collection 2010

manifest

&tRaDition. the noRDic heRitage in contempoRaRy Design

Craft meets art. Function meets form. The material is respected and the potential is revealed. This is Nordic

tradition and this is our heritage that we cherish and keep. Yet &Tradition is more. We aim to bridge the

values of solid handcraft to contemporary design.

The principles of quality are timeless, but the beauty of design and the methods of production will never

stand still. &Tradition will move on to reshape, to redefine and to develop. We utilize and combine new

materials, uncover new techniques and break boundaries in manufacturing. We want to challenge the limits

of function, form and materials.

The collection of &Tradition not only covers iconic designs and undiscovered gems from the masters of

yesterday. It also features new works from leading designers of today and from the talent of tomorrow.

The classics of now were the avantgarde of the past, and we will encourage the creation of what may

become the classics of the future.

Our perspective is global. We scout for design talent beyond borders. We handpick the production facilities

that will provide the finest quality, wherever they are. We market our collection through an international

network, but our roots are still Nordic. Tradition is still a part of our identity.

We believe in design that is made to last from sustainable production, and respect the nature that provides

our raw materials. We salute the tree that grew the wood and the sand that blew the glass. Eventually

tradition will find new roads and we aim to lead the way at &Tradition.

anDtRaDition. COllECTION 2010 maNIFEsTpage 03

anDtRaDition.com

KONgEvEjEN 2. DK-3480 FrEDENsbOrg.T +45 39200233. F +45 39200256.info@anDtRaDition.Dk

anDtRaDition. COllECTION 2010. mIlK bY NOrm arCHITECTs

pRoDuct

mateRials: Opal glass, acrylic and untreated oak, with fabric cord.

stoRy: With mIlK, the NOrm architects Kasper rønn & jonas bjerre-Poulsen find exciting new ways in an

ancient Nordic tradition of wood and glass. Though perfectly suited as a lamp, mIlK adds more than light to

your home. mIlK can be placed anywhere and lights up both body and soul and let’s the mind drift off to the

Zen of a japanese spa.

& mIlK is the first item in a series of sensory design for the home.

DesigneR

tRaDition: “We definitely see our work as a part of the scandinavian modernist tradition – functional,

minimal, poetic and timeless - with a profound understanding of natural materials and a special attention to

detail”, says NOrm, also known as the architects Kasper rønn (born 1976) & jonas bjerre-Poulsen (born 1976).

They are both graduates from the royal Danish academy of fine arts in Copenhagen, and the dynamic design

duo, being true modernists, believe in design where focus is on meeting a real need instead of creating one.

This reflects in their work as architects and industrial designers. Function, production and form are equally

important components, and though being true Nordic values, this also applies for the traditional japanese

design, the arts & Crafts and the shaker movement - all traditions NOrm are influenced by. Though bearing a

strong admiration for some of the purest minimalists such as mies van der rohe, Donald judd, john Pawson,

alberto Campo baeza and Noato Fukasawa, NOrm are not easy to categorize. In the architect and designer

Carlo scarpa, with his obscene attention to detail, the duo see a kinship which they express in the little twist or

playful detail they add to their design.

innovation: NOrm combines materials in a new way and rethink details, but this is as far as a design

strategy goes. “We have no strict formula, every new design comes about in its own way, every invention is

built on something already existing”, says NOrm. speaking with one voice of design but being two highly

creative individuals, the collaboration between them often leads to new designs, throwing an idea back and

forth. With mIlK for &Tradition, NOrm’s intention was to create a soft light that could be placed in all the

corners of the home to create a cozy atmosphere. With mIlK’s innovative combination of a translucent glass

shade on wooden legs, the lamp stands firm in a strong Danish tradition, not unlike NOrm themselves.

