tag:blogger.com,1999:blog-37342854861831870772024-03-13T00:59:55.791+01:00stuff that makes my heart beat fasterceramics, glass, architecture, art, design, landscapes ..... and moretovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.comBlogger120125tag:blogger.com,1999:blog-3734285486183187077.post-13037655901626778102014-03-25T22:49:00.000+01:002014-03-25T22:55:02.723+01:00Eight Norwegians and a Finn<div style="text-align: justify;">
There hasn't been much time for thrifting lately, and I haven't been very active on the blogging front. I hope some of you are still around... The process of taking over the company I work for has drained me, we also have an huge amount of projects, big and small. Which is good. I guess.....Still, being creative and innovative when there's so much on your plate is not always easy.</div>
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I finally managed to pop by a couple of thrift stores this Saturday and found some nice pieces. Apart from Figgjo and Stavangerflint, both brands from my home town, I love Egersund fajance, as I'm sure you've noticed:-) What I find particularly interesting is that the factory produced for such a long time and covered a broad spectre of periods. The pieces I found on saturday represent two of them, the 70s and the 30s.</div>
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I'm falling deeper and deeper in love with Unique, their eggyolk colored design from the early seventies. I adore the cheerful, shiny 70s vibe and the handpainted touches. I find both the colors and shapes to be so very typical for that decade of bright colors and great graphics. Unique
was designed by Kaare Block Johansen in 1971 and was in production
until 1976, just a few years before Egersund Fajance closed
down in 1979. I've found quite a lot of these by now, and use them daily, mixed with Korulen. You can see the amazing teapot and cups in my previous post and find more information about both Unique and it's "sibling" Korulen <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/egersund-unique.html">here</a> and <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/02/egersund-korulen.html">here</a>. This time I found two large serving dishes and a lidded sugar bowl, all in mint condition.</div>
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The factory made some rather lovely art deco pieces, this latest one I've found has a pattern which is very typical for that era. I have a few more art deco pieces by Egersund fajance, but sadly have not been able to find out anything about the artists behind them. </div>
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I found this large and lovely Cathrineholm casserole in a design which is not so common. It may be inspired by the Finel mushrooms, or the other way around, I don't know which came first. The pattern is in a deep, muted green and the greyish white background has a hint of green. It's in great shape and the best part- I got it for next to nothing, 75 kroner (equivalent to 12 USD or 9 euros)!!</div>
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A while ago, I found some Stavangerflint "Mesterkokken" ("Chef") dishes in reddish brown, yellow
and teal, designed, silkscreened and handcolored by Inger Waage. This Saturday, I found three plates in the blue version of the design. I don't have much blue in my home, but I couldn't resist these. The pattern and color of these blue ones makes me think of Delft, I wonder if she was inspired by their lovely designs? "Mesterkokken" was introduced around 1960, I haven't been able to pinpoint the exact year. One of the dishes I found the last time originally had a lid, but as is often the case with vintage lids, they've gone missing years ago. I've seen in old ads, though, that both color combos had brown lids. See my previous post on this design <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2014/01/thrifts-and-treasures.html">here</a>.</div>
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I'll leave you with my most cheerful find this time, this gorgeous Arabia Finel enamel pot, designed by Kaj Franck. The pattern is by Esteri Tomula, a great graphic designer from Finland who is the woman behind numerous amazing Arabia designs. </div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com15tag:blogger.com,1999:blog-3734285486183187077.post-87585950696812673382014-02-16T15:55:00.002+01:002014-02-16T15:55:55.047+01:00Sunshine on a grey dayIt was such a treat to find this sunny teaset in these grey, wet and foggy times. <span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Egersund Unique
is handpainted and the pieces therefore have an individual look. On
the olivegreenish/ brown edges you can clearly see the brushstrokes. </span>Unique
was designed by Kaare Block Johansen in 1971 and was in production
until 1976, just a few years before Egersund Fajanse closed
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Unique has the exact same design as Korulen, also by Kaare Block Johansen, but which has a lovely sunflower pattern by Unni Margrethe Johnsen. I have found quite a bit of both of these sunny designs. I so love the colors and those amazing early 70s lines. The teapot is simply amazing!<br />
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I've written quite a bit about these before, so I won't bore you by repeating myself. If you're interested, you can find quite a bit of information <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/egersund-unique.html">here</a> and <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/02/egersund-korulen.html">here</a>. Wish you all a great week!<br />
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com15tag:blogger.com,1999:blog-3734285486183187077.post-69236145371734846302014-01-19T23:32:00.002+01:002014-01-19T23:32:35.571+01:00Thrifts and treasures<div class="separator" style="clear: both; text-align: center;">
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I spent last weekend in Stavanger at my parents house, just relaxing, taking in the salty North sea air, watching the waves, photographing, having delicious prawns and doing no (yes, that's right:-) thrifting! Still, I managed to bring home some treasures. My dad's been at it again, and has made me another gorgeous bag. He makes them out of thick, delicious, natural tan leather that turn into a wonderful golden brown after some use and a few rounds of beezwax. I've had the large bag to the right for around a year. It's my everyday bag that I use for work. It has a long strap and can carry just about anything, my laptop, umbrella, hairbrush etc. The new bag is a much smaller size with a short strap. I'm such a lucky girl, he's made me a camera bag, belt and make- up bag. Apart from the unsurpassed leather and handcrafted quality, they're extra precious because dad made them! See more pics <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2012/10/gorgeous-leather.html">here</a>.</div>
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I also brought home some of my grandmothers old pottery. Aren't they lovely? The one to the left is traditional Sandnes pottery. It's not stamped, but it must be either Gann, Graveren or Gann Graveren (after the two companies merged). My collection of this pottery is now quite numerous, and this is the smallest one until now, it's only 13 cm tall (the largest one is almost 40 cm and is the home of a large Monstera). My dad told me he remembers his mother used it for jam. It has a little less glaze than the bigger ones. The two planters in the middle are unmarked, and I have no idea who made them. They have an unusual glaze that's quite lovely. The last and biggest one is Strehla.</div>
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Do you remember I showed you my husband's lovely Stavangerflint plate that he had as a child? The pattern is "Venner" (Friends) and was designed by Gro Pedersen Claussen. My mum let me take my own Stavangerflint set back with me. The pattern is called "O du som metter liten fugl" and was designed by Anne Lofthus. I remember how I knew the pattern by heart and made up stories about the little birds and animals. I showed it on Instagram today, and got the sweetest comment from a lady from my home town, saying she remembers it from her kindergarden in the late 60s. She also told me she was sure one of the birds was named after her sister. I guess this shows how important the visual surroundings are for a child's imagination. </div>
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This weekend has been busy, but I managed to squeeze in a short stop at my nearest thrift store yesterday. It's a large shed really, but the owner really makes an effort, she lights candles and plays 30s music, trying to create a vintage atmosphere, she's a really sweet woman. I do pick up the occasional treasure there, this time I found these following pieces.</div>
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First out, a lovely little pitcher in Brunette by Stavangerflint. It's bigger than a creamer, smaller than a jug, perfect for custard or some other dessert sauce. Of course, a little bouquet of wild flowers would look just perfect in it too! Brunette was designed by Kåre Berven Fjeldsaa in the 60s.</div>
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I was really thrilled to find two Stavangerflint "Mesterkokken" (Chef) dishes. The pattern was designed, silkscreened and handcolored by Inger Waage, and also came in blue. The design is from around the same time as "Bambus", as the same techniques were used. There was a tv-show made by BBC in 1961 that featured Inger Waage and her design "Mesterkokken", which means it was designed in 60 or 61, or maybe even the late 50s. </div>
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The pattern is a feast for the eye, so quirky and rich in detail. The colors are a combo I haven't really seen before, reddish brown, yellow and teal. They look great together. The blue version makes me think of the great dutch patterns used on Delft and the likes. I found two old pictures on the web, probably from Stavangerflint ads, of tables set with the two versions of the design. I must say those flower arrangements surpass mine by far!! That wooden backdrop is gorgeous, don't you think?</div>
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Not quite so quirky is this simple award- winning Hadeland "Multe" (cloudberry) bowl, designed by Willy Johansson in 1966. I really looks like it could have been designed today, doesn't it? I've found two larger bowls in this lovely smokey grey earlier. The design also comes in a deep emerald green. </div>
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Finally, a small Stavangerflint souvenir dish, handpainted by Inger Waage. It shows scenes from the city of Bergen, Norway's second largest city which is known for it's picturesque city centre, surrounded by mountains. <br />
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com17tag:blogger.com,1999:blog-3734285486183187077.post-89845326000633927412014-01-09T00:32:00.001+01:002014-01-09T00:32:31.104+01:00The High Line<div style="text-align: justify;">
On Christmas day we went for a walk on Manhattan, through Greenwich Village, Soho and the Meatpacking district. I love the color and textures of these neighborhoods, the low (for New York!) brownstone buildings, the former industrial buildings turned art galleries, apartments and boutiques, and the not quite so touristy atmosphere. </div>
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I was quite taken with this recent piece of architecture that blended so beautifully in amongst the brownstones. The street facade is clad in Corten steel, and I'm guessing it has a higher degree of transparency on the opposite facade.<br /><br />Always when I travel, I have a list of what I want to see, both art and architecture, and drag my poor husband and kids around... This time in New York, I only had two things on my list: the occasional public sculpture and The High line. I had really high (excuse the pun, couldn’t resist) hopes for The High Line, and I was not disappointed. I’m a firm believer in new thinking around established phenomena, in this case the urban public park. To be elevated above street level and experience the city from another viewpoint had a greater impact on me than what I expected. It’s also an efficient use of valuable street level space and, most importantly, reusing excisting structures is both ecological and creates some unexpected spaces with valuable links to the past. I can highly recommend it, if you haven’t been there already. <br /><br />The High Line is a public park built on an historic freight rail line elevated above the streets on Manhattan’s West Side. The first section of the High Line opened in 2009. It runs from Gansevoort Street in the Meatpacking District to West 20th Street. The second section, which runs between West 20th and West 30th Streets, opened two years later. </div>
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The High Line is owned by the City of New York, and maintained and operated by Friends of the High Line. Founded in 1999 by community residents, Friends of the High Line fought for the High Line’s preservation and transformation at a time when the historic structure was under the threat of demolition. In addition to overseeing maintenance, operations, and public programming for the park, Friends of the High Line works to raise the essential private funds to support more than 90 percent of the park’s annual operating budget, and to advocate for the preservation and transformation of the High Line at the Rail Yards, the third and final section of the historic structure, which runs between West 30th and West 34th Streets. <br /><br />The High Line was built in the 1930s, as part of a massive public-private infrastructure project called the West Side Improvement. It lifted freight traffic 30 feet in the air, removing dangerous trains from the streets of Manhattan's largest industrial district. No trains have run on the High Line for more than three decades. The last train chugged along the High Line in 1980, carrying three carloads of frozen turkeys.</div>
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The design team of landscape architects James Corner Field Operations,
with architects Diller Scofidio + Renfro, created the High Line's public
landscape. Construction on the park began in 2006. For a relatively
narrow and straight stretch of parallel tracks, I was impressed with the
great variety of spaces they've created. The High Line's planting design is
inspired by the self-seeded landscape that grew on the out-of-use
elevated rail tracks during the 25 years after trains stopped running.
