Cambridge Ielts 8
SCANDINAVIAN
MODERNE:
1900 - 1960
Many countries have played a decisive role in the course of modernist design, the lead continously changing hands in a forward march from past to present to future.
The new brash art movements and styles erupting at the turn of the century became increasingly international in scope, enriched by the unique offerings of each nation. Sharing little commonality of purpose, they contributed to the progression of form and function in their own way depending on long-standing traditions, geo-politics, geography, language, natural resources, and the critical, yet often coincidental, availability of creative genius.
As with most of Europe, modernity in Scandinavian design represented a radical shift from provincial isolation to self-assertiveness in an international design setting. A century of intense design activity had commenced about 1880 throughout Europe and no less in the vast and diverse geographic region encompassing Denmark, Sweden, Norway, Finland and Iceland. From Scandinavia's variegated matrix of politics, cultures, languages and traditions, there emerged a multifaceted design philosophy that became a major international influence.
Each country within Scandinavia played a significant role in the formation of a modern tradition, and each responded to the challenges of the modern world in a distinctive manner. All the countries recognized social equality, industrialization and urbanization as major factors of modern life. Yet, these factors and their impact on the arts and crafts were encountered differently in each country, giving a special identity to the design traditions of each. By the mid-century, however, these designs became known as a style and the history of modern Scandinavian design suggests there are unifying features – humanism, tradition, moderation, hand-crafted perfectionism, modesty, quietude and purposefulness – within the traditions of each country that encourage such a generalization. This
MODERNE:
1900 - 1960
Many countries have played a decisive role in the course of modernist design, the lead continously changing hands in a forward march from past to present to future.
The new brash art movements and styles erupting at the turn of the century became increasingly international in scope, enriched by the unique offerings of each nation. Sharing little commonality of purpose, they contributed to the progression of form and function in their own way depending on long-standing traditions, geo-politics, geography, language, natural resources, and the critical, yet often coincidental, availability of creative genius.
As with most of Europe, modernity in Scandinavian design represented a radical shift from provincial isolation to self-assertiveness in an international design setting. A century of intense design activity had commenced about 1880 throughout Europe and no less in the vast and diverse geographic region encompassing Denmark, Sweden, Norway, Finland and Iceland. From Scandinavia's variegated matrix of politics, cultures, languages and traditions, there emerged a multifaceted design philosophy that became a major international influence.
Each country within Scandinavia played a significant role in the formation of a modern tradition, and each responded to the challenges of the modern world in a distinctive manner. All the countries recognized social equality, industrialization and urbanization as major factors of modern life. Yet, these factors and their impact on the arts and crafts were encountered differently in each country, giving a special identity to the design traditions of each. By the mid-century, however, these designs became known as a style and the history of modern Scandinavian design suggests there are unifying features – humanism, tradition, moderation, hand-crafted perfectionism, modesty, quietude and purposefulness – within the traditions of each country that encourage such a generalization. This