The World of Finnish Design #9: The Philosophy and Values of Finnish Design
Hello! Welcome to the 9th installment of "The World of Finnish Design" series. Last time, we explored contemporary Finnish designers, but this time, we will focus on "The Philosophy and Values of Finnish Design." Let's delve into the common ways of thinking and aesthetic sensibilities that underlie the various designers and works we have looked at throughout this series.
Living in Harmony with Nature
Inspiration from Nature
When talking about Finnish design, one cannot avoid the "relationship with nature." Finland's rich natural environment, with about 70% of its land covered in forests and 188,000 lakes, has been a source of creativity for many designers.
Alvar Aalto's undulating, organic "Savoy Vase," the icy texture expressed in Tapio Wirkkala's "Ultima Thule," and the botanical motifs seen in Maija Isola's "Unikko"... these are all examples of designs inspired by Finnish nature.
However, Finnish designers do not simply imitate nature; they take an approach of understanding, abstracting, and reinterpreting the essence and structure of nature. This can be described as an attitude of "learning from nature" rather than "worshipping nature."
Early Commitment to Sustainability
Today, the term "sustainable design" has become common, but Finnish designers have been practicing this concept from early on. The attitude of carefully using limited resources and designing products that can be used for a long time was one of the fundamental values of Finnish design long before modern environmental awareness grew.
For example, Kaj Franck's philosophy of "making only what is necessary" can be called a precursor to today's "ethical design." Also, the approach of utilizing locally sourced materials (wood, glass, ceramic clay, etc.) and maximizing their characteristics aligns with modern environmentally conscious design concepts such as local production for local consumption and reducing carbon footprints.
This value of "living in harmony with nature" has been passed down to today's Finnish designers and serves as a driving force for creating innovative solutions to modern challenges such as environmental issues and climate change.
Harmony Between Functionality and Beauty
Reinterpreting "Form Follows Function"
The famous functionalist slogan "Form follows function" is an important principle in Finnish design as well, but its interpretation has unique characteristics. Finnish designers have perceived function not merely as physical or technical requirements, but as "human needs" in a broader sense.
To borrow Alvar Aalto's words, "satisfying human psychological needs, not just technical functions, is part of the function." This idea is reflected in Aalto's consideration for patients' psychological comfort at the Paimio Sanatorium and Ilmari Tapiovaara's furniture design based on ergonomics.
Therefore, "functionality" in Finnish design is a comprehensive concept that includes not only "ease of use" but also "psychological satisfaction of the user," "visual pleasure," and "harmony with the environment."
Balance Between Ornamentation and Simplicity
Finnish design generally has an image of being "simple" and "minimalist," but in reality, it holds a more subtle balance. While there is certainly a tendency to eliminate unnecessary ornamentation, this is not cold asceticism, but a choice to bring out the inherent beauty and natural texture of the materials.
For example, the bold colors and patterns seen in Finnish textile design (especially Marimekko), the use of colored glass in Iittala's glassware, and the delicate glaze expressions seen in Arabia's ceramics are all important aspects of Finnish design, including sensory richness and expressiveness.
This value of "harmony between functionality and beauty" is the source of creating designs that are practical yet enrich the heart. Finnish design is meant for "using" as well as for "enjoying."
The Philosophy of Democratic Design
"No man is poor who has good design"
The maxim "No man is poor who has good design," known as a quote by Kaj Franck, symbolizes the democratic philosophy of Finnish design. This idea is based on the belief that good design should not be the privilege of the elite, but should be accessible to everyone in society.
This philosophy is embodied in many masterpieces of Finnish design, such as Franck's "Kilta" series, Aalto's mass-produced furniture, and Marimekko's affordable textiles. The attitude of utilizing mass production technology without compromising on quality and design excellence is one of the traditional strengths of Finnish design.
Respect for Everyday Life
Another characteristic of Finnish design is the attitude of recognizing and respecting the value of the "everyday" and the "ordinary." Rather than focusing on special occasions or privileged situations, the emphasis has been on focusing on things used in daily life and improving their quality.
This idea is also reflected in the appreciation of "anonymous design." Many Finnish designers, including Kaj Franck, have respected the wisdom and beauty of nameless folk tools and daily necessities, and have drawn inspiration from them.
This ability to turn everyday things into something special is an important part of the charm of Finnish design. Iittala tableware that turns an ordinary meal into a slightly special experience, Fiskars tools that make daily chores a little more fun, and Marimekko textiles that breathe color and life into everyday spaces... these are all examples of design that enhances the "quality of daily life."