Many of the species that originally grew on the High Line's rail bed are
incorporated into the park's landscape. It may sound funny, but I
really liked the winter dullness of the plants, all brown and not much
to look at. It really added to the intended effect of the natural
elements taking over an old industrial installation.</div>
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In recent years, the High Line has been adding interesting art along its length and even on the billboards facing the linear park. Now, public art seems to be spreading outwards into neighboring Chelsea, a long-time gallery destination. <br /><br />“The river that flows both ways”. This installation is part of High Line Art, a program that introduces site-specific works that respond to the park’s unique qualities.Inspired by the Hudson River, Spencer Finch’s The River That Flows Both Ways (between West 15th and West 16th Streets) documents a 700-minute (11 hours, 40 minutes) journey on the river in a single day. The title is a translation of Muhheakantuck, the Native American name for the Hudson, referring to the river’s natural flow in two directions. Like the rail line that existed on the High Line, the Hudson River was, and still is, an active route for the transportation of goods into Manhattan. The river and the High Line have always been linked in their geography, their function, and their imprints on the industrial legacy of the city. </div>
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From a tugboat drifting on Manhattan’s west side and past the High Line, Finch photographed the river’s surface once every minute. The color of each pane of glass was based on a single pixel point in each photograph and arranged chronologically in the tunnel’s existing steel mullions. Time is translated into a grid, reading from left to right and top to bottom, capturing the varied reflective and translucent conditions of the water’s surface. The work, like the river, is experienced differently depending on the light levels and atmospheric conditions of the site. In this narrative orientation, the glass reveals Finch’s impossible quest for the color of water. I really loved how the artist used an existing structure (the old framework) to create something new. It reminded me a bit of the modern, pixelated new take on the <a href="http://wtfarthistory.com/post/17318660163/gerhard-richter-gothic-pixels">stained glass window</a> in the Cologne cathedral by one of my many favorites, Gerhard Richter. </div>
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“Busted” is a series of contemporary busts amid the High Line’s public gardens. Artist Steven Claydon, created UNLIMITEDS & LIMITERS, which humorously plays with the idea of the traditional bust, with doubles in resin and concrete. </div>
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Getty Station is a public art program based at the former Getty filling station conceived by real estate developer and art collector Michael Shvo to bring outdoor exhibitions to a broad audience in the center of the High Line arts district. The program centers on site specific installations as an opportunity to incorporate a classic twentieth century American icon into the contemporary art dialogue. I just missed Sheep Station (it ended in late fall) which showcased 25 of late artist François-Xavier Lalanne’s iconic epoxy stone and bronze ‘Moutons’. Lalanne’s first iteration of the sculptures was his infamous ‘Moutons de Laine’ in 1965, gradually expanding this particular body of work to include additional variations of the sculpture in epoxy stone and bronze in 1977. Set in a surrealist landscape amidst the existing industrial gas station architecture, the sheep symbolized Lalanne’s mission to demystify art.<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-US;"> </span></div>
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To me, even this New York phenomenon below could be an art installation, commenting the implications of urban density....But it's not! It's just an impressive parking structure:-)</div>
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Some "architect- nerdiness", a close up of a great material combo...</div>
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I really recommend <a href="http://www.youtube.com/watch?v=9o_5cbPDQoY&feature=player_embedded">this great video</a> on YouTube, it gives you a good overview and understanding of the High Line project and it's relation to the surrounding city. I also recommend <a href="http://www.thehighline.org/">this website</a> for more info.</div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com16tag:blogger.com,1999:blog-3734285486183187077.post-50368842202524830132014-01-05T02:06:00.001+01:002014-01-05T02:14:07.767+01:00New Year update<!--[if gte mso 9]><xml>
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Happy new Year to you all! Thank you so much for all your lovely comments on my last post. I hit the publish- button the night before we left for New York and never got the chance to answer, but they were all so sweet and heartwarming, so thank you! I hope everyone survived Christmas. We're back to normal over here, no more jetlag and lazy days... I thought I'd show you what I enjoyed seeing the most in New York this time, but I thought I'd get this "thrift and gift" update out of the way first, to keep it a bit chronological.... If you're on Instagram, you've probably seen it already! </div>
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I'm such a lucky girl. I got two wonderful pieces of jewellry for my birthday a month ago. Remember my feature about the amazing Juhls silvergallery a couple of posts back? Well somebody's been listening! My husband gave me this beautiful brooch. I love it and have worn it a lot!</div>
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From my mum and dad I got this amazing silver ring. On my trip back home this september, we walked past the studio of three amazing female artists that make some wonderful jewellry, all handcrafted. I must have commented on this ring, or mum just knows me really well- anyway, she picked out one of the rings that really made my jaw drop! It's large, concave and oxidized. Really gorgeous!</div>
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You must be tired of my Festivos and Ultima Thule glasses by now, but I'll just go ahead and show you what's new:-) In early december a seven ringer found it's way to my home. After the "family photo" was taken, a friend told me a three ringer was put aside for me in my local Salvation army store if I wanted it. Boy, did I! It must have been hanging around in a smoker's home, it was all yellow, but an overnight soak in dishwashing detergent cleaned it up nicely.<br />
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Most recent family member below</div>
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Then my sweet sister gave me six Ultima Thule tumblers! I now have twelve in this size. </div>
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I don't really collect Hadeland Furu (pine), but I have a couple of large plates and I fell for these glass bowls. The design has such a lovely handmade quality, with the uneven edges, none of them identical. The Furu pattern was designed by artist Severin Brørby. I'm a bit unsure
of the year, but the information I have found suggests 1972.</div>
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A new Scheurich Fabiola (far left) has joined my most colorful collection of West Germans.</div>
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Four Figgjo Tor Viking dinner plates moved into my kitchen. This quirky, cheerful pattern is a Turi Gramstad Oliver design from the 60s. The small plates are from an earlier thrifting spree.</div>
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Finally, four new Arabia Ruska plates concludes my thrifting update. Love them and use them all the time! Designed by Ulla Procope in the early 60s, they're still looking modern! See also <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/10/from-finland-with-love.html">this post</a>. <br />
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com22tag:blogger.com,1999:blog-3734285486183187077.post-7548965764218295982013-12-21T20:23:00.000+01:002013-12-21T20:23:03.113+01:00Merry Christmas!<div class="separator" style="clear: both; text-align: center;">
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<![endif]--><br />Work and life has been crazy busy this fall. I've completely lost my thrifting and blogging mojo, but hopefully it will return! I have been reading all your lovely blogs, but I haven't been able to comment as much as I would have liked. </div>
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So what's been going on? In short, the founder of the office I work for, a true modernist and a great architect, has turned seventy and has asked me and a few of my colleagues if we want to take over the practice. He started it 40 years ago and we have a solid position in the city we're based. We are 8 architects, small enough to enjoy the benefits of short decision lines but big enough to take on large projects. So this fall and winter, there's been a lot of time spent on negotiating all the details about the take over. It feels a bit overwhelming right now, but it's gonna be exciting! </div>
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<br />Yesterday was my last day at work before Christmas. We always dress up a little, have a delicious meal together and give eachother gifts before we part for the holidays. In the evening we had my parents and my sister's family over for a get together over my dad's wonderful bacalao, celebrating Christmas a little in advance, because we won't be home. My husband, who is a pilot, has a flight to New York with a four day layover, and instead of spending the holidays apart, the boys and I are tagging along. So the holidays will be a little different this year. But Christmas is where the family is, right? The boys are thrilled, and that's the most important thing. <br /><br />I want to wish every one of you lovely friends out there a wonderful Christmas and all kinds of happiness in the coming year! <br /><br />All the best, Tove</div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com13tag:blogger.com,1999:blog-3734285486183187077.post-78490587345534885512013-11-19T01:29:00.003+01:002013-11-19T18:44:48.168+01:00Juhls silvergallery<div style="text-align: center;">
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You probably know from previous posts that I love brutalist jewelry. I guess you all know the work of Laine, Sarpaneva, Vidal and Larin, but I thought I'd show you one of my norwegian favorites. </div>
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Juhls' Silver Gallery is located in
Kautokeino, in the very north of Norway. The story of Regine and Frank
Juhls is as lovely as it is fascinating. In the 1950s Regine, who is originally from
Germany, studied at a theater school in Wienna, Austria, when she
started her journey to escape urban Europe, and find a place more
favourable to her creativity. Up in the north of Norway she met Frank
from Denmark, that was pursueing the same 'non-urban project'. In 1959 they started a small workshop. This was in the
earliest years of the Studio Silver Movement in Norway. They were true pioneers who started out empty-handed
to build up something in the wilderness. In the Fifties there were no
roads across the tundra yet - not even a path to where they wanted to
build. And therein lay the challenge. At first the building materials
had to be rowed over a river and then carried up a mountain. With
indefatigable pleasure in their work the two of them put up a house. The workshop
developed over the years into a gallery in a large building with
interesting architecture, reflecting the shapes of the surrounding landscape. <br />
<br />
The
Juhls were fascinated by the nature on the tundra, and by the Sami
people who lived there. They started to repair silver jewelry for them
and this developed into a renewal of the tradition of jewelry used with
their folk costumes. <span lang="EN-US" style="mso-ansi-language: EN-US;">Gold- and silversmiths were unknown here.
Because of their unsettled lifestyle it was difficult for the Laps to develop a craft that would have required fixed workshops. Nevertheless the
Laps had centuries old traditions concerning the wearing of particular jewellery
which they acquired through trade. Driving the Laps' enthusiasm for
self-adornment to greater heights and thereby taking into account the
particular ideas of the Sami is still an important task for this workshop - the
first of its kind in all of Lapland. </span>Some of the jewelry, inspired from old grave
treasures, have animal shapes and are similar to modern studio jewelry
with naivistic influence. <br />
<br />
However, it is the
modern jewelry of the Juhls' workshop that has been internationally
acknowledged. <span lang="EN-US" style="mso-ansi-language: EN-US;">He paints - she creates sculptured jewellery. Both of
them are inspired by immense, untouched Nature. </span>Regine's collection, named 'Tundra', in her own
words 'inspired by the eternal Wasteland of the arctic', has a tough
elegance. It is the result of a life in isolation, far away from large
cities, in fascination for the nomadic lifestyle, near to nature,
stones, bones, lichen and moss, from which it has borrowed it's shapes. The
collection is characterized by uneven surface texture, negative space,
raw unpolished white silver surfaces, and sometimes brightly colored
stones. The very earliest pieces and the prototypes are made of small
pieces of silver hammered and then soldered together. <br />
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Some
of the pieces from the 'Thundra Series' were exhibited at Expo 67, the
Montreal World's Fair in Canada, where Regine Juhls and Tone Vigeland
(another great favorite!) were chosen to represent Norwegian art of jewelry making.</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">There's an awful lot of text in this post, I know.... Still I want to show you Regine's jewelry accompanied by her text <i>"Winged nomads", </i>which is so beautifully written and gives you a glimpse into her artistic prosess and her loving appreciation for the landscape that surrounds her and that she draws her inspiration from. Her words are truly beautiful, I promise you won't regret spending a few minutes on them.</span></div>
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<b><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Winged Nomads</span></b><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></div>
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<i>"If
I want to describe beauty, the first thing that comes to my mind is the
majestic appearance of large birds of passage, and it seems to me as if
I feel something like the resonance of their calls inside me. - Each
time they're always overhead quite unexpectedly. Before I grasp their
presence they're already flying across distant skies. - These few
seconds are like an initiation into the mysteries which are forever
unfathomable to mankind. Everything I am holding at that moment - things
and thoughts - I simply have to drop. For I feel as if I am seeing a
miracle. - After that there is a void, as if the birds have taken
something away with them. As if to replace it, I try to form shapes.
Sometimes I succeed." </i></div>
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<i>"Being creative, - is it not like filling a deserted sky? Or is it
like with certain uninhabited rooms? As soon as the door opens they
swarm out from all over. They are the ideas woven in secrets which have
been waiting for someone to knock ... Picture a Tundra landscape, a vast
Arctic plain. Snow has covered it, but no-one has yet trodden out a
path. - Nature is practically crying out for it; - and somebody comes
... Being creative is like an act of defiance to the knowledge of the
meaninglessness of the individual. It is an attempt to portray the
longing for perception. Sometimes it is perception itself - other times a
simple game, and it is again different and so much more. - But how to
realize an idea? - At first glance the work of a goldsmith can seem to
be an accumulation of mere trifles." </i></div>
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<i>"Saw this, file away that, solder it together again, sand it down -
what pedantry! The empty room, the vast plains, the bewitching calls of
winged nomads - where has it concealed itself, that which opened the
door to creativity? What was it that had me jump over an abyss, only to
leave me with good workmanship? At times I feel deceived. Or I am
plagued by doubt: creativity, - what is it worth? Doesn't it always
harbour a seed of destruction? Why reveal secrets, why tread footprints
in virgin snow? Look at the birds who don't form anything - but they
don't deform anything, either ... </i><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><i></i></span></div>
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<i><i> </i></i></div>
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<i><i>Another time I am overcome with scorn
for my work: "What am I making? Baubles for vain ladies?" One
consolation is that much is form enough in itself, - regardless of use
and weight, - a form which could be made of iron or silver - could be a
sculpture or jewellery. However, that I then wrestle with it, as if it
were vital,. simply to make nuances harmonize with ideas what ridiculous
seriousness! And yet I continue, out of a feeling of obligation and out
of obstinacy, - and each time the resistance melts and disappears
completely. It is always the mysteries of a microcosm that attract me
and seek to suck me in, until I suddenly catch hold of the end of a
thread, and thereupon cast myself wholeheartedly into this unknown. Soon
it is my soul which takes the lead as if to head a magical parade. It
determines the rhythm, the formation, and before a couple of days have
passed I am again convinced that there is nothing more important than
creating something beautiful.</i><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><i>"</i></span></i></div>
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<i>"I am no technician. An "old-fashioned" person, I stand helpless when
faced with apparatus with knobs, - barely able to reconcile myself with
a pair of compasses and a ruler. Nor am I one of those who must under
all circumstances work with their hands. After all, I am always
surprised at being able to solve aesthetic problems with my hands. I
work with my eyes. Indeed, I love beauty. Most of all, though, I am
basically geared to making something out of nothing - on no matter what
subject. Everywhere I discover" something, find, pick up, collect what
others would overlook, scorn even, and disgard. In the tiny remains of
broken, half-decayed things a whole world of possibilities can open up
to me."</i></div>
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<i><i>"When enthusiasm overcomes me, I become like a child, not noticing
that I am sawing my finger or singeing my hair. And be it child or
sorceress - no, the enthusiastic servant of a sorceress who juggles with
corrosive acids, sulphur, gas and fire, I am warm and raw with
gratitude because I know: I serve Beauty ... Until I have finished and
woken up sober in order to let the new piece of jewellery pass through
the hands of our friendly employees. Now the model has to be copied so
that it resembles the original as closely as possible. </i></i></div>
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<i>The Lap Tundra: During Summer's embrace the earth breathes beneath a
phosphorus-green net embroidered with a pattern of tiny plants.
