Will a design museum maintain the capitalist drive for consumption, even if the exhibitions advocate radical change? How do the two design museums navigate between the past and the future? How is the relationship between aesthetics and ethics articulated?
Theme: Crafts and design in the public Formkraft highlights the atmosphere that material culture, technology and aesthetics can add to the public space. And why it is more relevant than ever to include craft makers and designers when state-owned buildings are renovated, when municipalities develop decorative projects and when private actors seek to imbue […]
[…] settings. With this current theme, Formkraft focuses on the atmosphere that crafts can bring to the public space by virtue of its inherent material culture, techniques and aesthetics. And why it is more relevant than ever to include craft makers and designers when state-owned buildings are renovated, when municipalities develop decorative projects and when […]
[…] get easier once the EU’s new product regulations are implemented. Product design should have a much greater emphasis on securing durability and repairability than it does today. Aesthetics and emotional attachment also play a key role in motivating consumers to prolong the lifetime of a product. Ceramic artist Christina Schou Christensen pointed out that […]
[…] Beck, U. (1994). The reinvention of politics: towards a theory of reflexive modernization. I U. Beck, A. Giddens & S. Lash (red.), Reflexive Modernization. Politics, Tradition and Aesthetics in the Modern Social Order (s. 1-56). Cambridge: Polity Press. Bundsgaard, J. (2018). Det 21. århundredes kompe¬tencer. I J. Bundsgaard, M. Georgsen, S. Graf, T. I. […]
[…] crucial that technology does not compromise the hand's and the mind's work. Craft and design should still be characterized by a clear harmony and balance between craftsmanship, aesthetics, functionality, and quality. Another important point is that the new digital tools rarely stand alone but are often used in conjunction with other tools, such as […]
[…] her colleague, Anne Mette Fosgrau, who oversees the Fine Craft workshop and also teaches in Accessory Design, are keenly focused on preparing the students to navigate this multifaceted landscape, ensuring they can find their place in the future world of jewellery. To secure that position, students need to delve into aesthetics, design, craftsmanship, and materials.
Aesthetics and a certain form of refinement might not be something modern humans associate with our ancestors, the Neanderthals and Homo sapiens. Popularly, they are depicted with a club in hand, but early jewelry findings show that they could just as well have had a bracelet around their wrist. For millennia, humans have […]
[…] clothes that were the bomb. And it is also not a natural law that beauty and jewellery can only be produced from the currently most expensive materials. Aesthetics itself is taken hostage by status battles. Often, luxury, including expensive jewellery, is despairingly predictable. There is a need for a rebellion against the entrenched ideas […]
[…] Bevica Fonden. The new fund was presented with this call: ‘How can we design for all? Apply for funding to design projects that aim to improve the aesthetics, function and equality in public spaces.’ Part of the goal was to include a new category of applicants from the field of crafts and design who […]