The Concept of "Lagom": The Aesthetic of Moderation
The Nordic Value of "The Golden Mean"
The word "Lagom," which means "just right" in Swedish, represents a value shared across the entire Nordic region, including Finland. It is a way of thinking that values a balanced, "just right" state that is neither "lacking" nor "excessive."
This spirit of "Lagom" can be seen in many aspects of Finnish design. For example:
Use of materials: Not using more than necessary, and not wasting them
Visual expression: Neither overly decorative nor overly ascetic
Functionality: Practical, yet does not flaunt technical complexity
Social aspect: An expression of the individual that respects the values of the community
This pursuit of 'moderation' is not merely a middle-ground compromise, but a creative process of actively finding the optimal balance point.
The spirit of 'Sisu' and perseverance
Alongside 'Lagom', another important Finnish value is 'Sisu'. This is a unique Finnish concept representing 'perseverance in the face of adversity' and 'the spirit of not giving up,' and it can be said to be the core of the identity of the Finnish people, who have overcome harsh natural environments and historical hardships.
This spirit of Sisu is also reflected in design, manifesting as the tenacity to take on difficult technical challenges and find innovative solutions. We can see this 'never give up' spirit in many examples, such as Aalto's development of bentwood technology, Wirkkala's technical innovations in glass manufacturing, and Marimekko's challenges in dyeing techniques.
Furthermore, this 'Sisu' is also related to efforts toward sustainability. The attitude of working persistently with a long-term perspective can be said to be a characteristic of Finnish design that creates lasting value beyond short-term fads and trends.
The aesthetics of silence and light
Sensitivity to Nordic light
Finland's high-latitude location brings about very specific light conditions. The midnight sun in summer and the polar night in winter, the oblique light from low angles, long twilights and dawns... these unique light experiences have had a major influence on the sensibilities of Finnish designers.
To borrow the words of architect Juha Leiviskä, 'In Finland, light is a luxury, and it is our duty to make the most of it.' This delicate sensitivity to light is expressed in many designs, such as the lighting ingenuity in Aalto's architecture, the transparency and brilliance of Iittala's glass products, and the choice of bright colors in Marimekko.
In particular, the 'light environment' created artificially during the long darkness of winter holds a spiritual importance for Finns that goes beyond mere functional necessity.
Serenity and concentration
Finland is generally called a 'quiet country,' and Finns tend to respect silence and tranquility. This 'value of silence' is also reflected in Finnish design.
For example, in Finnish architectural spaces, there are many designs that reduce visual noise and encourage pleasant silence and concentration. Also, in furniture and daily necessities, designs with a quiet presence that do not assert themselves too much are preferred.
This preference for silence brings a 'meditative quality' to Finnish design. It can be said that a characteristic of Finland is design that possesses a simple yet deep richness, allowing the user to enjoy a quiet dialogue with objects.
The fusion of craft spirit and technology
Respect for the tradition of handiwork
Another important feature of Finnish design is a deep respect for traditional handicraft techniques and efforts toward their inheritance and development. Many Finnish designers have mastered traditional techniques and, building upon them, have performed modern interpretations and innovations.
For example, the wisdom of traditional crafts such as glassblowing, ceramic techniques, woodworking, and textile weaving and dyeing is also utilized in modern design processes. The fact that the boundary between design and craft is blurred is one of the characteristics of Finnish design.
Openness to technology
On the other hand, Finnish designers are also very open to new technologies and materials. We can see an attitude of incorporating the cutting-edge technology of the times, such as Aalto's experiments with bentwood, Aarnio's challenges in plastic molding, and designs utilizing modern digital technology.
What is important is the idea of viewing technology not as an end, but as a means, and utilizing it to enrich human life. In Finnish design, tradition and innovation, and craft and technology, are not viewed as opposing concepts, but as mutually complementary elements.
Social responsibility and community consciousness
The social role of design
In Finnish design, there is a strong belief that 'design is a tool for making society better.' Especially during the reconstruction period after World War II, designers were aware of their social responsibility to actively contribute to the nation's recovery and the improvement of citizens' lives.
For example, Aalto's public architecture, Kaj Franck's daily goods design, and Marimekko's affordable fashion can all be seen as part of the grand goal of 'building a better society.'
This social perspective is closely related to Finland's development as a welfare state and is linked to the philosophy of 'democratization of design' and 'a high-quality environment for everyone.'
Collaboration and networking
Another characteristic of Finnish design is the close cooperation between designers, craftsmen, manufacturers, and educational institutions. By turning the fact that it is a small country to its advantage, people from different professional fields and positions have worked closely together to promote innovation.
