwegians, as long as the product is good enough, then it’s up to others to discover it,” he continues. “It’s a cultural challenge and one of the main reasons why we’re not better known around the world.”
Framed mirror by Norwegian design duo Anderssen & Voll for Danish company Muuto.
“It’s embedded in Norwegian culture to not stand out, be different or noisy, and that’s a problem. We need the young generation of designers to make up for it and be more daring,” says Marie Aune, a Norwegian interior designer and Houzz professional.
“It’s embedded in Norwegian culture to not stand out, be different or noisy, and that’s a problem. We need the young generation of designers to make up for it and be more daring,” says Marie Aune, a Norwegian interior designer and Houzz professional.
Maya cutlery designed by Norwegian Tias Eckhoff. Originally produced by Norwegian Norstaal in 1962; today produced by Danish company Stelton.
At the same time, Norwegian culture is characterised by a fundamental focus on making things useful, Hjemdal notes. 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’s much less focus on the aesthetic expression,” Hjemdal says. “While it’s good that Norwegian design is not just about the icing on the cake, it’s also the case that aesthetics are perceived by many Norwegian consumers as something elitist, something that just costs extra money, that’s not necessary, and therefore superfluous.”
At the same time, Norwegian culture is characterised by a fundamental focus on making things useful, Hjemdal notes. 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’s much less focus on the aesthetic expression,” Hjemdal says. “While it’s good that Norwegian design is not just about the icing on the cake, it’s also the case that aesthetics are perceived by many Norwegian consumers as something elitist, something that just costs extra money, that’s not necessary, and therefore superfluous.”
Oslo series sofa by Norwegian design duo Anderssen & Voll for Danish company 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 skepticism. In contrast, both Swedish and Danish politicians have been good at promoting their countries’ creative professions,” he says.
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 skepticism. In contrast, both Swedish and Danish politicians have been good at promoting their countries’ creative professions,” he says.
On the other hand, design expert Mats Linder – who’s Swedish but who lives in Norway and has researched Norwegian design for more than 20 years – points out that the country 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.
Tripp Trapp high chair, designed by Peter Opsvik for Stokke, surrounded by Wishbone chairs by Hans J Wegner (above) and Series 7 chairs by Arne Jacobsen (below).
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.
Tripp Trapp high chair, designed by Peter Opsvik for Stokke, surrounded by Wishbone chairs by Hans J Wegner (above) and Series 7 chairs by Arne Jacobsen (below).
“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.
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?
Norwegian design is, in fact, already making its way into the world. Ida Aandal Røijen, who works with international promotion at DOGA, points out that Norwegian design has been present at London Design Week under the name 100% Norway since 2003, and at Milan Design Week with the Norwegian Presence exhibition.
“We are experiencing what I would describe as the beginning of a new golden age for Norwegian design,” she says. “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.”
So will Norwegian design remain relatively unknown, or is there a resurgence on the way? Will it become the “new black” of Nordic design?
Norwegian design is, in fact, already making its way into the world. Ida Aandal Røijen, who works with international promotion at DOGA, points out that Norwegian design has been present at London Design Week under the name 100% Norway since 2003, and at Milan Design Week with the Norwegian Presence exhibition.
“We are experiencing what I would describe as the beginning of a new golden age for Norwegian design,” she says. “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.”
Oslo series sofa and Five pouffe by Norwegian design duo Anderssen & Voll for Danish company Muuto.
The future also looks bright from an interior designer’s perspective. “I think Norwegian design is heading for a brighter future with more international recognition,” says Houzz professional Alexia Lundgreen, who’s from Belgium and Germany, has studied and worked in the Netherlands, the US and France, and lived and worked in Norway since 2015.
“Just in the few years I’ve lived here, I can see how Oslo is gaining momentum when it comes to interior design,” she says, “and there’s a whole new generation of designers starting to gain international attention.”
The future also looks bright from an interior designer’s perspective. “I think Norwegian design is heading for a brighter future with more international recognition,” says Houzz professional Alexia Lundgreen, who’s from Belgium and Germany, has studied and worked in the Netherlands, the US and France, and lived and worked in Norway since 2015.
