The Myth of Danish Design and the Implicit Claims of Labels

Abstract

All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. List of Illustrations viiIntroduction: National Design Histories in an Age of Globalization 1 Grace Lees-Maffei and Kjetil Fallan Chapter 1. Designs on/in Africa 23 dipti bhagat Chapter 2. Does Southern African Design History Exist? 42 Deirdre Pretorius Chapter 3. Designing the South African Nation: From Nature to Culture 60 Jacques Lange and Jeanne van Eeden Chapter 4.

Selling Time: Multiple Temporalities in the Promotion of Danish Design Classics

“…So, the highly esteemed Danish tradition was first of all understood as a culture of production by reworking constructions through craftmanship or industrial means, as neither types nor materials were specifically Danish. 32 The Wishbone-chair has been in continuous production since 1950, in various types of wood or differing colours. It is both an expression of its original period, Danish Modern, and very widespread on the market, in magazines and in homes of today.…”