En kritisk undersökning av det modernistiska projektet för design i Sverige.
(2002)- Abstract
- The thesis has one aim: to investigate the modernist project for design in Sweden and extract its dominant ideals, with the purpose of discussing it critically. The ideals of the modernist project for design make the social democratic thought manifest. These ideals are interpreted as a socialistic aesthetic. The results of the investigation can be summoned up in the following conclusions: When a comparison is made, it is evident that the design ideals in Sweden bear several resemblances to the aesthetic ideals of design developed in the German Democratic Republic (GDR) in the years 1949-1989. The evident conclusion is that the SSF, Svenska Slöjdföreningen (eventually renamed the FSF, Föreningen Svensk Form), which was supported by the... (More)
- The thesis has one aim: to investigate the modernist project for design in Sweden and extract its dominant ideals, with the purpose of discussing it critically. The ideals of the modernist project for design make the social democratic thought manifest. These ideals are interpreted as a socialistic aesthetic. The results of the investigation can be summoned up in the following conclusions: When a comparison is made, it is evident that the design ideals in Sweden bear several resemblances to the aesthetic ideals of design developed in the German Democratic Republic (GDR) in the years 1949-1989. The evident conclusion is that the SSF, Svenska Slöjdföreningen (eventually renamed the FSF, Föreningen Svensk Form), which was supported by the social democratic State, chose to construct a unison ”Swedish” design, rather than bringing out different forms of design in Sweden. Even if ”Swedish” design does not exist, it is constructed. As long as the racial-hygienic content of ”good” is used uncritically, it lingers on as if it were harmless and ”good” by nature. Apparently, postmodernism was seen as a threat against the ”good”, anonymous, practical, use-value-commodity for ”ordinary people”. Even though present-day Sweden is a multicultural society, several of the modernist ideals of design could be said to linger on, with the aim of launching one single ”good”, ”Swedish” design product. Design produced in Sweden is even marketed as ”Scandinavian”, in order to profit from a wider geographical area, especially Danish and Finnish design of the 1950s. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/20674
- author
- Rampell, Linda LU
- supervisor
- opponent
-
- Dybdahl, Lars, Köpenhamns universitet
- organization
- alternative title
- A Critical Study of the Modernist Project for Design in Sweden
- publishing date
- 2002
- type
- Thesis
- publication status
- published
- subject
- keywords
- ”Swedish Modern”, Föreningen Svensk Form, socialistic aesthetics, "good" taste, Marxism, twentieth century, sociology, political economics, philosophy, Theory and history of design, modernism and modernity, ”Scandinavian Modern”, functionalism, Art history, Konsthistoria
- pages
- 119 pages
- publisher
- Art History
- defense location
- Hörsal 314, Institutionen för konst- och musikvetenskap, Biskopsgatan 5, Lund
- defense date
- 2002-11-29 10:00:00
- language
- Swedish
- LU publication?
- yes
- id
- c7b47d1b-8430-495c-8c74-27a0dd2a50d3 (old id 20674)
- date added to LUP
- 2016-04-04 10:45:27
- date last changed
- 2018-11-21 21:00:37
@phdthesis{c7b47d1b-8430-495c-8c74-27a0dd2a50d3,
abstract = {{The thesis has one aim: to investigate the modernist project for design in Sweden and extract its dominant ideals, with the purpose of discussing it critically. The ideals of the modernist project for design make the social democratic thought manifest. These ideals are interpreted as a socialistic aesthetic. The results of the investigation can be summoned up in the following conclusions: When a comparison is made, it is evident that the design ideals in Sweden bear several resemblances to the aesthetic ideals of design developed in the German Democratic Republic (GDR) in the years 1949-1989. The evident conclusion is that the SSF, Svenska Slöjdföreningen (eventually renamed the FSF, Föreningen Svensk Form), which was supported by the social democratic State, chose to construct a unison ”Swedish” design, rather than bringing out different forms of design in Sweden. Even if ”Swedish” design does not exist, it is constructed. As long as the racial-hygienic content of ”good” is used uncritically, it lingers on as if it were harmless and ”good” by nature. Apparently, postmodernism was seen as a threat against the ”good”, anonymous, practical, use-value-commodity for ”ordinary people”. Even though present-day Sweden is a multicultural society, several of the modernist ideals of design could be said to linger on, with the aim of launching one single ”good”, ”Swedish” design product. Design produced in Sweden is even marketed as ”Scandinavian”, in order to profit from a wider geographical area, especially Danish and Finnish design of the 1950s.}},
author = {{Rampell, Linda}},
keywords = {{”Swedish Modern”; Föreningen Svensk Form; socialistic aesthetics; "good" taste; Marxism; twentieth century; sociology; political economics; philosophy; Theory and history of design; modernism and modernity; ”Scandinavian Modern”; functionalism; Art history; Konsthistoria}},
language = {{swe}},
publisher = {{Art History}},
school = {{Lund University}},
title = {{En kritisk undersökning av det modernistiska projektet för design i Sverige.}},
year = {{2002}},
}