[…] crafts, they did so in search of inspiration and innovation, which in turn could also be translated into industrial products. As in the German Kunstgewerbe movement, Danish educational programmes placed a high emphasis on hands-on workshop activities to ensure that the students acquired a keen sense of both form and materials, also with a […]
[…] was called the TC1. The loom is made in Moss, Norway, and exclusively sold through Digital Weaving Norway, which is part of Tronrud Engineering. In the summer of 2025, the company celebrated its 30th anniversary. The loom is sold to clients all over the world, two thirds of them being institutions of education. Read more
[…] the sector going forward. The discussion will focus, among other things, on: Conditions and development opportunities for craftspeople and designers Sustainability and responsibility in production and design Education, talent development and professional expertise Career opportunities and international positioning The interplay between tradition, innovation and social responsibility Meet, among others: Anne-Louise Sommer, Director, Designmuseum Denmark […]
[…] quickly pushed out, and only ‘pure’ art and the new concept of craft from the 1950s were shown at exhibitions and fairs, or could be studied in education. The decoration school at the Royal Danish Academy of Fine Arts disappeared in the mid-20th century. But the vision for art deco was both appealing and […]
[…] This idea is also manifested in the new Danish craft residence halls , where materiality and sensuousness are driven by an intention to promote renewed respect for and interest in craft education. We also see it at the Wadden Sea Centre, where the first-hand encounter with the architecture is part of an experiential communication approach.
[…] Bidstrup. The question is then how to find a community to take part in if you haven't just been given a network in the form of an education or a workplace. Katrine Ejby Bidstrup knows all about that. When she started her company Bidstrup Bodies, she was still at Copenhagen Business School. Here she […]
[…] physical form and written or visual communication and documentation like two birds with one sure and obvious stone, so that the exhibitions shown here are just as much documented and disseminated after the exhibitions are over. Like an archive of the contemporary scene that you can dive into afterwards for both educational and research purposes.
Pınar Kaygan is previously an industrial designer, currently a design researcher and educator, holding a PhD in sociology. In her research, she is interested in the social impact of design with a particular focus on gender, interdisciplinary collaboration in design, and work and employment of designers. Her work is available in several international design journals […]
Greenlandic jewellery designer When Karen Fly describes her educational path, it starts with a story about freeing herself from a certain idea of what jewellery can and should be. 'I didn't know that you could decide what jewellery should look like. That it didn't have to be like the ones in the shop,' she […]
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[…] at repairing, and some things should be passed on. What value does it hold, to whom and in what condition? There is a general need for sustainability education.’ Nina Husted Erichsen, head of programme at the Royal Danish Academy – Bornholm, pointed to the siloed character of sustainability efforts. She sees great potential in […]