& Kasper and jonas have known each other since high school and have worked together numerous places

including a home for mentally challenged people, a gas station and at the Ole Palsby Design office.

page 07

bY NOrm arCHITECTs

milkanDtRaDition. COllECTION 2010. mIlK bY NOrm arCHITECTs page 06

bY vErNEr PaNTON

floweRpot

pRoDuct

mateRials: steel with lacquered finish and matching fabric cord.

stoRy: In 1968 the students’ revolts in Paris, rome and the United states were

overthrowing stiff, old values, initiating the Flower Power-generation of peace, love and

harmony. same year, stanley Kubrick pictured the future of the year 2001, featuring the

verner Panton Chair, and man was soon to set foot on the moon. In the world of design,

a colourful, playful pendant hung in restaurants and exhibitions, and, very soon, in

everybody’s homes. The FlowerPot with its two semi-circular spheres facing each other

has long proved its lasting design quality and is just as much a synonym of our time, too.

& The diameter of the upper sphere is twice as large as the lower one, making a perfectly

balanced form. No wonder, the FlowerPot won gute Form bundespreis in 1972.

DesigneR

tRaDition: verner Panton (1926-1998) once said, “I have never learned so much from

somebody as from arne jacobsen” showing his former master great respect. Yet his own

fluid, futuristic style couldn’t have been further from jacobsen’s, for whom he worked

from 1950 to 1952. He graduated as an architect from the royal academy of Fine arts

in Copenhagen in 1951, and later he founded his own studio and went in the opposite

direction of most of his contemporary Danish designers. Pop aesthetics in furniture and

interiors were born. verner Panton successfully interpreted the ‘a-changin’ times of the

hippie movement and moon landing into visionary colourful interior, lighting and furniture.

To him, colour was always more important than form and creating his own theory of light

based on goethe and the bauhaus painters, he believed, that colour could evoke feelings.

The Flowerpot summarized this theory, lightening up in a variety of bright colours.

innovation: His entire oeuvre being innovative, Panton’s quest to experiment never

seized. being a child of his time, the new materials emerging gave him the opportunity

to create objects never seen before and to revolutionise interior design with his total

concepts in saturated hues. This is seen in the headquarters of Der spiegel in Hamburg

or his parent’s inn on the island of Fynen where everything down to the aprons of the

waitresses was designed in matching colour. He was first on many things from developing

the first inflatable furniture to the first chair cast in one piece, the s chair (1960) but

where he really moved the way we live was in his light and colour, this also being the title

of the 1998 Panton exhibition at Trapholdt-museum in Denmark. The exhibition opened as

planned on 17 september 1998, reigniting the fame of the enfant terrible of Danish design.

However, verner Panton had died in Copenhagen just 12 days earlier, making it also a

tribute to the designer.

& In his young days, Panton often set off from Copenhagen in an odd looking converted

volkswagen for a trek across Europe, dropping in on fellow designers to share ideas - and

good meals.

anDtRaDition. COllECTION 2010. FlOWErPOT bY vErNEr PaNTONpage 11anDtRaDition. COllECTION 2010. FlOWErPOT bY vErNEr PaNTON page 10

bY mIa HambOrg

shuffletable

anDtRaDition. COllECTION 2010. sHUFFlE TablE bY mIa HambOrgpage 15anDtRaDition. COllECTION 2010. sHUFFlE TablE bY mIa HambOrg page 14

pRoDuct

mateRials: lacquered mdf and solid oak wood.

stoRy: mia Hamborg gives new life to the old Nordic craft tradition of turning wood by

adding the colour and playful forms from old painted wooden toys. It’s up to you where

you want to put this fine piece of furniture and being truly Nordic and democratic, you

can even decide the form, colours and height of the table.

& This fine table has one function more important than all others: To create joy.

DesigneR

tRaDition: Norwegian designer mia Hamborg (b.1980), ba in furniture from the steneby

school of Crafts and Design in gothenburg has a passion for order, functionality and

colour. With her joyous and playful furniture she continues an old Nordic tradition for

wood turning and brings new life into the material. she compliments designer sir Terence

Conran for his acknowledgment that modern people often live with limited space and

therefore making storage a design issue. she doesn’t follow any strict design tradition,

but the joy of life is definitely her inspiration.

innovation: a turned wooden leg divided into pieces and splashed with colour is

a daring and charming way of renewing the woodturning tradition. Her shuffle table

combines playfulness, democracy, and functionality. Here is a table for all ages that can

adjust to changing needs and uses.

