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NOMA Nordic Made

The Designers


ARNE TJOMSLAND

Arne Tjomsland was one of the country's premier souvenir designers in the 1950/60's.

He gave shapes in wood and whale tooth from the Nordic fauna. TJOMSLAND work is characterized primarily by soft and restrained alignment. Following a request from jeweler Torlof Prytz, the former advertising man and toy manufacturer Arne Tjomsland (1915-1970) production of souvenir figurines three in 1954. His most famous work is the Polar bears in teak. A big and a cub bear.

At first Tjomsland made all the shapes himself. But when demand became bigger he acquired furniture manufacturer Hiorth and Østlyngen production (approx 1955). In 1954 Tjomsland was taken out to attend the traveling exhibition Design in Scandinavia that toured the US and Canada during the period from 1954 to 1957.

In 1957 Arne Tjomsland became the artistic director of enterprise Goodwill Products in Sandefjord. Goodwill was a low threshold measures the disabled who needed to enter the work force. Tjomsland gave a large number of figures from the Nordic nature and culture - mainly in whale tooth, but also wood. Goodwill produced mainly animals such as mountain grouse, terns and snow owls, as well as different varieties of Eskimos. Most of the models was performed in whale tooth from sperm whales resident in Sandefjord and Larvik.The inspiration for the characters got Tjomsland from his childhood polar literature and the time he spent with his father - technician Mikael Tjomsland at the Zoological Museum in Oslo.

Design-wise his work in the Scandinavian designs spirit was with sparing use of materials and elegant cuts. On individual assignments an order of 500 souvenir polarbears to SAS was among the biggest! In the mid-1960s the supply of whale tooth was reduced and production of TJOMSLAND whale tooth shapes was closed. In the years before his death he made enamelled copper works.

In 1957 Arne Tjomsland got the Bavarian State Government's gold medal for a collection of human and animalfigurines in teak and rosewood whereas the Polarbear was the most popular. In 1960 he was awarded the silver medal at the Triennale in Milan for a ptarmigan in whale tooth.

HERMANN BONGARD

Hermann Bongard was one of the most prolific designers in the 1950-1960's. Bongards talent was visible in everything from coffee cups, art glass and ironworks. One of his most famous works are the decor A la Carte for Figgjo and the small coffeetables Conform.

Hermann Bongard (1921-1998) studied at the Norwegian National Academy of Craft and Art Industry (SHKS) in the period from 1938 to 1941. Afterwards he worked at Pull Advertising Agencies (established by Arne Tjomsland) where he signed ex libris and artistically designed advertising illustrations for magazine Bonytt.

In 1947 Bongard asked his former teacher and glassdesigner Sverre Pettersen about the possibility of working at Christiania Glasmagasin. At GlasMagasinet he first decorated crystal glass, but eventually also art glass for Hadeland Glassverk. Around the time 1948 Bongard the first art glasses for Hadeland. These were experiments, conducted in close collaboration with glassblower Johan Wilhelm Johansson.

Bongards art glass was easy and softly shaped with touches of bright colors. The decor was graphically with air bubbles and lines as design elements. For the flattened vase K-1023 he was awarded the silver medal at the 10th Triennale di Milano in 1954.

In 1955 Hermann Bongard became a freelancer. One of the principals were Figgjo (1957). The first year he signed a series of cylindrical vases. They were truly stylish decorated with trees in a graphical, almost abstract work. Around 1959 Bongard made dishes Vulcanus for business. It was produced in stoneware on kordierittbasis in refractory quality and could be used directly from the stove to cover a part of the dining table. The dishes were a big sales success - especially with Bongard decoration A la Carte.

In 1956 Hermann Bongard won an open competition announced by Polaris Factories. Polaris later produced several of his drawings, including cutlery and ladles in suspended, stainless steel. They became widespread, which probably is due to the simple appealing shape and the reasonable price.

For Vinmonopolet he also did labels of several bottles, including Gilde Table where he also designed the bottle.

Hermann Bongard assumed the role of artistic director for handicrafts organization PLUS by Arne Lindaas in 1960. Several of the PLUS workshops were equipped with his signs. Bongard character designs for textile printing workshop, ironwork, turned wooden bowls and furniture in braided manilla - to name a few.

In 1964, he resigned as artistic director of PLUS and continued as a freelance designer before joining as design chief for J.W. Cohen Books in Oslo. The job he had until 1968 when he was hired as a teacher at the Graphic Department at SHKS. A position Bongard had to his retirement....

SVEN IVAR DYSTHE

Sven Ivar Dysthe born in 1931, is a Norwegian furniture and industrial designer. He has distinguished himself as one of the nation's leading furniture designers. The breakthrough came with the furniture series 1001 (1960). The Stacking chair Laminette (1967) is a commercial success that made way for a number of chairs with the lamination technique.