Mushrooms, moss and lichen - the claim to be able to recognize this
abundant sprouting of the tiniest plants in my jewellery, - is it not
just the wishful thinking of the well-disposed? Or can living a long
time in a particular landscape develop a style? - the ability to
experience Nature with fervour, - we understand that it fills the soul.
Likewise we understand that in the profusion the soul gives of itself.
But what is it that is added and produces poems that have to be written
on paper, and forms that have to be made with tools? - It isn't known." </i></div>
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<i>"It is very sad that I hardly get a chance to make jewellery, - if I
do, it's winter, and then only rarely. There is always something else to
do to preserve what we've built up. Sometimes more than a year passes
and my hands are no longer used to the tools. Even touching them almost
requires an effort, and all the doubts find excuses to put off making a
start. - Finally I clear a big table, root out what I have collected and
tip it out over the bare surface. That helps give me a perspective. And
already a mysterious mechanism starts up. .. </i></div>
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<i>"Well, look at that, -
that's not bad," I can hear myself mumbling. "This half-molten fragment
here - and that one over there, - surprising that I've still got that!"
And I brood over all these metallic curiosities. It is like in the
summery Tundra, - when I am engrossed in the "forest" of the thousands
of individual tree lets" that make up the reindeer moss. - Finally I go
to my workbench. And there I stay, - day and night. And I love my work! -
Now the ideas assail me. It is as if I were being wrapped up in
crackling garlands, just like the Northern Lights when I stomp through
the snow on winter nights. I saw, file, sand down, as if anaesthetized
by the flowering pot plants around me. Now I experience the practical
work as something precious, - something that glows, smells even, - like
white hyacinths in dark sunless days. ... </i></div>
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<i>Outside storms can rage and the frost can hammer mighty blows against
our walls. "That's Winter," we say and smile. So what? We face the fact
that he will stay for at least eight months. - But all of us here in
the North - people and animals - long for Summer. We are beside
ourselves when she comes. And when she goes, we feel as if we'd had her
for a long time, for we loved every moment of her presence. - Then the
Tundra colours, blazes, glows, and we know... now it is at its most
beautiful. ... </i></div>
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<i>After that it gets quiet. Autumn, late autumn - a new
innocence, a submissive virginity trembles around each defoliated twig.
This bareness, trusting in whatever may come ... I don't know why this
season moves me so much. Reverently I follow the slightest changes, roam
carefully through the silent wilderness. It is so delicate, you hardly
dare approach. A shaking emanates from the straggling rusty-brown
birches. The moors glisten palely around timidly grey waters. A weak,
yellow-ochre glimmer of forgotten willows lingers on the open plain, -
around distant heights' there is still a touch of violet ... </i></div>
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<i>Standing on a hill, I am gripped by the feeling that I am looking at
the end of all things, and yet I am only standing at the beginning of
Siberian eternity. And I say to myself "This is where I live" and a
thankful sensation of security comes over me. There, suddenly -
wonderous calls. From behind denuded trees regal birds soar into the air
with mighty beating of their wings, high, high into the air and away
from all that ties one to the ground. - At that moment I am transfixed
by a swan-white light that takes my breath away. "Yes", I think, and I
find myself on knees, "I've just seen a miracle". Tundra -you demand
also from us the humility which is only inherent in animals. Rarely does
a human succeed in getting close to your wholeness, - and you honour
that person by welcoming him."</i></div>
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The buildings alone are well worth a trip to Juhls silvergallery. I still haven't been there, it's a really long journey from here, actually as far as from here to Italy. Gives you an idea of our long and narrow country! My parents have, though, and told me it was an unforgettable experience. It's very high on my list. The jewelry pictures and Regine's text are from www.juhls.com. Sadly, the image quality doesn't match the greatness of their work. I like using my own pictures in my posts, but the ones below, as you've probably guessed, are shamelessly "borrowed" from cyberspace. I've downloaded them some time ago, so unfortuneately I can't remember who to credit. I'm not very proud of that bit... But I just had to show you this amazing place. The lamps in the first pic are to die for... They're called "Orient", and were designed by Jo Hammerborg for Fog & Mørup in 1963.<br />
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The roofs of the buildings <span lang="EN-US" style="mso-ansi-language: EN-US;">spread out over the variously-shaped rooms like
snowdrifts over the Tundra... </span>The buildings are filled with art from other diciplines, paintings, prints, glass, ceramics, as well as collections of old sami artefacts. <span lang="EN-US" style="mso-ansi-language: EN-US;"><br />
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I do not know the people in the picture below, but couldn't resist showing you the lovely Falcon chairs by Sigurd Resell....<br />
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The buildings and outdoor space contain several ongoing artworks and murals by Frank Juhls.<br />
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Regine and Frank Juhls, don't they look lovely?<br />
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com26tag:blogger.com,1999:blog-3734285486183187077.post-87377452903706800452013-11-06T15:07:00.000+01:002013-11-18T18:36:10.732+01:00Manufactured landscapes<div style="text-align: justify;">
I’ve had a bit of a dry spell with the blogging lately. I could show you my newest thrifty acquisitions, but I thought I’d do something else this time and show you something that has inspired me immensely. <br>
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I'm usually all smiles (unless someone's done a good job at winding me up), but my taste and sense of aesthetics is more on the dark and gloomy side. I've always loved steel and the way it ages. There's something about the signs of lived life and the decay aspect that adds so much conceptually to a piece of art or architecture. Steel also makes me think of machines. Large machines in a landscape is a theme that's been a constant source of inspiration. In my student years I worked a lot with steel, often Cor Ten, a steel alloy that lets the surface rust quickly to form a protective layer. It won't rust through like regular industrial steel. When I designed a small pilgrim chapel once, my professor said: you know the Cor Ten steel might "bleed" down on the ground when it rains, don't you? He then thought about it for a few minutes (while I was thinking uh- oh) before he said: of course, let's hope it does, it's perfect for your concept!! <br>
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It's sad how few projects that allow for a purely conceptual approach, on a daily basis it's all about cost and deadlines and an enormous amount of paperwork. Sometimes I feel like I'm drying out as an architect and need to go back to the experimental student work, when it was ALL about concept and see if I can still get my mind into those tracks again. <br>
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Back to my source of inspiration. I've been immensely inspired by the photographs of canadian artist Edward Burtynsky, especially his series of photographs called Shipbreaking. If you’re not familiar with his work already, check out the <a href="http://www.edwardburtynsky.com/">website</a> (quotes and images are courtesy of www.edwardburtynsky.com). He has documented manmade landscapes, landscapes that are shaped by industrial prosesses, like quarries, oil refineries, dams and mines. His photograps have so many layers. They can be seen as purely aesthetic, Burtynsky chooses to refrain from moralizing. He photographs civilization's materials and debris, but in a way people describe as "stunning" or "beautiful," and so, without words, raises all kinds of questions about ethics and aesthetics without trying to easily answer them. There's this strange feeling of guilt for finding them beautiful. <br>
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<i>“The original idea for “Shipbreaking” started a long time ago. About four years after the Exxon Valdez oil spill I heard a radio program where they were talking about the danger of single-hulled ships. The insurance companies were refusing to cover them after 2004, which would force all these ships to be decommissioned. Only double-hulled ships would be allowed on the open sea to prevent that kind of catastrophe from happening again. <br> <br> What went off in my mind was, wouldn’t it be interesting to see where these massive vessels will be taken apart. It would be a study of humanity and the skill it takes to dismantle these things. I looked upon the shipbreaking as the ultimate in recycling, in this case of the largest vessels ever made. It turned out that most of the dismantling was happening in India and Bangladesh so that's where I went.” </i></div>
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Until the end of 1900, shipbreaking took place in industrialized countries, such as Great Britain and the US. Today, the industry has moved to Pakistan, Bangladesh and India due to cheaper labour, less restrictive laws concerning handling of hazardous waste, and no great risk of legal claims for injuries or health problems. There is hardly any basic protective gear, like helmets, gloves or masks being used in the demolition, it’s man (even children) against giant supertanker, barefoot in steel shrapnel and chemical waste. <br>
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The ships are dismantled, and even the smallest steel component is sold. Only tiny fragments are left after dismantling a supertanker, the industry supplies 80 percent of the steel resources of Bangladesh. It has become a valuable source of income that sadly comes with a very high price. <br>
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The stranded giants, partly taken apart, look quite surreal, unlike anything you’ve ever seen, like a scene from Dante’s Inferno. They are robbed of their dignity as ships, but are still impressive due to their overwhelming size. You can see elements you’ve never seen before, rare views of inner constructions. Nothing has ever amazed and inspired me more. </div>
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To see beauty in destruction is a strange phenomenon. Nature transformed by industry is a common theme in Burtynsky’s work, places most of us don’t experience, but on a daily basis contribute to the upkeep of. The photographs reflect the dark side of our consumer society, but the artist’s aesthetic fascination for these manufactured landscapes shines through. He says of his work: </div>
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<i>“These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire - a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times." </i></div>
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The documentary “Manufactured landscapes” (Jennifer Baichwal, 2006) documents Burtynsky’s travels to several areas transformed by industrial prosesses and we see him at work. I cannot recommend it strongly enough. </div>
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Below, I've thrown in some samplers of my more abstract wrecks from my student days. Picture 2 to 5 are from a course that was purely experimental. We
spent half of the semester wondering what the heck we were doing, until
we discovered that was exactly the point. All our strange models were
discussed very academically, it was REALLY interesting. I can't even
remember how I described the purpose of my "machine" placed in the
transition zone between land and ocean, I think our sensors read more
into it than I had the brains to come up with... (pic number 5 of the sensor team of guest professors was taken by a friend) Although a bit
frustrating, this research course led me to the idea for my diploma. </div>
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The following images are from my diploma, where I designed a wave
powerplant from a different strategy than the usual one, where the
landscape is completely ruined. It consisted of several "machines", each
fitted into natural gaps in the landscape and orientated according to
the wave power potential. I chose my topic out of the shock of discovering that no landscape conciderations whatsoever were made in the planning of a test plant on the most beautiful island imaginable. I'm a firm believer in renewal energy, but in my country much of the resistance towards it is much due to landscape preservation. The installations leave permanent scars, while the technology is constantly being developed and they thereby have a relatively short lifespan on the site. I think a lot of effort needs to be put into the design and approach to the sites, minimizing the negative impact.<br>
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The site is very rocky and torn up, and I worked with the idea of seeing the power plant as a wreck being pushed into the gaps in the landscape by the force of the waves. I tried to examine how a shipwreck would hit land and where it would end up. I divided the powerplant into several individual “machines” that could be orientated according to the wave power potential. The company that was planning the test plant kindly gave me a lot of information and test results on the wave potential. Of course, I didn't tell them I was doing the project as a critique of their approach.... <br>
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A wreck comes to rest on shore in a seemingly accidental way, but it is in fact a result of the topography and the force that pushed it there. It’s something man can't control or achieve, that's what makes it so fascinating. It is usually partly crushed in it’s violent encounter with the landscape. This produces asymmetry, strange angles and views of the inner spaces and constructions that are not usually seen. There’s a wreck on my favorite stretch of coast that I’ve often photographed, for my diploma I used some of them to illustrate my concept. </div>
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Engineers helped me with some structural challenges, since they were a bit more "hardcore" than the usual building technology we’re expected to master, offshore construction and all. Through the whole semester I was so nervous about how the team of sensors would see it, it was the first time a power plant was designed in my school. Luckily, it all went very well. </div>
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Wow, you must be exhausted by now if you've made it to the end of this post!! I promise I'll be more cheerful next time:-)</div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com12tag:blogger.com,1999:blog-3734285486183187077.post-6495136548643673272013-10-12T23:01:00.001+02:002013-10-17T23:36:17.950+02:00From Finland with love<div class="separator" style="clear: both; text-align: center;">
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I adore finnish design. Yesterday, my dream find arrived!! I've found what's been on the very top of my wishlist for a very long time on Finn (Norway's Craigslist)- the Ultima Thule caraffe. It's so incredibly gorgeous, I absolutely adore this series by the amazing Tapio Wirkkala, designed in 1968. It's so breathtakingly beautiful, looking like
