analecta romana instituti danici xxxiv - Det Danske Institut i Rom
analecta romana instituti danici xxxiv - Det Danske Institut i Rom analecta romana instituti danici xxxiv - Det Danske Institut i Rom
32 Sisse Tanderupwhich is worn close to the body, we identifyourselves with the feeling of wearingit and thereby get a personal experience. 34Fig. 14. Henning Koppel, Silver cuffs 1961 (photo:Georg Jensen).Georg Jensen’s silver ornaments are differentfrom ordinary everyday design becauseof an inherent duration or permanence. Thesilver ornaments can be kept, inherited andpassed on through generations, because sliverdoes not fade with time. On the contrary,silver acquires patina and value with use.By making connections between past andpresent, silver can be memory-evoking, justlike photos. A family album provides a settingfor our personal memory and for storytelling. This also applies to ornaments. Theycan be worn by generations, and the story ofan ornament or a piece of jewellery is alsoa story about our cultural history. What didthe designers want to tell their contemporariesand the future about emotions, dreams,thoughts and values? Jewellery can be wornover and over and signals slowness, repetitionand thereby memory.Michael von Essen, curator at the GeorgJensen Museum in Copenhagen, explains 35that when he is lecturing he often wears silvercuffs designed by Henning Koppel (Fig.14). The cuffs are miniature versions of thesilver fish dish “Number 1026” from 1954.During his lecture, Michael von Essen passesaround the silver cuffs among the audience.People are surprised by the weight ofthe silver. According to von Essen, there is ahierarchy as regards memory factors wherethe weight of the design object is the primarymemory factor. A heavy silver ornamentor silver product is attributed a higher value.As an example, the expectations of the usersare not always met when they realize thatsome of Georg Jensen’s silver brooches arehollow. The users expect a certain degree ofheaviness and are disappointed when theylift the objects. Quality and weight are thusconnected in the minds of the users. Von Essenmentions knives as another example ofthe connection between weight and memory.In the 1960s Georg Jensen introducedcutlery made of aluminum as an alternativeto the more expensive silver cutlery. However,this was a rather unsuccessful initiativebecause the new material was regarded astoo light. The cheap aluminum cutlery wasnot saleable. A heavy knife is used more becauseweight signals quality, and functionally,silver cutlery does not as easily fall fromthe table because of its heaviness. Designobjects made of inexpensive materials areusually not kept and thus are not passed onto future generations. The sound of the cufflinksis another memory factor according to
The Georg Jensen and Alessi Design 33nature. Her necklace of silver from 1957 37reminds of rain drops on a branch. She isinspired by fairy-tales and poetry. As a childshe saw “The Tinder-Box” with the filledwith ornaments and jewellery:Fig. 15. Jacquelin Rabun, CAVE ring 2003 (photo:Georg Jensen).von Essen, for example the clicking soundwhen the user opens them. However, soundis also a factor, which is quickly forgotten,like the sound of voices.In his design, Georg Jensen is inspired byhis personal memory of the nature of Denmark:“Silver has this wonderful moonlightglow – some of the light of a Danish summernight. It can be like twilight, and it can looklike a ground mist when it gathers dew”. 36Georg Jensen seeks the magical glow ofmoonlight by letting the hammer strokesstay visible. The stroke marks change the refractionsof light, which adds a mat glow tothe objects. Traces from the hammer strokesare visible in several of Georg Jensen’s theornaments.The Danish designer Nanna Ditzel doesnot work with hammer strokes in her ornaments.Her ornaments have the appearanceof sculptures. She is inspired by the wavesof the sea, the light flyers of the air and thegentle play of light when she designs. Toher, it is important that everything in contactwith the body meets it with kindness, fits itscurves and speaks the organic language ofAnd I went home and made ornaments usingall the materials I could get my handson, and I have worked with ornamentsever since. 38The American designer Jacquelin Rabuncreated the collection “Cave” (Fig. 15) forGeorg Jensen in 2003. 39 The collection ismade in silver and consists of a set of earrings, a ring, a bracelet and a pendant. Thepieces are shaped as small spheres of differentsizes. The pendant consists of sevenspheres, which symbolize the seven weekdays. A cave is formed in one of the spheres.In this way, time is made specific throughthe spheres. The cave symbolizes reflectionand ones inner space, representing the possibilityof withdrawing and seeking peace. 40The cave is a paradox. It is empty inside, buton the outside it comprises the entire world.The Swiss architect Raoul Bunschoten explains:A cave is defined by the entire earth. Thevery existence of the cave implies that theearth is looked upon as an architecturalobject. The earth is an object in a muchgrander space. 41
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- Page 10 and 11: 22 Sisse Tanderupgets his existence
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- Page 14 and 15: 26 Sisse TanderupFig. 5. Wiel Arets
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- Page 18 and 19: 30 Sisse TanderupFig. 10. Aldo Ross
- Page 22: 34 Sisse TanderupIn an announcement
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The Georg Jensen and Alessi Design 33nature. Her necklace of silver from 1957 37reminds of rain drops on a branch. She isinspired by fairy-tales and poetry. As a childshe saw “The Tinder-Box” with the filledwith ornaments and jewellery:Fig. 15. Jacquelin Rabun, CAVE ring 2003 (photo:Georg Jensen).von Essen, for example the clicking soundwhen the user opens them. However, soundis also a factor, which is quickly forgotten,like the sound of voices.In his design, Georg Jensen is inspired byhis personal memory of the nature of Denmark:“Silver has this wonderful moonlightglow – some of the light of a Danish summernight. It can be like twilight, and it can looklike a ground mist when it gathers dew”. 36Georg Jensen seeks the magical glow ofmoonlight by letting the hammer strokesstay visible. The stroke marks change the refractionsof light, which adds a mat glow tothe objects. Traces from the hammer strokesare visible in several of Georg Jensen’s theornaments.The Danish designer Nanna Ditzel doesnot work with hammer strokes in her ornaments.Her ornaments have the appearanceof sculptures. She is inspired by the wavesof the sea, the light flyers of the air and thegentle play of light when she designs. Toher, it is important that everything in contactwith the body meets it with kindness, fits itscurves and speaks the organic language ofAnd I went home and made ornaments usingall the materials I could get my handson, and I have worked with ornamentsever since. 38The American designer Jacquelin Rabuncreated the collection “Cave” (Fig. 15) forGeorg Jensen in 2003. 39 The collection ismade in silver and consists of a set of earrings, a ring, a bracelet and a pendant. Thepieces are shaped as small spheres of differentsizes. The pendant consists of sevenspheres, which symbolize the seven weekdays. A cave is formed in one of the spheres.In this way, time is made specific throughthe spheres. The cave symbolizes reflectionand ones inner space, representing the possibilityof withdrawing and seeking peace. 40The cave is a paradox. It is empty inside, buton the outside it comprises the entire world.The Swiss architect Raoul Bunschoten explains:A cave is defined by the entire earth. Thevery existence of the cave implies that theearth is looked upon as an architecturalobject. The earth is an object in a muchgrander space. 41
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