Several of Sven Ivar Dysthe`s models are still in production. Including chair POPCORN from Foraform and the wall lamp BUTTERFLY from Northern Lighting.

Arne Remlov, interior designer and editor of the journal Bonytt persuaded Sven Ivar Dysthe to seek to the Royal College of Art in London. In 1952 he had his designs on the school's new line of industrial design. Here Furniture artist David Pye played an important role in his development. His designs soon became noticed as an exceptionally gifted topic. The result was that he was commissioned to create a gift for Queen Elizabeth 2 Coronation (1953)!

In Denmark his knowledge and understanding of Danish furniture and art was inspired. The year after he moved to Oslo and briefly worked for furniture supplier Einar Mortensen. For Mortensen Dysthe exhibition interior "Form and home" at the Society for Applied Art autumn exhibition in the House of Artists.

In the period from 1956 to 1957 he was employed by furniture manufacturers Hiorth and Østlyngen. He participated in the Autumn exhibition, this time together with interior Trinelise Dysthe (b. Hauan 1933).

The exhibition aroused great interest by both press and public. Note Verd was his exhibited dining chair in black lacquered steel with treeholks and swunged horn-shaped back piece of wood and a light, almost floating seat. The chair unfortunately stopped at the prototype stage.

After a brief interlude with architect Reidar Lund (1957-1958) Sven Ivar Dysthe established 1958 drawing office with Trinelise His designs. That same year he participated in Askim Rubber Product Factory furniture competition and won two first prizes than for a sofa bed and a armlenestol.

Competition soon led to collaboration between his designs and manufacturer Dokka furniture. For now Dysthe designed the armchair 1001 AF which was exhibited at the furniture fair in Cologne Triennale in Milan in 1960. The chair is to be regarded as one of the main works of Norwegian 1900s design history received the American Institute of Decorations International Citation Award in 1961.

The chair 1001 AF is characterized primarily by the distinct idiom, which is based on the chair's logical and geometric construction. The coming years, he developed the furniture series 3001, 4001 and 5001. The furniture in these series was intended as office and conference furniture with more padding than the original 1001.

In 1963 announced the United Ullvarefabrikk (D.F.U.) a competition for the upholstered furniture with fabrics in wool. His designs have won the competition with the low armchair Laminate in laminated wood and loose cushions. More Lenestolfabrikk (now Foraform) produced the chair, and Sven Ivar Dysthes designs have developed it to a smaller piece of furniture program that included a high-backed armchair, table, sofa and stool.

At the International Biennale in Ljubljana in 1964 Sven Ivar Dysthe received the Gold Medal for model Laminate, and the following year became the Award for Design Excellence.

In Scandinavian Furniture Fair in Copenhagen Møre Lenestolfabrikk launched in 1967 the Sven Ivar Dysthe stack chair Laminette. The reception was mixed, but the Danish furniture architect Hans J. Wegner was thrilled. In 1968 the chair got the Award for Design Excellence and sales accelerated. During production currently sold Laminette in more than 800 000 copies.

The chair Planet was designed in 1963. A special feature is that it can be placed upside down on top of another Planet and then to form a sphere. When Foraform relaunched the chair in 2002, the short-time cult status. In 1967 Sven Ivar Dysthe and Møre Lenestolfabrikk commissioned by Sonja Henie and Niels Onstad Foundation to subscribe to new chairs for the Henie Onstad Høvikodden. It resulted in the cylindrical armchair PRISMA and fiberglass dining chair PPOPCORN.

The cooperation with Møre Lenestolfabrikk continued and developed with: Lamiline, Lamisteel and Lamilux who was anyone in the series of Dysthe models sharpened against the growing contract furniture market. In 1986 came the chair Parabola in Paraseat series that received the Innovation Award in 1988. A good user argument was that the chair could be hung on the edge of the tabletop by scrubber.

A breach of style direction Scandinavian Design is Flex-it from 1985. It was constructed over solve geometric foam modules montertes along with using Dysthe connecting system. The user selected from the modules forms how wanted to assemble their own furniture. Another piece of furniture was Dysthe armchair WATER CHAIR (1988). As the name implies, the water part of the padding material.

His series Guardsmen (1997-1998) drew Sven Ivar Dysthe to the departure hall in the newly constructed main airport Oslo Airport Gardermoen. Thematically, Guardsmen multiple touch points with 1001 series. Including the rectangular, concrete elements that form the foundation of the light, floating seats that are almost on their way to take off.