eternally melting ice. The design is both beautiful AND intriguing, I
keep noticing more great details all the time. The work of that bearded, pipe- smoking, natureloving guy is unlike anything else. As mentioned in a recent post, collecting the tumblers takes a lot of patience, the few that find their way to a store over here, is snatched away before they even hit the shelves. But my goodness, finding them is so rewarding, they are simply the most gorgeous glasses on this planet. </div>
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My heart always beats a little bit faster whenever I find new pieces of Arabia Ruska. I adore finnish design, and to me, Ruska <u>is</u> Finland, the roughness, the dark woody brown, the simple shapes, I love it. Just like Ultima Thule, it has a very Nordic feel to it. This masterpiece by Ulla Procope was introduced in 1961-62, and was in production for more than three decades, I'm guessing much due to
it's modern and rustic appeal. Lucky for us, this makes it fairly easy to collect, as I know many of you do. It never seizes to amaze me that it was designed as early as it was. If I didn't know, I would easily
have guessed the 70s. Earlier I've found the lovely teapot, dinner plates for twelve, several serving dishes and a teaset. Below is what I found yesterday in the Salvation army store. At ridiculously low prices, I might add. </div>
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I love the shape of the creamer, simple, low and wide.</div>
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Six coffee cups. I have eight teacups already, and often prefer the shape of teacups. But these coffee cups are even more gorgeous, so straight and tall. The <u>only</u> problem with Ruska is that the cups don't stack well... I do forgive them, though, since they're so gorgeous.<br />
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I haven't seen this dish before. It's an oven dish, but I can find so many other uses for it too, I adore the shape. It has the first stamp I've seen with the name Ruska on it.<br />
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Autumn has been at it's very best here today. Gorgeous weather and breathtaking colors. I went for a walk and I'm leaving you with a couple of snaps of a house here in my neighbourhood that I'm really curious about. With it's dark brown facades surrounded by Nordic foilage it seemed so fitting to throw it in after the Ruska. Although it's close to the road, it's hard to photograph. Despite it's very geometric appearance, it blends in with the foilage. Much due to the coloring, of course. It's designed around the end of the 60s. it has a square plan and an atrium covered by the glass pyramide you can see on the roof. I'm hoping one day I'll get the chance to see it inside. I'll be sure to share it with you if it ever happens! Enjoy the rest of your weekend!</div>
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Ps. I just linked up with Max over at <a href="http://www.blackbirdhasspoken.com/2013/10/im-not-little-teapot-short-and-stout-op.html">Blackbird has spoken</a>, do pay her lovely blog a visit, I highly recommend it!tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com22tag:blogger.com,1999:blog-3734285486183187077.post-61504757695999479152013-10-06T18:08:00.003+02:002013-10-06T18:10:46.614+02:00Stavanger finds<div style="text-align: justify;">
I didn't plan to do any thrifting (and that's the truth!!) when I was in Stavanger a fortnight ago, the weekend was all about taking in the landscape (see images <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/09/pure-therapy_23.html">here</a>) but somehow, mum and I stumbled across an open air flea market in one of the city squares, and who can resist those? </div>
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I immediately spotted this amazing set of 12 Holmegaard Ballon glasses, all in mint condition. They were designed by Per Lütken in 1973. I love the heavy, solid glass stem with the bubble and the very distinct 70s feel. This is the biggest size, they came in three different sizes, where each size was meant to serve several purposes. They go really well with Ruska, and they're perfect for almost everything. Aren't they gorgeous? </div>
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When I got back, I found this single glass in a different size and shape, but from the same series. Perfect for a cocktail or dessert. I'm hoping more of them will turn up!</div>
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I have been collecting Ultima Thule for quite some time, but it's going
really slowly. If we are not more than the four of us, however, I have
enough tumblers. I prefer the Ultima Thule glasses without stems, so what do you experts out there say, can these two be combined (yesterday's dinner setting below) or are they too different? Please ignore that I couldn't be bothered to iron the placemats....</div>
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That first stall of the flea market had
so many gems. I found two pieces by Nils Aa Sivertsen, one from his time with Graveren (from 1949), the other one from the time he was employed by Stavangerflint. This first one is the Graveren piece, a candle holder. There was a number of products that had this lovely "gingerbread icing". Although I've never found when this pattern was designed, I will be very surprised if it wasn't in the 50s.</div>
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This is a Stavangerflint wall
plaque, the second piece by Nils Aa Sivertsen. The back says "Sweetheart" and that it's handmade. Isn't it cute? I must admit that if it wasn't brown,
it would probably be too cute for my taste... Sivertsen was employed by Stavangerflint in 1968, when Stavangerflint had just merged with Figgjo. He designed several patterns, like Florry, Amber, Bardu, Beito and Karin. I'm not familiar with these. He also designed some purely decorative pieces, amongst them the wall plaques, or <i>relieffs</i> "Mother" and "Wedding". I'm guessing the one I found must be from this series.</div>
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Yay!! My Wiinblad monthly plaque number thirteen! That doesn't add up, right? Well, I have two Januarys and two Februarys, but this is my first December, and now I'm only missing August.</div>
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The Figgjo <i>Hedda</i> pattern was designed in 1977 by Rolf Frøyland. It was printed on pieces from the <i>Omega</i> line by Ragnar Grimsrud and was in production until 1980. I like how the lid has more solid color and givs the piece some definition. I found some egg cups in this pattern earlier, that you can see <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/07/thrifting-heaven.html">here</a>.</div>
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And Daisy.... This is only my second piece, I found a <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/planters-latest-thriftsand-winner.html">skillet</a> a little while ago. I don't have much blue in my home, these are amongst the very few pieces that make the cut. There's something about that almost naive, happy pattern. I had dinner on it every day when I grew up, mum and dad had this and Tor Viking. Later they got Lotte, which they still use. Daisy was designed by Turi Gramstad Oliver, and was in production from 1969 to 1975.</div>
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This is my first Elvira piece! Elvira is a handpainted pattern, also one of the wonderful designs of mrs Oliver. It was in production from 1970 to 80. I learnt in the Figgjo museum this summer that the black was printed on, while the purple and brown was painted by hand. You can easily identify the brush strokes that adds to the handpainted feel. I think the pattern reflects the time it was designed so wonderfully. I cannot make out the "June design" on the stamp as I know for sure it was designed by Oliver. Does anyone know what this means?</div>
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I've never seen these next two plates before. Designed 18 years apart, they both feature a scene with one of our most famous writers, Alexander L. Kielland (1849 – 1906) who was one of the so-called "Four Greats" in Norwegian Litterature. You might have heard of the more internationally acclaimed Henrik Ibsen, he's one of them. In my Stavangerflint souvenir plates, Kielland is the sculpture on the market place, gazing towards the harbour in a cape and top hat. <a href="http://en.wikipedia.org/wiki/Jonas_Lie" title="Jonas Lie"><br></a></div>
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Born in, you guessed it, Stavanger, he grew up in a rich merchant family. Kielland was the younger brother of our amazing female landscape painter Kitty Kielland. Despite being born into wealth, he had a sincere affection for the less fortunate, treating his workers well when he was a factory owner. He remained a spokesman for the weak and a critic of the hypocrisy of society throughout his time as a writer. I really enjoy reading his novels. They give such vivid images of the city at that time, with it's wharfs, fishery and canning industries that made the city before oil was discovered in the 1960s. Right now, I'm reading "Gift" (poison) which takes place in
my old high school. The descriptions of the building and the
cathedral next to it are so vivid, and it's so amazing to think that we attended that same school 100 years apart.<br>
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More familiar places, the first plate, decorated by Anders Jaarvik in 1968, shows him strolling in front of the medieval church at Orre, which you can see in a couple of my pictures <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/09/pure-therapy_23.html">here</a>. He called Orre "heaven on earth", and was often seen walking the beach there, which is a place I often visit too, have a look <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/05/my-aunts-cabin.html">here</a>. His love of Orre was also said to have something to do with a woman... There's a stone next to the church, saying that this is the place he would have liked to be buried. However, when he died he was given a state funeral and a much more prominent burial site. To you Scandinavian readers there's a text on the back which is worth a read. </div>
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The second plate is much more recent, it was designed in 1986 and was one of the motifs in a series of ten designed by Henry Imsland for Lions Club. The style is more of a charicature and shows Kielland sitting in the garden of what could be the city house of the Kielland family. Unfortuneately, it was torn down many years ago and I'm not quite sure what it looked like. The family had another grand manor house which is still there and can be visited. </div>
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Kielland is said to have been quite a character, I can't resist showing you a couple of images. In the second one, he's posing with another of the "great four", Bjørnstjerne Bjørnson. Oh, the clothes of that time, aren't they magnificent? It seems like Kielland wore this kind of <i>fez</i> for informal occasions and at home, and wore a top hat when he strolled the streets.</div>
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My last Stavanger find is this piece of Sandnes pottery. I have mentioned them in several posts, and won't bore you with the details again:-) I was thrilled to find this particular one, you rarely find them in such good condition.</div>
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Finally (phew!!!), just a pic to show you some candles I recently found for my Festivos. I think it's really hard to find candles that fit them, but these aren't half bad! I dream of finding the original ball- shaped candles, does anyone know it they're still being produced? Wish you all a wonderful week!!!</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com22tag:blogger.com,1999:blog-3734285486183187077.post-63190441709099394262013-10-03T21:42:00.001+02:002013-10-03T21:42:13.714+02:00A beautiful gift<div style="text-align: justify;">
I'm short of exclamation marks when it comes to you, Pippa! Look what arrived in the mail today! She sent me this beautiful gift across the globe! Pippa has, as far as I'm concerned, revived and reinvented the wonderful art of macrame. In addition, she has added large luxurious tassels to her repertoire, as well as dreamcatchers, wall hangings and beads, all made from beautiful twine, handdyed by her. She dipdyes the twine, which creates this gorgeous gradient effect which is her signature, an effect that gives her work a very modern twist. I'm so thrilled to see her work being featured in magazines and her OuchFlower business taking off. The sky's the limit, Pippa!</div>
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Back to the beauties that arrived in the mail from down under! One black, one chartreuse, a color I didn't even know about before I was introduced to it by Pippa (my mother tongue is norwegian:-) I didn't realize how big they are before seeing them in "person". The black one has a very fancy copper headband:-) I arranged a small photoshoot against a teak cabinet door in my kitchen, I know we share a passion for teak! Aren't they gorgeous? Thank you so much, sweet, Pippa!</div>
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Pippa is not only a great maker of beautiful crafts, she also teaches and is the best matchmaker ever. You blogging friends out there know what I mean! She's a really sweet person whose words are so warming, both in her comments and in her <a href="http://ouchflower.blogspot.com.au/search/label/%3A%3ABlog-Design-Dedication">"blog dedication"</a> project.</div>
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I know most of my "regulars" already know Pippa, but if there's anyone out there who don't, be sure to check out her <a href="http://ouchflower.blogspot.no/">blog</a> where she also has a <a href="http://ouchflower.bigcartel.com/">shop</a>, as well as her <a href="http://www.etsy.com/shop/ouchflower?ref=shop_sugg">Etsy shop</a>. You're in for a treat!</div>
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Speaking of beautiful gifts, be sure to sponsor Kylie and <a href="https://frocktober.everydayhero.com/au/kylie-5">Frocktober</a> over at <a href="http://lucyvioletvintage.blogspot.no/2013/10/frocktober-day-one.html">Lucy Violet Vintage</a>! It's for the best of causes- the fight against ovarian cancer! There's a great bonus too, 31 posts of her modelling gorgeous frocks:-)</div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com18tag:blogger.com,1999:blog-3734285486183187077.post-15512722437770315182013-09-30T19:15:00.000+02:002013-10-01T20:02:09.554+02:0070s jewellery - Jorma Laine<div style="text-align: justify;">
I've been admiring jewellery from the 70s for a long time, especially the work of Guy Vidal, Robert Larin, Pentti Sarpaneva and Jorma Laine. I especially love the brutalist pieces. Turns out I have a brooch by Jorma Laine! My mom reminded me last weekend. I've actually had it since I was in my teens. I got it as a gift from some much older cousins, but hated it back then. You know, the early 80s and all... If you're around my age, you're probably nodding! But isn't it great how we mature and learn to appreciate things? The brooch is made of bronze, then gold plated and oxidized. It was designed in the mid 70s. I'm normally a silver and steel person, jewellery- wise, but I think this has some nice folkloristic vibes and I'm glad to having rediscovered it. Those may be the same qualities I hated it for in the early eighties...</div>
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Jorma Laine (1930-2002) was a finnish jewelry designer, whose work in
bronze and silver is easily recognizable. He
developed a style of his own
throughout the 60's and 70's, his pieces are very modernistic and often abstract. I see a lot of influences in my brooch, there's mythology, ancient times, bronze age, even some viking vibes! I love when a piece of design, even if very abstract, can produce all those images.</div>