“Just in the few years I’ve lived here, I can see how Oslo is gaining momentum when it comes to interior design,” she says, “and there’s a whole new generation of designers starting to gain international attention.”
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’s far from being geared towards design booms on the large scale, like 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 isn’t 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. 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’s far from being geared towards design booms on the large scale, like 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 isn’t 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. 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 typical of Norwegian design. Many young designers have realised they gain more from working together in groups and collectives than by competing,” Røijen says.
She points to the Klubben collective, which consists of more than 30 Norwegian designers working together in various disciplines. “I’ve been approached by colleagues in Sweden, who see it as both refreshing and visionary that we don’t have the same focus on competition and have instead built a strong community of designers.”
“Communal thinking is typical of Norwegian design. Many young designers have realised they gain more from working together in groups and collectives than by competing,” Røijen says.
She points to the Klubben collective, which consists of more than 30 Norwegian designers working together in various disciplines. “I’ve been approached by colleagues in Sweden, who see it as both refreshing and visionary that we don’t have the same focus on competition and have instead built a strong community of designers.”
Kongsholm predicts Norway has a good chance for an international design breakthrough in the coming years, but it will need to understand the value of its design history – and sell it.
“You have to go back and dig for gold in the design archives, because there’s both old, classic wooden furniture and a classic approach to ceramics, knitwear and wool, so there’s 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 such as Norwegian manufacturer Fjordfiesta, which has been reproducing classic Norwegian designs including the 1001 armchair by Sven Ivar Dysthe, pictured here.
“You have to go back and dig for gold in the design archives, because there’s both old, classic wooden furniture and a classic approach to ceramics, knitwear and wool, so there’s 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 such as Norwegian manufacturer Fjordfiesta, which has been reproducing classic Norwegian designs including 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 fair. Displayed in modern, cubist cabin-modules in wood (pictured here and in the first image) that have been created through collaboration between, among others, the Vardehaugen and Aslak Haanshuus architectural studios, it presented a new way of creating a sustainable fair.
With sustainability as the starting point, the whole idea is that the cabins should not simply be thrown out when the fair is over. 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 whole idea is that the cabins should not simply be thrown out when the fair is over. 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’ve grown up with the idea that products must be of good quality and last a long time, and we’ve not had the same use-and-throw-away culture that characterises many other places,” Røijen says.
“The Norwegian way of working with durability and quality is steeped in sustainability. We’ve grown up with the idea that products must be of good quality and last a long time, and we’ve not had the same use-and-throw-away culture that characterises many other places,” Røijen says.
Kongsholm sees the rise of sustainability and the anti-plastic culture today 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,” she says.
“At the same time, modern consumers are demanding everything be associated with nature experiences, tranquility and hiking. In that aspect, Norway has something completely different to offer than the other Nordic countries,” she says, adding that the Norwegian mountains and diverse nature is a different experience from the notoriously flat Danish landscape.
“At the same time, modern consumers are demanding everything be associated with nature experiences, tranquility and hiking. In that aspect, Norway has something completely different to offer than the other Nordic countries,” she says, adding that the Norwegian mountains and diverse nature is a different experience from the notoriously flat Danish landscape.
Framed mirror by Norwegian design duo Anderssen & Voll for Danish company Muuto.
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,” he says. “If you manage to market it with the great quality that lies in its design, then I think we’ll see a Norwegian design boom in the next few years.”
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,” he says. “If you manage to market it with the great quality that lies in its design, then I think we’ll see a Norwegian design boom in the next few years.”
Scandia chair by Hans Brattrud, produced by Fjordfiesta.
5 new Norwegian designers to look out for:
With input from DOGA and Mats Linder.
Tell us…
Are you familiar with Norwegian design? Have any of these products caught your eye? Share your thoughts in the Comments section.
5 new Norwegian designers to look out for:
With input from DOGA and Mats Linder.
Tell us…
Are you familiar with Norwegian design? Have any of these products caught your eye? Share your thoughts in the Comments section.
We are at the Oslo Design Fair on the outskirts of the Norwegian capital. Although it’s Norway’s largest forum for interior design, attracting thousands of professionals from the Norwegian design world twice a year, designs from abroad dominate the fair’s large furniture show hall.