[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Search the archive The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell […]
[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Additional reading The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell the […]
[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Additional reading The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell the […]
Traditional exhibitions, as we know them from early presentations of design and cultural history, had a simple form and were often based on presenting items from a collection arranged in glass display cases. Today, exhibitions are moving in an ever more digital direction, where the key exhibition device is to stage the story in […]
[…] mission as an educational institution has evolved, and today we train designers with a foundation in artistic, material- and workshop-based teaching. Craft is part of the school’s history and DNA, and it is a professional path that some of the school’s graduates choose to pursue, but the scope for action and opportunities available to […]
[…] superpower, and she is keen to see aesthetics and craftsmanship become part of a new Danish design policy. 'Design is our superpower because our social structure and history have given us some special qualities that make us good at focusing on people's needs. Other countries are also aware of this, but the strength of […]
[…] others, but it has always been present all over the world. Ochre has always been here. People on every continent except Antarctica have used ochre. It is something we have in common,' says Thomas Woltmann. The choice of ochre allows Thomas Woltmann to explore his interests: cultural history, industrial history, raw materials and local nature.
[…] valued not only for its utility value, but equally for its symbolic significance. An iconic design object can function as a cultural code word that signals, but does not necessarily embody, knowledge of design history, access to certain environments and a certain lifestyle. In this way, design becomes part of self-expression in modern consumer society.
When meeting other cultures, designer Sia Hurtigkarl is challenged by her own history, learns more about her professionalism and gets an overload of inspiration. Here she talks about travelling to Nepal and India with craftsmanship as a common language.