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Laine attended the renowned art
college Turun Piirustuskoulu (Turku Art School). During his career he had his own company, Silver-Laine, but
is perhaps best known for the designs he did for Turun Hopea. He also
designed silver jewelry for Kultateollisuus. Laine is known for his forward-thinking
modernist impulse, a decidedly “Finnish” nostalgia for the past, and individuality. After a successfull career in jewelry design, he retired to
his cabin in the forest where he led a hermitlike life until he died of a heart attack in 2002, 72 years old.</div>
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Photographing the brooch was so much fun, it's like a sculpture, so here you have it from every angle:-) </div>
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<a href="http://www.bloglovin.com/frame?blog=3708472&group=0&frame_type=b&link=aHR0cDovLzcwc2NodXR6cGFoLmJsb2dzcG90LmNvbS8&frame=1&click=0&user=0">MMMC</a>
challenged me over at Instagram to show it on. Well, I wore it to work
today as a "button" on an otherwise button- less black jacket, with
jeans and black boots, so this is for you, Carmel!</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com16tag:blogger.com,1999:blog-3734285486183187077.post-32580118226315434272013-09-23T23:58:00.000+02:002013-09-24T00:03:59.620+02:00Pure therapyI just had a weekend of pure therapy. My kind of therapy is deep breaths
of ocean air, wind in my hair and watching the waves roll in from the
North sea. My boys and husband stayed at home for a boys only weekend,
while I flew over after work on friday and stayed with mum and dad for
the weekend. And it was pure heaven, with the windy, misty weather that
makes such a dramatic contrast between the steel grey sky and the green
grass. I love the roughness of this landscape and the vastness of the endless horizon. I love listening to the howling wind and roaring sea. It's my paradise.<br />
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The medieval church at Orre, dating from 1250 </div>
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The old vicorage by the sea, beautifully restored, now an art gallery</div>
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The landscape formations are not solid, but moraine deposits from the ice age. This mild coastal area is where the ice retracted first. The steep ridge has been shaped by the waves.</div>
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The lighthouse<br />
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Views towards the old vicorage, the westernmost cluster of white buildings <br />
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Obrestad harbour was the first harbour to be built on this coast. A rescue station for seafarers was established here in 1854. </div>
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Leaving this place, I always feel that I'm leaving a piece of me behind. </div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com16tag:blogger.com,1999:blog-3734285486183187077.post-23175068140189084052013-09-15T22:45:00.001+02:002013-09-17T21:06:14.511+02:00Fall finds<div style="text-align: justify;">
Fall is definitely here, no matter how much I try to cling to summer... I guess we can't complain though, the last weeks have been gorgeous, real indian summer with temperatures in the 20s. This weekend has been a bit wet, and fall colors have started appearing. Thrifting has been a bit slow lately, but yesterday I managed to squeeze in a couple of stores.</div>
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I've seen the Arabia Ruska teapot around a few times, but have always thought that since I so rarely drink tea, and have several teapots already, I couldn't get another one... This time I gave in. It's just so beautiful. There's something special about pots. And cups. I have a teaset for 6 now, with extra coffecups which are small and great for espresso, as well as 12 dinner plates and serving dishes.</div>
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I didn't know that it had an infuser inside for "real" tea. The infuser is even ceramic, that's a great feature. Below are three more Stavangerflint egg cups in the Sera pattern, designed by Inger Waage. I have a few of these from an earlier hunting trip.</div>
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I found another one of these little "tweeters" from a line of glass ornaments by Hadeland. There's not much to be found about these on the web. I wouldn't have known anything if it weren't for the fact that I remember them from home. Mum had some of them and I therefore know for sure they're from the 70s! I've collected 7 of them until now. My favorite is the bird, I love the shape. I once found one in the original box, which is SOOO 70s Norway!</div>
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I found a serving plate and bowl from the Stavangerflint Finse line. I love these, the shape of the plate is so great, rounded but slightly rectangular. The design is by Kåre Berven Fjeldsaa. I love his work, it's always so subtle and refined. The light olive green and brown combo is gorgeous, and it combines really well with Ruska, it has that same surface and style. I now have a teaset for 12 and several with egg cups. You can see and read more <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/stavangerflint-finse-and-gift-for-mum.html">here</a> and <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/the-latest.html">here</a>. There's a bit of information about Fjeldsaa in that first linked post.</div>
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I found this Wiinblad plate a couple of weeks ago but forgot to show it to you. It was a corporate gift in 1978 for employees in the danish firm Imerco and is handpainted and signed. It shows a scene from a livingroom, with Wiinblad's usual quirkiness and amazing attention to detail. I love those rice lamps! </div>
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Today I visited a farm not far from where I live to pick some corn. This is quite common here at this time of the year. You bring a bag, fill it and pay a few kroner. I love doing that, and they're SOOO sweet and delicious, much better than those you can get in the store. Today was a bit rainy, but not too bad. The sky was tealy grey, which always looks good in pictures. The teal sky and the yellowing fields looked so great together. The farm has several workshops, and sell different crafts and produce. And what do you know- there was even some vintage today! </div>
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I have fallen deeply in love with Egersund Fajanse and Graveren's art deco pieces. I found this low bowl at the farm market today. It's got this great abstract decor in brown and yellow and I'm pretty sure it was designed in the 20s. It has the simple stamp with text only, "Egersund Norge".</div>
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I also found another herring jar from Figgjo's Folklore series. I have another one that I got from my mother in law with the exact same text, but a different shape. They are more or less the same size. You can see it <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/03/a-great-gift.html">here</a>. </div>
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As always with Folklore, there's some flirting going on at that table... </div>
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A few pics from the market stalls inside the barn. Lots of crafts, produce, there was even a guy who sold old record players, I mean REALLY old ones and there was music from the 30s playing on one of them to add to the atmosphere. I love seeing constructions like these. See the rice lamp with the butterfly? There was a seller who made these lazer cut wooden things. They were really nice with the light wood and the dark edges. <br />
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In the middle of the corn field...</div>
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Fall is inevitably here, I guess. Which I don't mind, only problem is- winter comes after! Have a great week!<br />
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PS. Head on over to Max at <a href="http://www.blackbirdhasspoken.com/2013/09/chris-weaver-tablewear-op-shop-show-off.html">Blackbird has spoken</a> for some gorgeous thrifted treats!tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com22tag:blogger.com,1999:blog-3734285486183187077.post-23953750130875390202013-09-11T20:58:00.001+02:002013-09-11T21:09:24.955+02:00The Glass House<div style="text-align: justify;">
As I was moving a bunch of pictures from an old harddrive to a new one the other day, I thought I might share with you some of the amazing works of architecture I've visited on study trips over the years. I guess I already started in my previous post. From the rusty, decaying war machine in the middle of the ocean, this one is the complete opposite. It's a beautiful house, a piece of jewellery almost. I always appreciate works that take me by surprise, even provoke me, but at first glance this one is just beautiful. These iconic mid century houses are not very relevant to our daily architecture struggles, but they were often subject to a lot of controversy at the time they were built, and that is something we should learn from. Not that we should cause a stir for the sake of controversy, but we could all be more stubborn and courageous in our endeavours to push the field of architecture further. </div>
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Philip Johnson's Glass House is mostly hidden from the street in a vast green estate, or park, rather. It lies behind a stone wall
at the edge of a crest in his estate overlooking a pond. A short walk over grass and gravel paths takes you to the house. The house is a simple rectangular glass and charcoal- painted steel structure. The kitchen, dining and sleeping areas are all in one
glass-enclosed room. The space is divided by low walnut cabinets; a brick
cylinder containing the bathroom is the only object to reach floor to
ceiling. This is the only room that is sheltered from the outside.</div>
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The Glass House builds on ideas of German architects from the 1920s
("Glasarchitektur"). In a house of glass, the views of the landscape are
its “wallpaper”. <i>I have very expensive wallpaper</i>, Johnson once
said. Johnson was inspired by the design of Mies van der Rohe. Being a
huge Mies van der Rohe fan, I used to think Philip Johnsons Glass House
(1949) had too many similarities to the Farnsworth house (if you don't
know it, google it- you're in for a treat). So many that I didn't really
pay too much attention to it. I was lucky enough to visit it in New
Canaan, Connecticut some years ago, and realized that apart from the
aparent similarities, there's a major conceptual difference that
"justifies" it. Whereas the Farnsworth house floats above the ground,
the Glass House is heavily grounded. It's floor is a "cultivated" piece
of the ground beneath it, paved with brick, while the floor of the
Farnsworth house is a part of the steel structure that balances on
slender columns that touch the ground, like a spaceship that just
landed. The relationship to the ground is also reflected in the use of
materials. The brick refers to the ground.<br>
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The Glass House itself is inferior
to Farnsworth House in "intellectual rigor" and exquisite detailing,
according to Nicolai Ouroussoff. For instance, he wrote, the steel
I-beams at the corners of Johnson's building "are clumsily detailed —
especially disconcerting in a work of such purity." Nevertheless, the
building is "a legitimate aesthetic triumph", with the glass walls
beautifully layering silhouetted and reflected images layered on each
other, the critic wrote. "The classical references alluded to by its
thin brick base and the symmetrical proportions of its frame demonstrate
the range of Johnson’s historical knowledge." <br>
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As a
curator at the Museum of Modern Art, Johnson had publicized Mies' work,
and the American acknowledged his debt to the German architect,
particularly in a 1950 interview in Architectural Digest magazine. Even
though Johnson's building was completed a year before Mies's glass
house, Johnson's building "was universally viewed as having been derived
from it", according to Alice T. Friedman, architectural historian and
professor of American art history at Wellesley. Johnson curated an
exhibit of Mies work at the Museum of Modern Art in 1947, featuring a
model of the Farnsworth House. <br>
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The Glass House resulted in
recognition for Johnson, not just in architectural circles, but among
the public at large. The house was featured in LIFE magazine, and the
New York Times Magazine published a set of cartoons about it. "What
really sets Johnson apart (...)" Michael Sorkin wrote in 1978, "is his
aptitude for publicity (...) If it was Mies van der Rohe who provided
the real inspiration for the Glass House (...) it was only Johnson who
could have built the house and lived in it himself. Johnson's career
began when he turned himself into the Man in the Glass House. In an
instant, he became the austere apostle for modern architecture- or
rather the modern apostle for austere architecture."</div>
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The
building created such a stir that at one point a police officer was
posted nearby to keep out trespassers, and Johnson put up a sign near
the street, stating: "This House Is Now Occupied Please Respect the
Privacy of the Owner. The home also created a stir for Mies van der
Rohe, who "stormed out in a huff when he saw it", Ouroussoff, a New York
Times architecture critic, wrote. Obviously derived from Mies's
Farnsworth House, the fact that it was finished earlier could easily
have made the German architect wonder whether others would get the
impression that Johnson had instead done pioneering work for Mies, and
it could be seen that "Johnson’s vision lacked the intellectual rigor
and exquisite detailing that were so critical to Mies’s genius",
according to Ouroussoff.</div>
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Most of the furniture is designed by Mies van der Rohe. </div>
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The
most controversial, as well as stunning, feature of this house is,
obviously, the deegree of transparancy. Remember this was 1949. We
probably all agree that it's a beautiful house, but was it a good home?
Johnson eventually abandoned
it and used it only for entertaining. He slept in the Brick House,
which was initially used for guest rooms. In my mind, this suggests that
he realised that he'd stretched his transparent living experiment too
far. The house turned into a modernist showroom or pavillion instead of a
home. Architecture that doesn't "work" feels a bit hollow. Often the
emphasis on the aesthetics has been to strong. It's not
hard to design a beautiful pavillion, combining beauty with
all the aspects of functionality is more challenging and puts your
aesthetic choises to the test.<br>
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Don't get me wrong, I love
this house, it's absolutely stunning, but it's a pavillion, not a home.
After more than 60 years, we still find the Glass House beautiful, but
extremely challenging. Being sheltered and having one's back covered are
fundamental human needs that seem unaffected by time. Even surrounded
by your own private park, the feeling when it gets dark and outside
makes you feel very vulnerable. The Farnsworth hose has floor to ceiling
curtains, which, as some say, are a sign of a failed concept. I don't
agree at all. I think the curtains are a beautiful feature, and gives
the house an almost immaterial glow when viewed in the dark from the
outside. I think we're still not ready for life in the Glass House.
