Copenhagen’s contemporary design festival 3daysofdesign reveals Scandinavia’s sustainable future

Luca Nichetto’s Upglas lamp for Astep exemplifies a parallel development in lighting design, where Scandinavian design principles meet traditional glassblowing techniques. The resulting forms carry subtle irregularities inherent to handcrafting, distinguishing each piece from mass-produced alternatives. These products reflect a broader movement towards objects that accommodate individual needs while retaining evidence of their making.

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Environmental considerations now influence fundamental design decisions, moving beyond surface-level modifications to structural changes in product conception. The Shrinx lounge chair by Boris Berlin for +Halle eliminates polyurethane foam entirely, reducing fossil fuel consumption without compromising on structural integrity or comfort. This approach represents a more sophisticated understanding of environmental impact, where material choices become integral to design rather than peripheral concerns. 

Montana’s Paradigm sofa advances similar principles through modularity and sustainable material selection. The piece’s adaptable configuration extends its useful life while reducing replacement cycles, demonstrating how longevity can be built into products from the outset. Both pieces illustrate how ecological responsibility can be embedded in form and function rather than applied as an afterthought.

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The reinterpretation of established designs reveals how classic forms can be adapted to accommodate new materials and production methods. Mario Bellini’s Amanta sofa for Hay updates a 1960s design by utilising recycled materials and adaptable configurations, preserving the original’s formal qualities while addressing contemporary environmental concerns. This approach suggests that heritage can serve as a resource for innovation, rather than a constraint.

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Comfort and adaptability remain central to seating design, with manufacturers responding to diverse preferences and living situations. Anderssen & Voll’s Hi Lo AV55 sofa for &Tradition features generous cushioning and modularity, crafted sustainably to accommodate varied interiors and changing needs.

David Thulstrup’s Taku chair provides versatile upholstery options that complement its sculptural form, allowing users to customise its appearance while maintaining design integrity. These pieces reflect a trend towards seating that prioritises the user experience over making a design statement, resulting
in furniture that serves as a foundation for personal expression rather than imposing specific aesthetic choices.

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Scandinavian design continues to explore bold graphics and dynamic shapes, drawing on mid-century precedents while addressing contemporary sensibilities. Nanna Ditzel’s Bench for Two for Fredericia reinterprets psychedelic stripes and butterfly-inspired curves, creating seating that functions as both furniture and a visual statement. The piece demonstrates how historical references can be activated, rather than merely quoted.

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Partnerships between designers, artists and manufacturers have produced works that challenge conventional categories. Gubi’s tie-up with Garro Éditions resulted in a special edition of the 9602 floor lamp, combining Paavo Tynell’s lighting design with Henry Moore’s drawings to create functional artwork. The collaboration demonstrates how different creative disciplines can inform each other, producing objects that serve multiple purposes.

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Classic craftsmanship adapts to contemporary living through seating that balances traditional techniques with modern requirements. Hans J. Wegner’s CH621 swivel chair for Carl Hansen & Søn introduces swivel functionality to an established design, enhancing usability without compromising on the chair’s essential character. This modification demonstrates how incremental changes can extend a design’s relevance across decades.

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Natural forms continue to inspire home objects that combine artistic expression with practical utility. Royal Copenhagen’s Kontur collection draws on ocean waves to create sculptural interior pieces that evoke fluidity through ceramic forms. The range demonstrates how natural phenomena can be translated into domestic objects that serve both functional and aesthetic purposes.

Emma Kohlmann’s La Pittura collection for Hay advances this direction through hand-painted ceramics that blur distinctions between art and utility. The tableware’s organic shapes and layered brushstrokes engage sight and touch, creating objects that invite close examination and handling.

Ferm Living’s Dapple outdoor collection features stackable steel furniture with perforations inspired by sunlight filtering through leaves. Combining sculptural forms and practical durability, it brings nature’s patterns to outdoor living.

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 Soft, rounded forms and textured surfaces define a trend towards design that engages multiple senses. Layered’s Scallop Jute rug reimagines traditional jute construction through braided circular forms and scalloped edges, creating surfaces that invite both visual and tactile engagement. The piece demonstrates how conventional materials can be manipulated to produce unexpected sensory experiences. 

Formarkivet’s Cubio side table features smooth, rounded edges in raw aluminium that blend industrial materials with gentle forms. This trend reflects a desire for objects that enrich living spaces through natural textures and approachable geometries.

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Lighting design has become a vehicle for material experimentation, with designers exploring how different substances interact with light to create varied spatial experiences. Lee Broom’s Chant portable lamp employs blown glass to fashion a cube-shaped light suitable for both interior and exterior use. The design’s geometric clarity contrasts against the organic irregularities that are inherent in glassblowing, creating tension between precision and variation. 

A-N-D’s Pace series by Caine Heintzman, comprising pendant, table and floor lamps, uses layered glass to produce shifting light gradients, demonstrating how material properties can be exploited to enhance spatial atmosphere. Both designs illustrate how light can be shaped to transform experiences, moving beyond purely functional requirements to encompass atmospheric as well as sculptural considerations.

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