For example, companies like Arabia and Iittala have provided long-term support and creative freedom to designers, while academic institutions (such as the current Aalto University) have emphasized connections with practice and promoted industry-academia collaboration.
This 'design environment as a community' has become a foundation for individual designers to find their roles within a larger context and grow while stimulating each other.
Fusion of Internationalism and Locality
Global Vision, Local Soul
Finnish designers have been active on the international stage from an early stage, and while being sensitive to global trends, they have maintained a uniqueness rooted in their own country's culture and traditions. This 'fusion of internationalism and locality' is also an important feature of Finnish design.
For example, Aalto developed a unique expression inspired by Finnish nature and traditions while incorporating the trends of international modernism. Marimekko also continues to have a clear Finnish identity while being part of the international fashion world.
This attitude of 'being a global citizen while being rooted in the region' remains a strength of Finnish design even in today's increasingly globalized world.
Expression of Cultural Identity
Design is not just about making things, but also an expression of cultural identity. Especially since the 1950s, 'Finnish design' has played the role of a cultural ambassador for the country, becoming an important means of promoting Finland's creativity and innovation on the international stage.
Finnish designers have participated in international dialogue by presenting Finnish solutions to universal problems, rather than imposing their own country's culture and values. This attitude has led to the development of a design language that is 'Finnish yet internationally understood.'
Finnish Design as Design Thinking
Problem-Solving Approach
Finnish design is not just a 'style' or 'aesthetic trend,' but also a 'way of thinking to deal with problems.' This 'Design Thinking' approach is also attracting attention in today's business and social innovation fields.
Finnish designers have generally practiced a methodology of deeply understanding the essence of a problem, standing from the user's perspective, and finding the optimal solution through experimentation and iteration. This is a design approach from a broader perspective of 'finding better solutions' rather than just the goal of 'making beautiful things.'
Education and Design Culture
Finnish design education is known not only for teaching techniques and aesthetics, but also for emphasizing 'ways of thinking' and 'methods of approaching problems.' At the current Aalto University (formerly the University of Art and Design Helsinki), efforts are focused on fostering creative problem solvers through interdisciplinary cooperation and experimental learning methods.
In addition, design literacy among the general public in Finland is high, and art and craft education from elementary school, as well as the presence of high-quality design in public spaces and daily life, form the foundation of the country's overall design culture. The idea that 'design is not just for experts' also reflects the democratic aspect of Finnish design.
The Philosophy of 'Evergreen Design'
Value That Transcends Time
An important value of Finnish design is the concept of 'Evergreen Design' (design that has value that transcends time). This is an idea that aims for design that has value that can be used for a long time without being swayed by temporary fads or trends.
Products that have been produced for decades, such as Iittala's 'Evergreen' series, Artek's Aalto furniture, and Marimekko's classic patterns, are concrete expressions of this philosophy.
A Pioneer of Sustainability
This 'Evergreen Design' idea is deeply related not only to aesthetic universality but also to the modern concept of sustainability. Products that can be used for a long time reduce waste of resources and serve as a counter to 'disposable culture.'
Also, aspects such as the selection of materials that gain character over time (e.g., wood, brass, genuine leather, etc.) and designs that can be repaired are expressions of sustainability in Finnish design.
Modern designers are also developing this 'Evergreen' philosophy in new contexts, working on sustainable design practices that address environmental issues and the challenges of consumer society.
Conclusion: Finnish Design as a Living Tradition
When we delve into the philosophy and values of Finnish design, we find that it is not just a legacy of the past, but a 'living tradition' that continues to develop today. The foundations built by Aalto, Franck, Isola, and others are being passed on to today's designers, interpreted and redefined with the times, and applied in new contexts.
'Coexistence with nature,' 'harmony between functionality and beauty,' 'democratic design,' 'the aesthetics of lagom,' 'the fusion of craft spirit and technology,' 'social responsibility,' 'the fusion of internationalism and locality,' 'design thinking,' 'evergreen design'... these values continue to shape the core of Finnish design while being given new interpretations in line with the changes of the times.
The true strength of Finnish design may lie in the universality and flexibility of these underlying philosophies and values, rather than in a specific 'style' or 'look.' That is why 1950s design still feels fresh today, and why new generations of designers can pursue their own unique expressions while respecting the legacy of their predecessors.
In the final installment next time, titled 'The Present and Future of Finnish Design,' we will consider the challenges and possibilities of Finnish design in the era of globalization. Stay tuned!
In this 'World of Finnish Design' series, we will explore the history of Finnish design, representative designers and their works, and design philosophy through to modern trends over the course of 10 installments.