Which, of course, makes it even more intriguing!</div>
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To the left, the sculpture <i>Two circus women</i> by Elie Nadalman, 1930<br>
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This picture is so bad, my apologies for adding it, but I just had to show you this column. It captures the essence of what I love so much about modernist steel and glass architecture. It's the use of standard steel elements, the appreciation of the aesthetics of the constructive, loadbearing elements. This exudes honesty, nothing is covered or hidden. Mies van der Rohe was the master of this, his repertoir of steel elements is amazing, the constructions are so elegant that no extra fuss is needed. Less is indeed more.</div>
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The room- dividing cabinets is a feature that I really, really love. The wood surfaces are so beautiful and add so much warmth. Check out the cabinets in the Farnsworth house too- oh my goodness...</div>
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Johnson lived in the Glass house with his partner of 45 years, David
Whitney, the curator, collector and advocate of modern art. The landscape surrounding
the buildings was designed by Johnson and Whitney, with "manicured"
areas of gravel or grass, trees grouped in what Johnson called outdoor
"vestibules", and with care taken in the shape of the slopes and curves
of the ground. In part, the landscape was a reflection of a landscape
painting, The Funeral of Phocion by Nicolas Poussin (circa 1648) placed
in a seating area of Glass House. The estate overlooks the valley of the
small Rippowam River to the west (seen from the back of Glass House,
past a grassy rise). To the north and south are sloping scenery that
particularly mimic the painting. The landscape design is another fundamental difference from the Farnsworth house,
which is situated in a natural wood.</div>
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Johnson designed the Painting gallery (completed in 1965) to house the collection of large scale modern paintings that he and Whitney collected throughout their lifetimes. It contains works by Frank Stella, Andy warhol, Robert Rauschenberg, Cindy Sherman and Julian Schnabel. The exterior is a grass covered mound with a monumental entrance, inspired by ancient tombs.</div>
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<i>Philip Johnson</i> by Andy Warhol, 1972</div>
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The sculpture gallery was completed in 1970. It has a glass ceiling supported by tubular steel rafters, that cast a complew pattern of light and shadows. This building was Johnsons favorite and he seriously considered moving in. </div>
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<i>Raft of the Medusa</i> by Frank Stella, 1990</div>
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<i>Neon templates of the left half of my body taken at ten inch intervals</i> by Bruce Nauman, 1966<br>
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<i>Lovers on a bed II</i> by George Segal, 1970</div>
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Robert Rauschenberg's <i>Empire II</i>, 1961 (above)</div>
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<i>The Archbishop, the golfer and Ralph</i> by John Chamberlain, 1982- 83</div>
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Johnson wanted to preserve his estate as a public monument. The house
was declared a National Historic Landmark in 1997. It was the
place of Philip Johnson's passing on January 25, 2005 at the age of 98. Johnson passed on
ownership of the Glass House to the National Trust for Historic
Preservation, which opened it to visitors in April 2007.<br>
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The grounds contain several follies, or pavillions in addition to the two gallery buildings mentioned above. They are all radically different in style, so much so, that I found it a bit too much. I didn't photograph them all, I kept my focus on the "crown jewel" the Glass House. If you want to see more, I can highly recommend a visit to <a href="http://philipjohnsonglasshouse.org/">philipjohnsonglasshouse.org</a></div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com8tag:blogger.com,1999:blog-3734285486183187077.post-30559582603498697802013-09-04T23:06:00.001+02:002013-09-05T06:01:41.706+02:00Redsands seafort - beauty in decayYou'll probably think this is a bit far off topic... I can assure you it's mid- century, though, and it sure does make my heart beat faster, so I'll give it a go! <br>
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I have some weird interests. My oil rig fetish is one of them... Growing up during the oil bonanza in my home town, oil rigs under construction and large supply ships were part of the cityscape. After completion, the rigs got towed out to the oilfields in the North sea, and we watched them as they went, filled with pride. <br>
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The rig Statfjord A was towed out in 1977 </div>
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I guess the fascination has a great deal of duality, it's beauty and danger (and obviously, the environmental aspect). There's no denying drilling for the black gold has had a high price. Disaster struck in 1983 as the rig Alexander Kielland capsized, an event that cost far too many lives and left a dark cloud over my home town for a long time. Pretty much everyone were in some way influenced by it. We sailed by the torn off leg that caused the disaster, and seeing the signs of those unbelievable powers that ripped the enormous leg off off is an experience I'll never forget. </div>
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Those pioneer days are over a long time ago, but I often think about those times, I notice that even my sense of aesthetics is influenced by those large, rugged steel and concrete structures. So imagine my thrill when I got the chance to visit what I'm about to show you! It took place many years ago, but yesterday, as I was moving all my photos to a new harddrive, seeing these took me right back. It's one of the most peculiar places I've ever been. I got a rare chance to visit Redsands seafort, an amazing structure in Herne bay in the Thames estuary, off the coast of Kent, with some other architecture students.We left Whitstable harbour in the morning.</div>
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The first sight of the structures was overwhelming and can best be described by the words of Stephen Turner, a local artist whose work often involves spending long periods in odd abandoned places, noting changes in the complex relationship between human-made and natural environments.<br>
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Stephen Turner was in residence alone on the derelict searchlight tower of the Shivering Sands Seafort for 36 days from 4 August until 9 September 2005. A time period corresponding to a tour of duty in the fort during WWII. The Seafort Project was an artistic exploration of isolation, investigating how one's experience of time and place changes in isolation, and what creative contemplation means in a twenty first century context.</div>
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"As a small boy I was often taken to the small seaside town of Herne Bay in Kent. The beach was mainly shingle, and not very good for building sand castles, so I frequently used to look into the sea to spy passing pirate ships or maybe killer sharks. On the horizon were a series of, what looked to me, like giant metal monsters about to invade the coast line and destroy everything in their path. These assemblies fascinated me." </div>
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Rising from the water like rusty invaders out of H.G. Wells, the Redsands Army Fort in the Thames Estuary is a decaying reminder of the darkest days of World War II. The Shivering Sands and Redsands Maunsell Sea Forts were built in 1942 at Northfleet, Kent and are six-eight nautical miles off the East Kent coast. They were created as anti-aircraft and observation platforms to disrupt overflying by the Luftwaffe on bombing runs to London.<br>
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The forts are visible from the Kent and Essex coastlines as small interruptions to the horizon. De-commissioned in the 1950's, standing derelict and disused these utilitarian and brutal concrete structures are poignant reminders of past conflict. They have enormous presence, and a sinister beauty.<br>
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After their wartime career, the forts were decommissioned in the 1950s. In the 1960s and 70s, the remaining abandoned forts were famously taken over as a pirate radio station, there were several offshore radio stations at the time, some of them on ships. A ship collided with the towers destroying one of them, but the station regrouped and installed new equipment. In 1966 one of the people claiming ownership of the station was killed in scuffle with another, and the government responded with legislation shutting down off-shore radio stations.<br>
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They've been described in the Guardian as "some of Britain's most surreal and hauntingly beautiful architectural relics". The seaforts' structural engineer, Guy Maunsell, went on to use the technology to build the first oil rigs in the North Sea. Project Redsand has been established to secure the future of the Forts and the group are working towards the listing of the Redsand Towers as a National Monument and Heritage site.<br>
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The first day we were taken out, it was too windy for the boat to go close to the structures and for us to climb those tiny rusty ladders to board them. The second day, though, we had gorgeous weather, and got to see their abandoned, ghost- like interior. </div>
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<div style="text-align: justify;">We had tea and biscuits, English style, up on the roof, where the large canons once were, as we watched large cargo ships glide by... What a weird and wonderful experience.</div>
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We sailed back to Whitstable in a gorgeous sunset, that made the whole experience seem surreal. I'll never forget it. There. Just had to get it out.
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<![endif]-->tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com21tag:blogger.com,1999:blog-3734285486183187077.post-17756912440954890362013-08-25T16:45:00.001+02:002013-08-25T23:00:59.916+02:00Planters, the latest thrifts...and a winner!!!<div style="text-align: justify;">
I'm addicted to green plants and vintage planters. I adore succulents and cacti, and wish we had the climate to have them in the garden too. Sometimes my living room turns into a greenhouse, it's kinda like that now.... I thought I'd show you the vintage planters I've picked up during the last couple of years and the plants that reside in them at the moment. If you've been around for a while, you've probably seen several of them before.</div>
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I have a thing for traditional, rustic pottery. I've bought a few of the old Sandnes pottery from Gann and Graveren. Those are the household storage jars and baking bowls they produced before they employed artists and started to make more colorful and "designed" pottery. These are obviously not mid- century, they're all probably around a 100 years old. Consequently, they are not water proof anymore. I've put dishes under the plastic pots inside the storage jars, but I wondered a long time what to do with the bowl. I ended up buy simply placing a terracotta pot and saucer into it. The colors match so why not. Sometimes it's a planter, sometimes a fruit bowl. Below is a new little bowl (a local pottery, Pottemaker Simonsen, still makes them) and the traditional Sandnes flute in the shape of a bird. I've written several times about these, so I won't bore you with repeating everything. If you like, you can check out my previous posts about this pottery, <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/07/thrifting-heaven.html">here</a>, <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2012/08/traditional-sandnes-pottery.html">here</a> and <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/05/living-room-pics.html">here</a>.</div>
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I have tons of terracotta pots, they look better and better with time. See what I mean by greenhouse? The Monstera (second from the left) is one of my favorites. </div>
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Then there's the germans.... Scheurich and Bay were obviously big on planters, and there's a lot of it around. I even spotted some new Scheurich in a garden center a while ago, so they're still around. It was nothing like the sixties stuff though, they were plain white... These two first ones are rather big and have THE greatest muted orangy red combined with dark brown. These cacti resided in them until recently, then I found this strange and wonderful orchid... <br>
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Below, you can see them "in situ" (hideous light dimmer alert). I don't think I've shown you this corner of my livingroom. I'm trying to gradually phase out my ikea, but this PS sideboard is still around. It's a short wall betwen the chimney and where the living room bends into an L. Hopefully one day I'll find some teak in the right width... I've combined the planters with a Scheurich Bowl and an Ekeby vase, both in the same color combo. <br>
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These next Scheurich fat lava planters I picked up in Stavanger, on the thrifting spree I had with my mum. There was a third one, I can't believe why on earth I didn't get that one too. I've paired them with a large Scheurich vase, which is really a floor vase, that picks up the caramel colored glaze. I have another very similar one too, with green glaze instead of the brown.</div>
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I love the glaze on these. To me, they look a bit more 70s than 60s, but I can't be sure. They "touch the ground" differently, the small ones with a base, the typical "german planter way", the largest one is straight all the way down. sadly the plant in the latter has died since this picture was taken.</div>
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More handsome germans, as we like to call them. these are among the first I got. Two of them are residing on my teak credenza. The third, the Bay that my little thrifter found for me, enjoys the companty of my newly thrifted Carstens in the kitchen window.</div>
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Finally, my wild child. It's ugly in a nice way. Or the other way around. Is it over the top or not? I can't decide... </div>
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This post is gonna be a long one, I can see where this is going... I thought I'd throw in the latest finds too, just to keep the winner of my giveaway in suspense:-) I stumbled upon a flea market yesterday in the driveway of a lovely lady. She told me she loved arranging flea markets, and had one every time her mum and aunt cleared out their cabinets. Her prices were ridiculously low, and I walked away, or drove off, rather, with this piece of danish studio pottery bowl marked "Ernst - handmade - Faxe - Denmark -
8-73" If you conoisseurs out there know more, I'd be interested! Sadly,
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I got this one for about the same amount! Figgjo daisy skillet, by the amazing Turi Gramstad Oliver. </div>
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I also picked up these Egersund cups. They're the same design as Korulen and Unique (by Kaare Block Johansen) but have a different pattern, also very 70s. I've seen this pattern before, but don't know the name of it, anyone?</div>
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I found this beautiful teapot in a charity store. You all probably know this pattern, but if you don't, it's Stavangerflint Sera, design by Kåre Berven Fjeldsaa, decor by Inger Waage. Love the colors and the 60s graphics! <br>
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Found another souvenir plate, handpainted by Inger Waage. I've decided to buy only the Stavanger ones, but couldn't resist one from Kristiansand. It's a city my kids love, it's on the southern tip of Norway, a great vacation spot for families. There's a zoo and a theme park baked into one great child paradise. Mine have outgrown it years ago, but the sound of this city's name obviously rings some great sounding bells. And my plates are up on the kitchen wall now!! These things don't happen overnight with me... <br>
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Finally, I'll announce who will be the next owner of a Stavangerflint plate, handpainted by Inger Waage. With the help of some WG pottery, I drew the winner today, who is.....drumwhirl.....</div>
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That's Kylie of <a href="http://lucyvioletvintage.blogspot.no/">Lucy Violet Vintage</a>!!! It will arrive in the mail shortly, Kylie!!</div>
tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com22tag:blogger.com,1999:blog-3734285486183187077.post-17759622075481169492013-08-19T19:46:00.002+02:002013-08-20T22:06:05.707+02:00Egersund Unique<div style="text-align: justify;">
<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">They are, arent't they? Simple, yet unique? This post is gonna be a sunny one, color and pattern- wise:-) I got these last weekend too, together with the pieces in my last post, but decided they deserve a post of they're own. </span><br />
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Egersund Unique
is handpainted and the pieces therefore have an individual look and on
the olivegreenish brown edges you can clearly see the brushstrokes. </span>Unique
