Designer and curator Kirsten Visdal has stuffed a former smoking room on the Musée d’Orsay in Paris with Norwegian furnishings, objects and sculptures.
For 3 days solely, Visdal remodeled Le Fumoir – a room that’s usually closed to the general public – right into a showcase of Norwegian artists, designers and types.
The exhibition, Et Hjem/Chez Soi, featured work by modern designers together with Ali Shah Gallefoss and Andreas Engesvik, in addition to classics by the likes of Terje Ekstrøm and Hans Brattrud.
The challenge was led by Design and Structure Norway (DOGA), the Oslo-based design organisation and gallery that’s identified for staging the Norwegian Presence exhibitions in Milan.
In accordance with Cecilie Molvær Jørgensen of DOGA, the intention was to focus on the distinct qualities of Norwegian design, in distinction with different Nordic nations.
“This was a beautiful alternative to showcase Norwegian design in a model up-to-date manner and to create one thing sudden,” she advised Dezeen.
“Usually Norwegian design is put in the identical class as Scandinavian design – blond wooden, white, minimalistic, functionalistic – however Le Fumoir gave us the chance to point out it’s so rather more than that,” she continued.
“It may be eclectic, playful, vibrant, pliable, curvy and maximalistic.”
Le Fumoir was initially a part of a resort within the former Gare d’Orsay railway station, which occupied the constructing within the early twentieth century earlier than it was transformed right into a museum.
Visdal created playful contrasts with the room’s elaborate decor, which incorporates ornate wood wall panelling, massive curtains, patterned crimson wallpaper and a immense patterned Persian rug.
In a single association, a sand-casted aluminium desk by Gallefoss sits alongside the gridded metal Munch chairs by designers Andreas Engesvik and Jonas Stokke, that are produced by Vestre.
Behind it, a basic sideboard displayed experimental ceramics by artist Eyvind Solli and aluminium lamps from producer Hydro.
In entrance of the unique fire, the Gem couch from modern furnishings model Northern sits alongside Brattrud’s Nineteen Sixties Scandia chairs, produced by heritage model Fjordfiesta.
Different highlights embody Ekstrøm’s curvy Eighties Ekstrem chair, produced by Varier, which sits in entrance of a eating desk topped with porcelain dishes from producer Ment.
“We needed to create sudden combos and present that Norwegian design is a various mixture of basic mid-century and modern,” mentioned Jørgensen.
“The distinction between the understated magnificence of Nordic craftsmanship and the grandeur of this iconic museum creates a novel dialogue, showcasing how simplicity can communicate volumes in essentially the most exceptional of settings,” added Visdal.
The exhibition additionally included items by Matre, a up-to-date Norwegian model that launched in 2024.
Different exhibitors included reclining chair producer Stressless, doormat model Heymat, textile firm Fram Oslo and office furnishings producer Flokk.
The color palette mixed shades of crimson, burgundy, pink and muted browns.
“The crimson palette was influenced by the room itself,” mentioned Jørgensen.
“We combined burgundy and pink with plums and berries, and at last that fireplace hydrant-red within the Munch chairs. And naturally, slightly little bit of blond wooden to function accents moderately than the bottom.”