In addition to furniture design has Sven Ivar Dysthe worked with a number of other industrial projects. For Bergans he signed bindings, compressor body for Samuelsens Mechanical Workshop and Norlett a lawnmower. Lighting manufacturer Northern Lighting has in recent years relaunched wall lamp Butterfly originally produced by Arnold Wiig Factories.

As recognition for his efforts as an industrial designer Sven Ivar Dysthe received in 1989 Jacob Prize and in 2010 he was appointed a Knight of the 1st Class of the Royal Norwegian Order of St. Olav.

KÅRE BERVEN FJELDSAA

Kåre Berven Fjeldsaa was an important renewer in postwar Norwegian ceramics. His later works are characterized by good shape sensation in combination with graphic decoration. Fjeldsaa also had an abundant production of tableware for Stavangerflint.

While Kåre Berven Fjeldsaa (1918-1991) went apprentice to a potter Jens von der Lippe in the years 1936 to 1946 he studied at the National Craft Art and Design School's Eve school (1937-1942). The following year he joined as an apprentice to von der Lippe, he started up his own workshop in Blommenholm in Bærum. Fjeldsaa made in this initial period artifacts and hand modeled sculptures in softburned pottery with tin glaze. The variety of shapes was great - everything from exotic animals such as zebras, elephants, tigers to human figures from different cultures.

Around 1950 his vases and bowls machined or molded by hand was happily carved in relief in various depths. The decor was apparently geometrically where small displacements in surface gave his work a visual expression. In the same period he went from softburned ceramic to hardburned, sintered ceramics. From the 1950s attended Fjeldsaa in several important exhibitions. First Norway Designs for Living in Chicago (1951) along with Oslo Ceramic Workshops. At the Triennale in Milan in 1954 he received gold for a pitcher in matt blue glaze. There were also gold medal for Fjeldsaa on the international ceramics exhibition at Cannes 1955. As mentor in Copenhagen had Fjeldsaa acclaimed ceramist Nils Thorsson.I 1956 Fjeldsaa solo exhibition at Forum in Oslo. The exhibition is regarded as a highlight of his career as a ceramist, but also as a turning point for Norwegian pottery during the mid 1900s. Fjeldsaa found eventually that worked as an independent ceramist was demanding and heavily. In particular the aspects of his experiments costly, in addition, he experienced work unilaterally. When Stavangerflint searched for new artistic director in 1957 Fjeldsaa position. There he worked with, among others, Inger Waage and Kari Nyquist.

HANS-AGNE JAKOBSSON

Hans- AgneJakobsson (1919-2009)was a Swedish interior decorator and furniture designer most active between the 1950s and '70s.  Hans-Agne Jakobsson was  remembered for his softly glowing, glare-free lighting fixtures, which were inspired by Poul Henningsen and Finnish icon Alvar Aalto. Jakobsson created a range of pendants, floor lamps, wall lamps, and table lamps that shows diverse materials and forms, as well as a deep understanding of lighting effects.Jakobsson was born in Havdhem on Gotland in Sweden in 1919. He first was  a carpenter and then continued his education in Gothenburg, graduating with a degree in architecture. He wasfirst hired by General Motors as an industrial designer and subsequently worked as an assistant to both well known Carl Malmsten (1888-1972) and Werner West (1890-1959).In 1951, Hans-Agne Jakobsson founded his own furniture company named Hans-Agne Jakobsson AB in Markaryd, Sweden, which is sometimes referred to as AB Markaryd. Although Jakobsson designed and produced various types of furniture, his lighting received after a while much greater international attention. Hans-Agne Jakobsson worked with a wide range of materials—including brass, iron, glass, fabric, and wood shavings. Jakobsson mastered both the direction and color of light. His designs are known for their hidden bulbs and streamlined ornamentation, which created diffused, muted lighting.