was designed by Kaare Block Johansen in 1971 and was in production
until 1976, just a few years before Egersund Fajanse closed
down in 1979.<br />
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There's very little information to be found about Kaare Block Johansen, which is strange
and sad, as he made these wonderful and iconic designs. I've found however, that
he was at the factory from the 50s and that he was their last
remaining designer before they closed down. <br />
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Unique was very popular and has become an icon of norwegian early 70s design, I guess it captured the sunny happy vibe of that decade really well. I found the milk jug in Stavanger this summer. With this color, they're easy to spot:-) </div>
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I have a Korulen set from an earlier catch, with two large serving plates and three lidded bowls. I know I've shown you before, but these two need to be seen in relation. The lids are especially gorgeous. Korulen is exactly the same design by kaare Block Johansen, but the sunflower pattern is designed by Unni Margrethe Johnsen. Johnsen finished her education at <i>Statens håndverks- og
kunstindustriskole</i> in 1966 at the age of 24 and were immediately
employed by Porsgrund Porselænsfabrik.<br />
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She was characterized as a
breath of fresh air. Not surprising, seeing her wonderful design. For the next nine years, she designed both for PP and Egersund Fayanse. From the mid 70s she set up her own studio, where she consentrated on working with clay. Her work from the mid 80s and early 90s are concidered her most artistically significant. I wish I could find some examples. Sadly she passed away in an accident in 2001, only 59 years old. </div>
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The great thing with these two designs is that they mix really well. Just look at those sunny concoctions below!</div>
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When I tell you the design is from 71, it's no typo. I haven't been able to find out what the number 73 stands for, it might be the actual production year. Notice how the handpainted Unique is marked differently.</div>
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Wanna know some more about Egersund Fayanse? It was founded in 1847 under the name <i>Egersunds Potteri</i> by Johan Feyer who himself was a pottery maker, trained in Newcastle upon Tyne. Feyer brought english pottery makers to Egersund to teach the craft to local workers. For the first 20 years, the factory produced the brown pottery that this region is known for (see examples <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/search/label/Sandnes%20pottery">here</a>) made from local clay. In 1851 the factory had 26 employees.</div>
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In 1863 Feyer started the transformation prosess to start producing white pottery, the so- called <i>fajanse</i>, and the factory was renamed <i>Egersunds Fayancefabrik</i>. They hired swedish pottery makers from Rørstrand and english labourers. The fayence was produced out of a mixture of clay, kaolin, danish flint and norwegian quartz. The first years, pottery with a simle decor were made, often transfer prints, inspired by other makers, magazines and so on. Eventually, the company developed a strong artistic profile, and were associated with artists like Kitty Kielland, Jacob Sømme (who designed one of their most iconic products, the Puffin jug), Oluf Wold-Torne, Andreas Schneider, Andreas Ollestad, Jacob Bjorheim and Theodor Friestad. Alongside everyday household products, they also made more prestigious
pieces, like enormous vases for exhibitions (you can see an example in <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2012/09/to-all-you-lovers-of-egersund-pottery.html">this post</a>, a large art nouveau piece from 1910 by Andreas Ollestad). </div>
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The factory burned down in 1905, but was rebuilt in 1907 with bigger capacity and electrical power. It expanded profoundly in 1950 to meet the demands of the post- war years, and the work force were close to 500. The harsh demands of mass production eventually forced them to join forces with other companies. In 1967, the factory merged with Porsgrunds Porselænsfabrik, from 1975- 77 they were owned by Arabia and from 1978 by Upsala- Ekeby, until they were closed down in 1979. To my understanding, they produced locally under their own brand until the end.</div>
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For more than 132 years, the factory produced a wide variety of designs,
that shows the various trends within the art- and design world during
that period, from the brown household pottery, to elaborate art nouveau pieces, cutting edge art deco and early modernist designs and the "golden age" of scandinavian pottery, the nation- building post- war years. Many examples are shown in the wonderful Egersund pottery museum, have a look over <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2012/09/to-all-you-lovers-of-egersund-pottery.html">here</a>.<br />
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I keep thinking what other great designs they could have made if they
weren't closed down. But I guess, as we can see with Figgjo, which is
still up and running, the market changed, the import increased and they
have generally been faced with more competition and new demands. What
was produced at Figgjo after the 70s and early 80s has not by far
reached the same iconic status as their earlier designs, and they have
concentrated on the professional market, restaurants, hotels and cruise
ships. Luckily, there's still quite a bit of their designs from those golden years out there for us to enjoy!<br />
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PS. I've linked up with Max over at <a href="http://www.blackbirdhasspoken.com/2013/08/in-out-in-out-shake-it-all-about-op.html#idc-container">Blackbird has spoken</a> for her Op shop Show- off! Head on over to behold some lovely thrifted stuff! </div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com23tag:blogger.com,1999:blog-3734285486183187077.post-19931218482412350742013-08-18T00:44:00.000+02:002013-08-18T12:26:19.796+02:00The latestLast week my oldest son had a football cup quite some distance from where we live. The team stayed in a school, and most parents went there over the weekend to see the games. NOT in sleeping bags in that school, I can assure you!!) My son broke his arm during a match two weeks ago, so he basically went along for the fun bits and to hang out with his team. My interest in football only go that far, so without the pleasure of watching my son play, I decided to sneak away for an hour to a nearby charity store I'd noticed on our way there. It was HUGE! Some of this weeks finds are from that store, like this first one:<br>
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This is a large Figgjo Folklore wall plaque. I found it in a charity store at around half of what the usually sell for. I have a smaller one that belonged to my grandmother. A while ago my mum gave me her Folklore set, you can see it <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2012/08/figgjo-folklore.html">here</a>. Folklore was in production freom 1970- 75, and was designed by the amazing Turi Gramstad Oliver. I love the cheerful summer scenes, such a happy pattern!<br>
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Seeing them both side by side shows you how big the new one is, it's a whopping 33 centimeters tall!<br>
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Then three great, and VERY different vases. I found this tall and amazing Carstens vase in the same store as the Figgjo. Isn't it gorgeous? I so love the textured surface and the color! The pattern reminds me a bit of Einar Johansen's designs for Søholm, don't you agree?<br>
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Speaking of vases, this beautiful bisque vase is Suvi by Arabia. It was designed in 1981 by Gunvor Olin-Grönqvist, you can see her initials "GOG" in the last picture. It has a molded relief of flowers, which stands out on the unglazed surface. Suvi is a whole series of vases in different sizes and really nice planters. There might also be more products, does anybody know?</div>
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My mum has the bigger brother (sister?) of this one. She bought it in the early 80s when she got what my dad later refers to as the most expensive bouquet he has ever given her. She received a large bouquet of roses from Amsterdam and he didn't mean
the price of the flowers, but the fact that she didn't have a vase that
was big enough and went out and got a really large Arabia!</div>
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<a href="http://4.bp.blogspot.com/-si1QdwPivw8/Ug50RWxuS4I/AAAAAAAAFqs/KyK_OdGrHyA/s1600/2013-08-13+08.11.38.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-si1QdwPivw8/Ug50RWxuS4I/AAAAAAAAFqs/KyK_OdGrHyA/s400/2013-08-13+08.11.38.jpg" width="400"></a></div>
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The third vase is a Scheurich. Seems a shame that I never write anything about the Scheurich pieces, it's simply because I don't know a great deal about them- other than the fact that they're gorgeous! Love the colors and lava pattern on this one. </div>
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<a href="http://1.bp.blogspot.com/-nuMfAyXBFcM/Ug_r1r-weRI/AAAAAAAAFsw/FPFL5mEg1EA/s1600/IMG_4992.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-nuMfAyXBFcM/Ug_r1r-weRI/AAAAAAAAFsw/FPFL5mEg1EA/s400/IMG_4992.JPG" width="300"></a></div>
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My collection of Stavangerflint souvenir plates from my home town is expanding, I found two new ones yesterday. I'm not sure who designed the ones with the maps. If you look closely, it says "Viste" just to the left of the Stavanger cathedral, that's where I grew up and where my parents still live! To the south you see Egersund, home of all that great pottery, and in between is Jæren, with my beloved beaches and rocky shores. </div>
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<div style="text-align: center;"><div style="text-align: justify;">The second one in red is handpainted by Kari Nyquist. It shows, like my
previous plates, scenes from my home town. This was made as a corporate gift (that's the text on the back), it
even states the year, 1964. You probably recognize the scenes and
buildings by now, after I've been going on about it several times:-)
Notice the fish monger in the third picture trying to impress the lady? You
can see my other ones <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/06/a-few-new-ones.html">here</a>. </div>
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Today, I found six more settings in the Stavangerflint Finse pattern, as well as a sugerbowl and creamer and egg cups. Finse was designed by Kåre Berven Fjeldsaa in the 60s. There is more information about it and better pictures in <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/08/stavangerflint-finse-and-gift-for-mum.html">one of my recent posts</a>.</div>
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I've been on the lookout for egg cups, and lately they have been pouring
down on me:-) I especially love the Figgjo ones with the little bowl
for egg shells, that you can see <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/07/thrifting-heaven.html">here</a>,
but the Stavangerflint ones are also really cute. I found eight Finse
egg cups, and four Sera. I think the egg cups look REALLY good in Sera. </div>
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I found a small Knabstrup dish and candle holder in a very delicate combination of light greyish blue and beige. The colors on the dish are more faded. I don't know a great deal about this company, and found this information on <a href="http://anseta.com/designers/danish/knabstrup-keramik.php">this site</a> that sums up their history:</div>
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<i>This factory was based in Denmark in Zealand. From 1856-1907
Knabstrup Lervarefabrik was a brick factory. In 1897 it was bought by
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<i>In 1930, production was mostly utility ware. Aksel Sigvald Nielsen
(Aksini) worked there until 1954, producing vases and also pottery
plaques. After Frida Schou retired as Director in 1970, the factory
bought a new gas kiln, Bjorn Wiinblad took over production and changed
the name in 1977 to Knabstrup Ceramic Factory A / S. Production
consisted of dinnerware, wall plaques, and dishes. The company closed
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There's a pair of candle holders in brown and green for sale in <a href="http://www.etsy.com/listing/102133759/pair-of-danish-candle-holders-knabstrup">Birgitte's Etsy shop</a>, have a look!</div>
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That's all I guess! Well, that's not excactly true. I found something really sunny that I decided deserves a post of it's own. If you're on Instagram, you've probably seen it:-) See you soon!</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com14tag:blogger.com,1999:blog-3734285486183187077.post-6946100902802787362013-08-16T20:34:00.001+02:002013-08-16T20:34:14.471+02:00Australia's favorite spread<div style="text-align: justify;">
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</xml><![endif]-->Do you remember Men At Work? They had a huge hit in 1981 called "Down under". The lyrics had a line that went: "... he just smiled and gave me a vegemite sandwich" From that day, Vegemite has been a big mystery to me, and I guess to most scandinavians from my generation. We don't have anything like it over here, and I have understood that one might not love it at first bite....</div>
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When sweet <a href="http://ouchflower.blogspot.no/">Pippa of Ouchflower</a> awarded me a Liebster, one of her questions were "Vegemite or Marmite?" I had to admit I hadn't tasted either of them, whereas our dear blogging friend <a href="http://lucyvioletvintage.blogspot.no/">Kylie of Lucy Violet Vintage</a> (who sadly is not blogging anymore) decided to send me a jar halfway across the globe!!! </div>
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Album and single covers. Great black and yellow graphics and a distinct 80s look (below)<br />
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TADAAA! The eagle has landed on norwegian soil, safe and sound:-)<br />
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And now to the tasting prosess. Kylie adviced me to try a thin layer on a piece of toast the first time, and so I did. I must say, tasting something so mysterious and exotic for the first time, gave me a few butterflies in my stomach. You aussies must be laughing by now! I even had to chose the right serving tray for the photo shoot, the yellow was no coincidence:-)</div>
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Let's just say the experience was...hm...interesting. It wasn't as bad as I feared (I've heard some nasty rumours), and it could definitely grow on me. The taste was very concentrated and a bit spicy, like stock or bouillion, and had an aftertaste a bit like beer (?) Anyway, it was great fun to finally taste it, my kids tasted it too (with a couple of wrinkly noses, I have to add...)</div>
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Thank you so much, Kylie- what an amazing thing to do!!!</div>
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PS: miss your blog desperately!!!</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com4tag:blogger.com,1999:blog-3734285486183187077.post-3448008874760027412013-08-11T22:14:00.001+02:002013-08-11T22:14:56.872+02:00100!!!!! And a giveaway:-)<div style="text-align: justify;">
This is my 100th post!! I can't believe I've reached that magic number. I must admit I never thought I'd become a blogger, but as it occurred to me how many wonderful like- minded people that were out there, I threw myself into the blogosphere. The sunny side of it really has been meeting all you lovely people who share my passion for vintage pottery. It's been very educational too, I've learned a lot!</div>
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I've decided to celebrate my little anniversary with a giveaway!! I've been going on so much lately about Figgjo and Stavangerflint, and what could be more fitting than giving away a small Stavangerflint treasure? </div>
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The treasure in question is a lovely small hand painted souvenir plate from the 60s measuring 12,5 cm across. It's unsigned, but I know for sure it's decorated by Inger Waage. Do you know how to identify a souvenir plate painted by Waage? See the birds, the leaves that look like little trees and the type? They're sure signs!</div>
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The motifs are small scenes from Trondheim, Norway's third biggest city. Situated by the Trondheim fjord in the middle of Norway (right below where it gets narrower going north:-) Trondheim is the home of Norway's largest cathedral, shown right behind the rose in the center.</div>
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So what do you do to enter? Nothing more than become a follower by clicking the follow buttons to the right, Bloglovin <b>and</b> Google Friend Connect, if you're not already a follower! Be sure to leave a comment telling me you want to enter. The draw will take place two weeks from now, on august 25th, at 12 noon Central European Time. Good luck!!<br />
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Ps. I'm on Instagram now, I finally caved in for the pressure by certain members of my near family:-)</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com17tag:blogger.com,1999:blog-3734285486183187077.post-55596090876885783452013-08-01T23:20:00.002+02:002013-08-02T00:17:35.114+02:00Stavangerflint Finse.... and a gift for mum<div style="text-align: justify;">