& I can spend hours with a jigsaw puzzle, putting everything into various categories, it

makes me peaceful, says mia Hamborg

pRoDuct

mateRials: Clear mouth blown glass with clear PvC or fabric cord.

stoRy: With bulb, Danish light artist sofie refer lit up the new millennium and a new classic

was blown. The shape refers to the first electrical light bulbs by using thick transparent glass.

sofie refer continues an elegant Nordic tradition, adding her own passion and femininity.

The small irregularities in the mouth blown glass make each of the pendants one of a kind and

add the story of the glass master’s personal efforts in changing sand, soda and chalk into a

modern classic using a thousand year old method.

& gOOD DEsIgN award 2001 by the Chicago athenaeum: museum of architecture and Design,

Wallpaper Design award 2006 for best light.

DesigneR

tRaDition: sofie refer (b.1974) is a Danish designer, graduated from from The Danish Design

school, department of Product Design in 2003. sofie refer is partner and Creative Director

of refer + staer aps, a Danish design lighting company and her designs play with Nordic

simplicity in a more extravagant way. lighting design is her passion and she is fascinated by

light in all it’s aspects. The bulb pendants she has created for &tradition expresses her respect

for the Nordic tradition of glass blowing and simple, pure forms, quoting the first source of

electric light. but her approach to light is fun and feminine, sophisticated and sensuous.

innovation: Working with international architects such as Conran Contracts, aukett, Cba

and bates smart, sofie refer is taking the Nordic light tradition way out in the world. she takes

great pleasure in working with architects on projects where her customized lightning design

closely follows the architecture and interior.

bY sOFIE rEFEr

bulb anDtRaDition. COllECTION 2010. bUlb bY sOFIE rEFErpage 17anDtRaDition. COllECTION 2010. bUlb bY sOFIE rEFEr page 16

aRne jacobsen • mia hamboRg • jøRn utzon • maRia beRntsen • peRnille vea • benjamin hubeRt •

sofie RefeR • noRm aRchitects • veRneR panton

anDtRaDition. COllECTION 2010. DEsIgNErspage 21anDtRaDition. COllECTION 2010. DEsIgNErs page 20

bY vErNEr PaNTON

topan

pRoDuct

mateRials: lacquered aluminium with matching fabric cord.

stoRy: sometimes the simplest things are the most lasting and memorable, the Topan

Pendant being a brilliant example. It was the first mass produced lamp by verner Panton,

later to be followed by the FlowerPot. Topan’s simplicity and coolness proves to be

of lasting value. Topan was originally designed for the hotel and restaurant astoria in

Trondheim, Norway, in 1960. Here, Panton used his textile designs geometry I to Iv for

floors, walls and ceilings in order to give the room a uniform image. The Topan pendants

hung all over, dividing large rooms into smaller and more intimate spaces.

& Topan is a true celebration of colour - just like m&m’s.

DesigneR

tRaDition: verner Panton (1926-1998) once said, “I have never learned so much from

somebody as from arne jacobsen” showing his former master great respect. Yet his own

fluid, futuristic style couldn’t have been further from jacobsen’s, for whom he worked

from 1950 to 1952. He graduated as an architect from the royal academy of Fine arts

in Copenhagen in 1951, and later he founded his own studio and went in the opposite

direction of most of his contemporary Danish designers. Pop aesthetics in furniture and

interiors were born. verner Panton successfully interpreted the ‘a-changin’ times of the

hippie movement and moon landing into visionary colourful interior, lighting and furniture.

To him, colour was always more important than form and creating his own theory of light

based on goethe and the bauhaus painters, he believed, that colour could evoke feelings.

The Flowerpot summarized this theory, lightening up in a variety of bright colours.

innovation: His entire oeuvre being innovative, Panton’s quest to experiment never

seized. being a child of his time, the new materials emerging gave him the opportunity

to create objects never seen before and to revolutionise interior design with his total

concepts in saturated hues. This is seen in the headquarters of Der spiegel in Hamburg

or his parent’s inn on the island of Fynen where everything down to the aprons of the

waitresses was designed in matching colour. He was first on many things from developing

the first inflatable furniture to the first chair cast in one piece, the s chair (1960) but

where he really moved the way we live was in his light and colour, this also being the title

of the 1998 Panton exhibition at Trapholdt-museum in Denmark. The exhibition opened as

planned on 17 september 1998, reigniting the fame of the enfant terrible of Danish design.

