For Southern Sweden Design Days, the Copenhagen-based digital gallery ADORNO launches the “PROXIMITY” collection, created in collaboration with Form/Design Center, showcasing a selection of new work from ten southern Swedish designers and studios.
19–22 May 2022, the second edition of Southern Sweden Design Days will take place, highlighting sustainability, collaboration, development, and innovation in design. This year’s theme PROXIMITY invites interpretations of being close – the connection between people, cities, countries, species, professions, etc.
As a whole, the collection contemplates the notion of proximity, interconnection, and belonging. Whether through contemporary references to traditional crafts techniques; the use of locally sourced materials such as wool, lichen, steel, and wood; or playful visualisations of the notion itself, the selected pieces illustrate the importance of closeness, interconnection, and kinship in uncertain times.
– The purpose of the annual theme is to be inspiring, challenging and spark creativity and new ideas for exciting content. It should also harmonise with SSDD’s overall focus on sustainability, collaboration, development, and innovation. – Terese Alstin, project manager at Southern Sweden Design Days
– From the suggestions on themes that we received, many touched upon the notion of togetherness and community, and it was clear to us that people were requesting a theme with an optimistic vibe and positive message. – Ann Isler project manager at Southern Sweden Design Days
The physical exhibition of “PROXIMITY” will take place at Lokstallarna, Södra Bulltoftavägen 51, 212 22 Malmö from 19 – 22 May 2022.
"Fringefloss" by Andrea Santivanez. Photo: Helena Pataki
Fringefloss explores southern Swedens handicraft traditions in combination with the area’s modern assets for production. The project is a translation of a traditional but extinct carpet, which was woven locally around the Malmö area in the middle of the 1600s and was called Trensaflossan. The Trensaflosses were considered very valuable and could be sold and exchanged as shares.
The result is a carpet / seat cushion with an associated stool. The translation was done using artificial intelligence and the project can be described as a partnership between low-tech and high-tech design methods. An odd couple who need to start working more together to tackle today’s complex challenges.
Trensaflossan’s translation into English is Fringefloss because ”trensa” means ”fringes” in Scanian accent.
"Stopgap Table" by Andréason & Leibel. Photo: Andréason & Leibel
A table with no start and no end. No front nor back. No hierarchy. Just a series of random stops and gaps in an eternal movement.
Stopgap table is the result of a failed creative divorce. The Proximity project was the starting point for Andréason & Leibel’s plan to do separate designs to meet on stage.
It ended up in one piece significant for their close intertwined design process. The low table is designed for casual meetings when conversations flow freely and spirit is high. Stopgap Table is made by hand 2022 in the designer’s studio in Arlöv just outside Malmö.
“Very Good Stool” by Förstberg Ling. Photo: Förstberg Ling
With the first version (stone, 2018) of their Very Good Stool, Förstberg Ling explored the relationship in-between the carried and the carrying.
The stacking and slotting of the different elements of the stool makes for a certain structural clarity. Each part performing its tectonic function in relationship to the next.
The galvanised version adds another layer of structure and texture. Slightly more complex. Very rugged. Very hardcore.
“PlusPlus” by Jóna Berglind Stefánsdóttir. Photo: Anna Gudmundsdottir
Originally part of the ‘Last Minute Collection’ by M.U.S. (Malmö Upcycling Service) where the aim was to design objects made completely from local industrial leftovers or waste material. PLUSPLUS the optimistic shelf is made from discarded vinyl and filled with styrofoam.
"Tree Trunk Vase" by LAB LA BLA. Photo: Lab la bla
'Tree Trunk Vases' are created by blowing molten glass into salvaged tree stems hollowed by agents such as fungal decay or termites. Wooden molds are in constant change where parts of the intricate texture may shrink, deform or burn up, making no two objects the same.
“Mylia Rug (Yellow/Blue)” by Lisa Darland. Photo: Lisa Darland
In Sweden over a thousand tons of wool is burned or thrown out every year while we at the same time import wool and wool goods for a value of four hundred million Swedish crowns.