Just as I was concidering starting to collect Stavangerflint Finse (it's one of those patterns I grew up with, I'm a hopeless nostalgic...), a teaset for six appeared in a local charity store yesterday for next to nothing! Of course, I concider no more, the matter is settled now and I'm in love- again!!!</div>
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Finse is named after a mountain area in the middle of Norway and was designed by Kåre Berven Fjeldsaa in the 60s. Finse is actually where George Lucas shot one of the Star Wars movies in 1979!! The landscape there was supposedly a good representation of the planet Hoth... Now that's a fact I never thought I'd mention in this blog:-) </div><div style="text-align: justify;"><br></div><div style="text-align: justify;">My parents had a Finse teaset, but gave it away to a charity store years ago, long before I was old (or wise!!) enough to appreciate it. I was really thrilled to find it. It's in a delicious light olive with brown trim, and is very rustic.</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">I adore Fjeldsaa's
designs. Born (1918) and raised in Sandnes, close to Figgjo, he was a
"homegrown" ceramic artist, educated at the Norwegian National Academy
of Craft and Art Industry in Oslo from 1937-42.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"></span><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="mso-ansi-language: EN-US;">From 1958 Fjeldsaa became head of
design at the earthenware factory </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Stavangerflint AS</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> in </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Stavanger</span><span lang="EN-US" style="mso-ansi-language: EN-US;">. After the merging of Stavangerflint AS and </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Figgjo Fajanse AS</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> in 1968 to </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Figgjo Fajanse Stavangerflint AS</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, he continued as head of design and
</span><span lang="EN-US" style="mso-ansi-language: EN-US;">product development</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> from 1973, after Ragnar Grimsrud, who had that same position at Figgjo Fajanse, retired. </span>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">As a ceramic artist
Fjeldsaa was a pioneer in the use of </span><span lang="EN-US" style="mso-ansi-language: EN-US;">stoneware</span><span lang="EN-US" style="mso-ansi-language: EN-US;">. His objects from this period were highly
appreciated and he was awarded a gold medal at the </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Triennal in Milan</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> in 1954 and at the </span><span lang="EN-US" style="mso-ansi-language: EN-US;">International Exhibition</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> of Ceramics in Cannes in 1957. As artistic
manager and designer at Stavangerflint he made his designs both in "</span><span lang="EN-US" style="mso-ansi-language: EN-US;">flintware</span><span lang="EN-US" style="mso-ansi-language: EN-US;">" (fine earthenware), </span><span lang="EN-US" style="mso-ansi-language: EN-US;">ovenproof</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> models, </span><span lang="EN-US" style="mso-ansi-language: EN-US;">vitroporcelain</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> and stoneware. His most well-known
creations are the model Kongsstein, the flintware series Brunette and Finse in stoneware. </span><br>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Fjeldsaa is known for his subtle relieff patterns, like Brunette. </span><span lang="EN-US" style="mso-ansi-language: EN-US;">The decor is integrated in the design with a discreet surface pattern, highlighted by the color and glaze.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> He was also the designer behind the pieces that were decorated by Inger Waage, also a Sandnes girl, like Sera and Kon Tiki.</span><br>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Fjeldsaa and Waage in the late 50s. Picture from the </span>Stavangerflint archives </div><div style="text-align: center;">at the Figgjo museum. </div>
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Like Finse? My great blog friend <a href="http://arcticmum.blogspot.no/">Artic Mum</a> still has four salad plates for sale at her <a href="http://www.etsy.com/listing/157359262/stavangerflint-finse-four-salad-plates?ref=shop_home_active">ScandiShop</a>
on Etsy. She compared them to Arabia Ruska, a thought that never
crossed my mind, but she's absolutely right! The surface has that same
coarsenes and the shape of the plates are quite similar. I will definitely use them together. Finse can add some lightness to the otherwise gloomy Ruska (don't get me wrong, I love gloomy...). Just like Ruska, I think Finse too looks very modern and ahead of it's time. Do visit the <a href="http://www.etsy.com/listing/157359262/stavangerflint-finse-four-salad-plates?ref=shop_home_active">ScandiShop</a> even if you're not in the market for Finse, she has a lot of lovely pieces.</div>
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I also found this Lotte Gravy boat for my mum. She has the dinner set. Lotte was designed by Turi Gramstad Oliver in 1962, and was in production for 23 years, until 1985. While setting the table at my mum's, I took a few pics of her beautiful plates and the lovely tablecloth she chose to go with them. Mum and dad also uses their Skaugum cutlery daily. It's in teak and steel and was designed in the late 40s. It's still in production at Geilo by the very same family that started the business, look <a href="http://www.skaugum.info/">here</a>. The teak has, however, been replaced by Kebony. If you're lucky you can find them in teak in thrift stores, but if you do, you'd better keep them out of the dishwasher...</div>
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In my post about my recent visit to the <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/07/the-figgjo-museum.html">Figgjo museum</a> I totally forgot to mention that there's a book out about the factory, containing a lot of interesting history and a lot of pictures. I did, of course, get a copy:-) Unfortuneately, it's currently only in norwegian. Should there be a lot of international interest, though, they might be convinced to publish an english version.</div>
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I love this picture of the young and beautiful Turi Gramstad Oliver proudly holding a dish in her newly introduced Lotte pattern in 1962. She was only 24, what a gal!</div>
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Don't you just hate the sound and look of broken pottery? This 50s Graveren piece didn't make it home....</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com13tag:blogger.com,1999:blog-3734285486183187077.post-11151531793615753812013-07-29T07:56:00.001+02:002013-07-29T07:56:46.569+02:00Graveren by Ragnar Grimsrud<div style="text-align: justify;">
I'm so excited over here, I've managed to dig up some information about the large Graveren plate I bought in a charity store in Stavanger, look <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/07/thrifting-heaven.html">here</a>. It is indeed a Ragnar Grimsrud piece!! I searched for Graveren pieces on the web to see if I could find a similar one, and thereby date it and find out who designed it. I finally did, in a site called <a href="http://digitaltmuseum.no/">Digitalt Museum</a>. It's a great resource that I often use, it's basically the collections of the major museums, digitalized. </div>
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I found a picture of a bowl that has almost exactly the same pattern as my plate that was
dated 1930-39, designed by Ragnar Grimsrud during his time as head
artist/designer at Graveren. I also found two other pictures of pieces
in the same wonderful Art Deco style, a liqueur carafe and a vase. They
are both in the dark end of the colors used in the pattern on my plate
and I'm therefore suspecting they were all part of a series. The carafe
is also dated to that same period 1930-39, while the vase is a bit
earlier, 1928-33. All the pieces are part of museum collections, the bowl in <i>Norsk Folkemuseum</i>, the carafe and vase in The <i>National Museum</i>.</div>
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Many artists were connected to Graverens Teglverk. Ragnar Grimsrud (who
also worked for Figgjo and is considered one of our most talented
pottery makers of the 1900s) is the most renowned, and became head
designer (artistic leader) in 1928. His work was among the most
appreciated during his time in the company, and after Graveren's
participation on the Paris fair of 1925, one of his pieces were added to
the collection at the ceramics museum in Sevres. </div>
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Many Graveren pieces are marked like this, with two three- digit numbers, the upper number being the number of the design, and the lower the decor.There's also the little factory stamp with the pipe and the letters "Gr". It's hard to see in this picture, it's in the upper right corner, upside down.</div>
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I feel like I
struck gold with this one. Due to a small imperfection, a little crack
along the edge, the price was only 30 NOk, that's just 5 USD or 3,30
GBP!! I don't mind that little flaw one bit, I'm never gonna sell this
beauty anyway! I've moved stuff around a little bit and paired it with my older Graveren storage jar turned planter on the dining table.</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com9tag:blogger.com,1999:blog-3734285486183187077.post-55244448804025874412013-07-28T01:21:00.001+02:002013-07-28T13:18:08.517+02:00Dune architecture<div style="text-align: justify;">
If you read my last post, this is what's behind that belt of sanddunes. When you cross the dunes you leave the windswept beach and enter a sheltered green area where you can still smell the salty North sea, but also an intense smell of grass and straw, and there's the chirping and humming of birds and insects. </div>
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I wanna show you a piece of great design and an outstanding piece of well adjusted architecture. I never thought I could fall in love with bicycle parking, but this one is something else. Inspired by the straw growing in the dunes,
it looks like a great abstract scupture. Not so sure about the
functionality, though, but I tend to choose beauty over it. It was a
project for Jæren Friluftsråd (not sure how to translate that, but
it's an organization that is responsible for the preservation of the
Jæren landscape), and I know you can find them on two other beaches,
maybe more. </div>
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This
particular piece of great design is located in the area behind the
dunes to accomodate beachwalkers arriving by bike. On one of the most
beautiful of the Jæren beaches, it's situated in the opposite end from
where my aunt has a small cabin, which I wrote about in <a href="http://stuffthatmakesmyheartbeatfaster.blogspot.no/2013/05/my-aunts-cabin.html">this post</a>. </div>
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The dunes are in constant movement. In the 1800s, many farms were
endangered by sand being blown over the fields. A belt of straw was
planted to keep the sand in place and this caused large dunes to build
up. Today, the area behind the dunes is sheltered and very fertile.
Where there are not farms, there are all kinds of wild flowers and a
large amounts of birds and insects. The beaches here in the southwest of Norway are where the migrating
bird are seen first when they come back in the early spring.</div>
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Next to the bicycle parking is <i>Friluftshuset</i>, a beautiful piece of architecture designed by local architect Per Line. It was built in 1987 and extended in 1992. It burned to the
ground in 1999, but was raised again excactly like it was. Line sadly died in 1997, only 61
years old. He was greatly admired for his interpretation of the
traditional Jæren architecture and landscape features in his buildings.
This building is concidered his most important work. He did some beautiful renovations and additions to old buildings too, one of
them a wonderful old vicorage turned into an art gallery.</div>
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Friluftshuset is an exhibition/ information center for the preservation of the local flora, fauna and landscape. There is a lot of information about the protected landscape and how we can help preserving it, as well as the prosesses that has shaped it, from the ice age and up until now. It has a sheltering atrium serving as a picnic area or just a refuge on
windy days. Each summer, a local artist is invited to exhibit his or her
work for a period from march to october.</div>
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The building is in Nordic "humane modernism", a reaction to the non- compromising style of modernism. Line worked for Knut Knutsen at the beginning of his career, whose cabin in Portør, inspired a whole generation of architects.</div>
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The building is a perfect "answer" to the surrounding landscape. It refers to local phenomena, the traditional groundhugging architecture, the driftwood, the irregular and flowing shape of the dunes. Like it or not, you gotta admit it´s well adjusted to it´s surroundings, right?<br />
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Cool car full of dutch surfers, notice the color match?</div>
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Traditional houses in Jæren were placed along the prevailing wind
direction, facing the sea, and both ends extended towards the ground
to let the wind pass easily over them. In both ends there were peet
storage for (fyring), peet because the stoney stretch of coast had no
natural forests. The peet storage also helped insulate the house.<br />
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Life
was all about the sea. The facades had windows towards it, the other
sides were sheltered by stone walls, a bit similar to historic houses on
the Orkneys, Shetland and Faroe islands. As the import of wood from the
inland parts of the country was made
possible, more of the facades got wood cladding, while you could pick
out poor people's houses by the amount of stone... There are very few
really old houses left
in this area. Can you imagine why? The little wood materials people had
were used again to build new ones. Even timber from shipwrecks were
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Back to Per Line's masterpiece. The weathered surfaces, the ruggedness and the way it sits in the landscape reminds me a lot of Sea Ranch by architects Charles Moore, Donlyn Lyndon,
William Turnbull, and Richard Whitaker, built in the 60s on a piece of rugged Californian coast. This might also very well have been a source of inspiration to Line. If you don´t know it already, look it up- it´s a wonderful peace of architecture in an amazing landscape. </div>
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Sadly, the atrium and interior was closed the day we visited, due to a private arrangement. However, I have this great catalogue from a Per Line exhibition that has some beautiful pictures of the atrium and how the landscape looks like in the late fall and winter.There are also the plans, including the roof plan, to give you a better understanding of it.</div>
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com0tag:blogger.com,1999:blog-3734285486183187077.post-18294569485400955682013-07-27T01:17:00.001+02:002013-07-27T01:22:29.751+02:00Surf's up!Italy was amazing. There´s no end to all the beauty, but my home town on the Jæren coast is my paradise. It´s where my heart is, and I miss living there so much it´s almost painful to visit. Not to mention leaving it again...<br />
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I took my kids surfing a few days ago. There are 70 kilometres of gorgeous, wide, white sandy beaches in an almost continuous belt. The rough North sea sends waves crashing into shore, which makes the area a mecca for surfers year around. There´s also a lot of kiting and windsurfing going on. Notice sunbathers on the beach? That´s right, there aren´t many! It wasn't cold, but very windy. Those who ventured out that day, stayed behind the dunes where the local microclimate is sheltered and warm. I actually enjoy this climate. I wouldn´t mind if it was a little bit warmer in the summer, but the winters are mild (and often wet), not like the freezing cold, snowy ones that´s more common in Norway. When most of the country gets snow, Jæren gets rain. The landscape outside Stavanger and Sandnes is flat and very fertile farmland, and due to the mild climate, the very first potatoes in the spring comes from this area. </div>
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The beaches are not only used in the summer, but year around. Walks here in the winter is great, that´s when the biggest waves roll in. During Easter there´s the traditional boiling of Easter eggs typical for this area, where people bring firewood and and find a nice spot between the dunes to boil the eggs with some onions to make them nice and yellow. The rest of the country goes skiing...<br />
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The two dudes flanking the group are mine. The one on the left is the little thrifter:-)</div>
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Carrying the boards across the steep dunes after we're done is not the most popular task of the day.... I can't believe I didn't get any pics of them actually standing on the boards, but then again, I'd have to be real quick:-)<br />
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tovehttp://www.blogger.com/profile/12181574311574113584noreply@blogger.com6