Search results for ""author widar halen""

Ever since the 1960s Sven Ivar Dysthe (b. 1931) has been one of the leading proponents of Scandinavian design. The 1960s feature prominently in his creative work, a time when he founded Pop design in Norway and produced most of his emergent iconic designs. Dysthe's career got off to a glamorous start: in 1953 this student of the Royal College of Art in London was commissioned with the creation of the school's coronation gift, a wooden casket, for Queen Elizabeth II. Since then one cannot think of the international design scene without thinking of him. His chair and furniture designs 1001, Popcorn, Prisma, Planet and Laminette are huge successes in the export market. The latter is one of Norway's most popular chairs, on which virtually every Norwegian has sat at least once due to its use in countless public buildings, likewise travellers all over Oslo's Gardermoen airport with his chair Gardist. In the 1970s Sven Ivar Dysthe also significantly contributed to the development of ski equipment - and to the then success of the Norwegian athletes - by developing a revolutionary ski binding out of plastic. Award-winning designer Sven Ivar Dysthe's furniture designs are as popular today as the time they were designed and have secured him an exceptional place in Scandinavian design history.

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From the Coolest Corner - Nordic Jewellery presents groundbreaking and fresh jewellery from Northern Europe, a comprehensive selection of current works by artists from Denmark, Finland, Iceland, Norway, Sweden and the Baltic States. The best and most innovative Scandinavian art jewellery is presented, assessing its possibilities and potential at the beginning of the twenty-first century. The project presented in this publication, culminating in a symposium and a travelling exhibition, challenges stereotypical notions of northern European art jewellery. Do the typical Nordic trends of the nineteen-nineties still apply today? Indeed are there currently any general trends at all in Scandinavian design? Or has the orientation towards international design become so dominant that there are no longer any regional characteristics? Renowned experts have made a selection of representative works, as a basis for researching the role of northern European jewellery in the context of international art. Text in English, Norwegian & Swedish.

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Grete Prytz Kittelsen (1917–2010) is regarded as "the queen of Scandinavian design." Her sphere of influence in the history of decorative art and design stretches from the Scandinavian Design period, 1945–65, to today. This book is the first comprehensive presentation of her work. An artist with an exceptionally broad scope, she designed jewelry and one-of-a-kind silver articles for her family’s long-established Oslo firm, J. Tostrup, as well as beautiful utilitarian items in enameled steel and cast iron that found their way into thousands of homes worldwide—in Scandinavia, the United States, and worldwide. For half a century Grete Prytz Kittelsen was, along with her first husband, architect Arne Korsmo, part of the community of modernist architects and designers that included Ray and Charles Eames, Walter Gropius, Frank Lloyd Wright, and Mies van der Rohe. Among her European collaborators and friends were Lis and Jorn Utzon, Alvar Aalto, and Paolo Venini. Yet her work is less familiar to the general public than the work of her Swedish, Danish, and Finnish colleagues: this book presents it to new generations and highlights her role as a central player in the history of Scandinavian design in the twentieth century. In these pages the range of her oeuvre is displayed in brilliant color, with archival material and more than five hundred new photographs that document her stature as a hollowware designer, whose production—several hundred unique items, including bowls, dishes, plates, casseroles, and vases—was more extensive than that of any other Norwegian postwar designer, and as a jewelry artist, who produced a large and innovative range of pieces challenging the view of jewelry as mere decoration in the era of modernism. The accompanying text features contributions by leading Norwegian design scholars, describing Grete Prytz Kittelsen’s professional career in the context of midcentury design, the many national and international exhibitions she participated in, and the collections for which she received the Grand Prix at the Milan Triennale in 1954, among other awards. Collectors and historians alike will value the biographical chronology and especially the illustrated catalogue of works.

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