YNGVE EKSTRÖM

Yngve Ekström (1913-1988) was an architect, woodworker, and furniture designer from Hagafors, Småland, in Southern Sweden. At the age of thirteen, following the death of his father, Ekström began working in the country’s oldest furniture factory, Hagafors Chair Factory. Between the carpentry aptitude inherited from his family and the new skills acquired at the factory, Ekström emerged from his formative years already with a wealth of artisanal expertise. At the age of eighteen, he began to pursue a career as a designer, first enrolling in drawing, painting, and sculpture courses, and then visiting the Röhsska Museum for decorative and applied arts in Gothenburg. In 1945, Ekström, together with his older brother Jerker (1911-2006) and friend Bertil Sjöqvist, founded ESE Furniture in their hometown. After a rough start, the company made its big break with Thema (1952), a chair made out of laminated veneer—a specialty of theirs—that could be flat-packed for efficient shipping and easily self-assembled by customers. Fifteen years later, after Sjöqvist left, the company became known as Swedese. The company sold in 1974, but Ekström continued to be an active contributor to the company until his death in 1988. Ekström—along with other designers like Alvar Aalto (1898-1976), Arne Jacobsen (1902-1971), and Poul Kjærholm (1929-1980)—played a key role in the development of the midcentury style known as “Scandinavian modern.” The Lamino Chair for Swedese (1956) is among Ekström’s best-known works, and it remains in production today. This undulating, minimalist armchair comprises a simple, wooden frame of layered bentwood supported by bent tubular steel legs. In 1999, Swedish magazine Sköna Hems named the chair the “20th-Century’s Best Swedish Furniture Design.” It also received the 2003 Design Innovation Award from IMM Cologne. Other well-known designs in Ekström’s portfolio include the Ruster seating collection for Pastoe (1950s)—which features low-back and high-back models sofas and chairs made from solid teak with signature triangle armrests—as well as the spindle-back Arka Chair for Stolfabrik (1955), the modular Fakta shelving system for Swedese (1958), and a series of teak tea trolleys (1959, 1962). Ekström’s designs can be found in many permanent collections, including the Victoria & Albert Museum in London, Nationalmuseum in Stockholm, and the Stedelijkmuseum in Amsterdam.

HANS J. WEGNER

Hans Jørgensen Wegner, (April 2, 1914 – January 26, 2007) is the real master of Danish chair design. Hans J. Wegner has a background as a skilled cabinet maker.  He had a hand of making wood into his chairs, and a special talent for using the characteristics of the material to create surprising, sculptural lines. To Wegner a chair isn't just a piece of furniture, but a work of art made to support the human form. His style is often described as Organic Functionality, a modernist school with emphasis on functionality. This school of thought arose primarily in Scandinavian countries with contributions by Poul Henningsen, Alvar Aalto, and Arne Jacobsen.   Wegner worked for some time for Arne Jacobsen who was a successful Danish architect and designer. Wegner was in charge of the furniture in the Aarhus City Hall in Denmark in which Jacobsen designed. After some years under Jacobsen, Wegner started his own company. Along with fellow architect Børge Mogensen, he designed furniture for FDB (a Danish chain of grocery stores). Wegner received several major design prizes through the years, from the Lunning prize in 1951 and the Grand Prix of the Milan Triennale in the same year, to the Prince Eugen medal in Sweden and the Danish Eckersberg medal. In 1959, he was made honorary Royal designer for industry by the Royal Society of Arts in London. His furniture is present in multiple international collection including the Museum of Modern Art in N.Y. and the Die Neue Sammlung in Munich. In his lifetime he designed over 500 different chairs, over 100 of which were put into mass production and many of which have become recognizable design icons.

JOHN TEXMON

Interior architect John Texmon was born in 1928 in Senja, Troms county, Norway. When moving to Oslo, he went to furniture nurseries before becoming a student at the Treavdelingen at the State Handicraft and Art Industry School. A school that was a creative meeting place for young designer spirits. Much thanks to principal Jacob Prytz who ran this school into a more professionalized direction. At the Tree department, Texmon soon became noticed. Along with Arne Martinsen in the advertising class, he received 2nd prize for a proposal for an organic shaped plastic chair. With many renowned designers, he set up Arne Korsmo's exhibition for the Triennial in Milan (1954) at a trial in SHKS's premises. Korsmos exhibition design later won the Triennial's highest award-Grand Prix. When Texmon finished the diploma assignment in 1954, he immediately joined Johan Riise & Co which had an agency for several of the major furniture companies, including Ekornes, Møre Lenestolfabrikk and Blindheim Møbelfabrikk. The first work for Blindheim he did around 1955. John Texmon was getting a good friendship with owner Einar Blindheim. Blindheim Møbelfabrikk focused on making space-saving furniture. As a result, Texmon around the 1957 designing The Ola desk. It was the ideal playgroup with large plate, three drawers with space for writing materials and shelf for books. Thanks to the thin, round and tapered legs, the Ola desk conveyed a light and airy impression. The Ola desk was available in teak, mahogany and beech. For each of the wooden combinations, it came with backs and drawers in the color combinations black, gray or blue. As a complement to the Ola desk, Texmon later designed the Ola shelf that could be mounted on top of the desk stools. The Ola desk became a butcher and the company had difficulty producing in line with demand. The Ola desk sold very well all the way back to the 1970s. As a result of the success of the desk, Texmon later designed the woman's counterpart to the Ola desk - the Kari desk. The Kari desk was meant to be used as a desk / sewing table. John Texmon worked for Johan Riise until the mid-1990s when he retired.