“Mylla” is a textural rug made by hand out of 100 % Swedish wool from farms in Skåne and Halland in southern Sweden. A fiber that is flameproof, dirt-repellent, biodegradable and can regulate the humidity. The rug is created with minimal cuts of the fibers and utilizes the characteristics of the wool, knit and weave. This combination creates a soft texture that also can be used as a seating surface. The process of getting rid of the wool (burning and disintegration) and the extensive fields of Skåne served as an inspiration. Fenced fields where the sheep spend their days, spring to autumn.
“Mylla” is a Swedish word for mixing things into the soil.
“Lichen Leftover Light” by Louise Hederström. Photo: Louise Hederström
The “Lichen Leftover Light” is part of a project where Louise Hederström investigates and shapes discarded lichen from the local company Nordgröna’s production of sound absorbers. She pushes the boundaries of what is considered junk or product in a series of unique handmade objects, inspired by shapes that grow around us and using colors that challenge and arouse emotions.
The Lichen Leftover Light can be used both as wall lamp and table lamp, hanging on the wall or as a landscape on a table or sideboard.
“Cluster #3” by Moa Lönn. Photo: Moa Lönn
Black clay draws a line in space, a number of nodes and connections construct the shape. A balancing act that oscillates between being a human-shaped artifact and a structure evolved in nature. The surface is camouflaged, with drippings reminiscent of the growth of lichens or mold taking a hold of the branch-like structure. The Cluster series is a hand-built ceramic series created by Moa Lönn. The process in the studio is based on careful recognition of the bearing capacity of the material clay, as the added shapes are dependent on the strength of the lower structures. The making of the object is dependent on this balance, and each object obtains a unique shape through the process. The works relate to group-living forms of life that are utterly dependent on the proximity to each other.
"Really Rokoko” by Ebba Lindgren. Photo: Anna Gudmundsdottir
”At this very desk, the Countess of Sorgenfri wrote her famous sonnets and thirst traps. Like the young nobilities of her time, she was schooled in the art of texting. Rumour has it that her ghost still hides in between the fibers, awaiting the perfect moment to resurface and reply.”
Furniture for the self-proclaimed royals. Desk and stool losely based on the asymmetrical, and nature inspired rococo-style. A workplace for emotional labor and social maintenance. Inspired by the ”Bonheur-Du-Jour”, a type of letter-writing desk that was popular among women in the 1700s. The objects are made out of “Really Board”, a textile waste fibreboard with a core of discarded hotel bedlinen and a coating of shredded textile off-cuts.
Originally commissioned by M.U.S. (Malmö Upcycling Service) for the collective exhibition ‘Last Minute’ at the Swedish Embassy in Denmark during 3daysofdesign.
“Cut Out Rug Sprinkles” av Studio M. Foto: Studio M
Cut out rug is a concept where the rug is questioned as a functional or aesthetic object in our home. A project that wants to challenge the traditional rug and invite new movement patterns in the room and create a connection between the carpet and the floor. By removing the inner part of the carpet, it frames the floor and its traditional place in the home is challenged by the fact that the underlying surface contributes to a different perception of space.
From 19-22 May 2022, the second edition of Southern Sweden design Days will take place – a new international design event in Malmö. Southern Sweden design Days invites visitors from all over the world to experience the best the creative southern Sweden design region has to offer.
Southern Sweden Design Days is aimed at a design-interested public as well as professional visitors. With a train ride only 30 minutes from Copenhagen, Malmö is a central hub for creativity, sustainability and culture. The participants are active in design, architecture and crafts and count both individual practitioners, offices, studios and collectives, producers and companies active in the field of design, colleges and universities, cultural institutions as well as industry organisations and associations.
Southern Sweden Design Days is organised by Form/Design Center – the main venue for architecture, design, and craft in southern Sweden.
Form/Design Center is a meeting place, a venue for inspiration and a knowledge hub within architecture and design. At Form/Design Center you can visit exhibitions, our shop and café, or take part in workshops and lectures. Form/Design Center is also a platform for the design industry and a partner in selected development projects. Form/Design Center is run by Svensk Form Syd, a nonprofit organization. The Center is funded with support from the Ministry of Culture, the City of Malmö, Region Skåne and the Swedish Arts Council.