However, verner Panton had died in Copenhagen just 12 days earlier, making it also a

tribute to the designer.

& In his young days, Panton often set off from Copenhagen in an odd looking converted

volkswagen for a trek across Europe, dropping in on fellow designers to share ideas - and

good meals.

anDtRaDition. COllECTION 2010. FlOWErPOT bY vErNEr PaNTONpage 23anDtRaDition. COllECTION 2010. FlOWErPOT bY vErNEr PaNTON page 22

anDtRaDition. COllECTION 2010. sPINNINg lIgHT bY bENjamIN HUbErT

pRoDuct

mateRials: spun aluminium with gloss lacquered exterior finish, silicone top and

matching PvC cord.

stoRy: The spinning-top toy, a childhood favourite, inspires to the joyful form of the

spinning light along with the process of metal spinning. Here, form truly meets function

in an innovative way. It’s sleek, it’s sexy and it’s sure to become a new classic.

DesigneR

tRaDition: ”I try not to look too much at what other people are doing, otherwise its

very difficult to do anything truly new” says british designer benjamin Hubert (born 1984).

His many times award winning lightning and furniture are material led and process driven,

bringing simplicity and functionality in a natural equilibrium. This approach pays respect

to the usual classic suspects such as Charles Eames and Dieter rams. by trying to create

a design philosophy of his own, benjamin Hubert is indeed a true designer.

innovation: after graduating from loughborough University in 2006, benjamin

Hubert’s final year project ‘Puff out lights’ won the Corus materials prize at New

Designers, received short-listings in two other awards, and won best graduating Designer

of the Year at the Hub Class of 2006. Though short in years, the list of awards and prices

is very long, including blueprint 100% Design best New Product 2009, Design of the Year/

british Design awards 2009 and Elle Decor british Design of the Year 2009.

Only few designers accomplish so much in such a short time and even before turning 25.

This is not least thanks to his fascination of materials, including ceramic, wood and cork,

benjamin Hubert is already an established name in the world of design. Creating new

objects means doing things that are relevant and innovative in aesthetics, functionality

or materials. With the goal set to create happiness with his design, there are surely many

more smiles to come from his hand.

& benjamin Hubert is always curious to find new solutions and materials, often stopping

to feel the texture on a piece of furniture or feeling the weight an old glass vase.

page 25

bY bENjamIN HUbErT

spinninglight

anDtRaDition. COllECTION 2010. sPINNINg lIgHT bY bENjamIN HUbErT page 24

pRoDuct

mateRials: leather on aluminium, black leather with yellow stitches and

black fabric cord, tan leather with green stitches and green cord.

stoRy: Corium is latin for leather and the name of this striking pendant.

With the juxtaposition of the softly shaped curves against the firmness and

solidity of leather, Corium evokes a mood that is finely balanced between

dualities: The feminine and the masculine, the yin and yang, tradition and

innovation. Used in this new and unexpected way, leather becomes a highly

modern way to implement nature’s qualities in contemporary design.

& The leather is tanned with natural tannic acid from oak bark, using a

thousand year old technique to create a very modern design.

DesigneR

tRaDition: “I stand in the modern Nordic design tradition, that’s what made

me, it is my creative heart blood”, says Pernille vea (born 1965), over two

decades one of the most influential Danish designers. since she graduated

from the Danish Design school with a degree in furniture and spatial

design, her work list has grown a long with the (very long) list of the design

awards she has received, not least thanks to her good craftsmanship and

understanding of functional beauty. The black Contour series that she has

done for mENU is among the most loved table wear in scandinavia. Having

no design icons as such, both the artists Donald judd and anish Kapoor’s

search of space and emptiness in their works along with jasper morrisons

understatement and ypperlig proportions offer inspiration in Pernille’s work.

innovation: life is innovative. What we do at home or work, during

holidays or in the car is ever changing. basing new ideas on this context,

always reflecting the era we live in; Pernille vea’s designs become intriguing

and vibrant. In her hands, modern Nordic is interpreted in a form that

combines simplicity with proportions, minimalistic and honest. making the

material talk is one of her characteristics, heard eloquently in the Corium for

&Tradition. The Corium is her first furniture designs in six years, taking her

back to her origin.

