Tretten

Part-1: Carefully select any singular piece of DK design (specifically from the Post-war period) as seen/experienced in Kunstindustrimuseet’s exhibits today. Select a piece which you feel strongly embodies and typifies DK design as discussed in class and elucidated in the required readings.

Part-2 .Respond to given Thematic:  The roles and re-presentations of personal identity and collective/cultural identity in Danish design in the Post-war period (and optionally: also discuss how this relates -or not- to DD today).

I have chosen to select Cecilie Manz's Ladder (1999) as a piece of discussion. While technically the post-war period ended in 1990 however Manz was very much influenced strongest by the Post War Period designers and her work represents what most Danish Designer's sought to express. Manz has been actively and professionally designing from the Manzlab, here in Kobenhavn, since graduating from Danmark Designskole in 1997.

Manz One said  "I like to emphasize spontaneity and simplicity. My way of working is firstly to keep a completely open mind about the concept, for example 'table.' I go to great lengths to uncover what functions a table has to fulfill. I let my ideas run wild in the beginning but then as the begin to take shape, I begin to minimize as much as possible."

I have chosen Ladder because it is a very functional piece of design, that is a chair essentially simplified to the point in which is it unrecognizable as a chair. Manz is known for incorporating humor in her designs, as see in Ladder and her well known piece Clothes Tree. While Manz is a newby in the design world she has created a strong design identity among other Danish designers. Among all characteristics of Manz's designs she finds function the most essential element "If I cannot formulate a good reason for a new product, it is better to refrain from making it."

A  key aspect of Manz's work has always been simplicity- the process of working towards a pure, aesthetic and narrative object. Her work is sensual, as a designer she opens up her senses for everyday things we usually never reflect on. Such as why can't we hang clothes on a tree? Or why can't we use a ladder as a tool and a comfortable place to rest?

In creating Ladder Manz thinks creatively with respect for the materials and functionality of the piece. Its smooth pieces are fashioned together with traditional wooden joints. Rather then using nail, where unnecessary the piece is kept to a single material. Manz's work is a prime example of her Scandinavian influences and her praises to the fathers of Danish Design. Manz's personal identity is in her unique humorous approach to problem solving. Many of her designs, Ladder included make the viewer question our everyday decisions and tools. Her insight in approach to design is what sets her apart. Rather then creating another chair she creates a tool for sitting, while also creating a tool for reaching. This duality of use is a major characteristic valued in Danish design. Manz's work represents new-school Danish design, that embodies many traces of Danish design past, but challenges restrictions of the past. Manz pushes the envelope while still staying true to form and functionality, which take precedence as the most important parts of her work. Cecilie Manz's inquisitive mind shapes her identity, as an important part of bringing the heart of traditional Danish design boldy into the future.