& Pernille vea never sleeps in the plane from Hongkong to Copenhagen,

because it is an amazing journey.

bY PErNIllE vEa

coRiumanDtRaDition. COllECTION 2010. COrIUm bY PErNIllE vEapage 29anDtRaDition. COllECTION 2010. COrIUm bY PErNIllE vEa page 28

bY jørN UTZON

tivoli

pRoDuct

mateRials: aluminium with lacquered finish and fabric cord.

stoRy: To jørn Utzon, his father’s naval engineering drawings led to a lifelong

fascination with ships and boats, along with light. more than a decade before jørn

Utzon created his masterpiece, the sydney Opera House, he put his childhood

fascination into this pendant, combining successfully the smoothness of the lines of a

ship with the source of light for the first time.

& The choice for white finish reminds of the waves and the northern light.

DesigneR

tRaDition: born in Copenhagen, but raised in aalborg far away from the buzz, no

one would have thought that the architect jørn Utzon (1918-2008) should become

one of the greatest architects ever. He is present in almost every family album, or more

correctly so, are pictures of his sydney Opera House which he started building in 1957.

as a graduate from the royal academy of arts in Copenhagen, he was influenced by

Danish architect and author steen Eiler rasmussen. Utzon also often referred to the

swedish architect Erik gunnar asplund along with alvar aalto and Frank lloyd Wright

as his architectural kin. after travelling through Europe, the United states and mexico,

Utzon established his own practice in Copenhagen, working mainly as an architect

throughout the world. His classic, elegant and yet very poetic lines emerged not only

from materials but more importantly from light. anyone who has had the chance to

enjoy any work of Utzon’s will recognise the lines from his father’s (a naval engineer)

detailed boat sketches, delivering a never ending source of considerations on form,

light and lightness.

innovation: Words as futuristic, global and original are often used about Utzon’s

work, and when he won the contest for the sydney Opera House the word genius

was heard. Working anthropological when sourcing inspiration for his works is maybe

what made his style really new and outstanding. The eye is never tired but always

challenged, in his buildings or lamps. His lamp design reflected his buildings and even

though the Tivoli Pendant was designed 10 years prior to the opera house, it holds the

same strength and beauty. For good reasons Utzon became only the second person

alive to experience to have his work recognised as World Heritage.

& modest Utzon never wanted to be portrayed, stating his works as his portrait.

anDtRaDition. COllECTION 2010. TIvOlI bY jørN UTZONpage 31anDtRaDition. COllECTION 2010. TIvOlI bY jørN UTZON page 30

01. floweRpot 02. milk 03. bulb 04. hook 05. mega bulb 06. coRium 07. hangeR 08. Royal canDlestick 09. coRium 10. Royal lamp 11. Royal bowl

12. Royal lamp 13. stanD 14. hook 15. floweRpot 16. floweRpot 17. floweRpot 18. floweRpot 19. floweRpot 20. floweRpot 21. floweRpot 21. floweRpot 22. floweRpot 23. floweRpot 24. floweRpot 25. floweRpot 26. floweRpot 27. floweRpot 28. panton Dish 29. floweRpot 30. spinning light 31. floweRpot 32. tivoli 33. floweRpot 34. hanDbag miRRoR 35. spinning light 36. topan 37. topan 38. topan 39. topan 40. topan 41. topan 42. shuffle table 43. topan 44. topan 45. topan 46. topan

10.

14.

05.

08.

11.

07.

01. 02.

12.

04.03.

13.

09.

06.

15.

21.

27. 16.

22.32.

28.

17.

23.

33.

18.

24.

34.

29.

19.

25.

35.

30.

20.

26.

31.

36.

42.

39.

45.

37.

44.

38.

43.

40. 41. 46.

anDtRaDition.com