'Nobody, after all, seems to have noticed that wood is an organic matter, that is, the equivalent of what skin, bones, teeth are. Yet it is precisely because of its biological origin that wood is so present in our lives. The relationship that men have with this material is closely connected to our gene of the human species.
For some ancestral reason we and he recognize each other, it would seem to say Emanuele Coccia, the Italian philosopher, author of the famous book The life of plants. The intellectual settled in Paris, together with another great luminary, Stefano Mancuso, author of The Nation of Plants, laid the foundations for a new green sentimental education, which brings the Earth back to the centrality of plants.
And therefore of wood, as also emerged in the exhibition Cambio dei Formafantasma, whose thematic development around this material can be considered to all intents and purposes a milestone in the development of a species awareness.
So it's no surprise that these three protagonists of the contemporary debate on the future of the planet are a source of inspiration for many creatives. Everywhere, even in Copenhagen, a land of circularity, sustainability and a return to the rhythms of a primordial life. Were it not for the climate, one would think that the Danes are the new indigenous people.
From anthropology we return to design. It is not possible to tackle a project around any essence, from maple to ash, from oak to pine, and its possible experimental evolutions, without starting from a system analysis. Because these barrels have always played a fundamental role in all of our lives.
Since our ancestors came down from the trees, wood has allowed us to discover fire, warm us and bring light. To build our first hunting tools and a roof under which to find shelter, to invent the wheel to cultivate the fields and nurses, as well as boats to transport food and everything that served to trigger the evolution process of the species . Wood is a vital material, which is why we must return to using it with respect and as needed.
Let's skip a few centuries and we arrive at the times of the industrial revolution and its domestic interiors: the furnishings, walls and floors are made of wood. Although this matter is so close to our body that it touches it, it really seems that we are distracted, until we lose emotional contact with what generates it: the forest and its trees.
Since the goal imposed by the climate urgency suggests that we move, even very quickly, towards a more sustainable and responsible world, we must learn to listen to the material we love to surround ourselves with so much, because every single board, piano e lamella tells a story of a flowing life. Photosynthesis reminds us of this.
Philosophy, before, and the ecosystem now suggest that we reread Calvino and rediscover ourselves as new Barons Rampanti: there is no need to go back to the trees to rebuild the lost balance, only to cultivate that empathic resonance useful for recomposing harmony with creation.
It is used and not abused, it is taken care of and not wasted. Basically it is interpreted and not consumed, like the projects intercepted in Copenhagen, a city that boasts a long tradition of wood craftsmanship. Here the new generation of designers tries to challenge custom: from the mix of local knowledge and environmental awareness a new aesthetic is emerging whose codes reveal different and complementary stories. Small stories of regenerative projects.
Weight of wood by Christian + Jade for Dinesen
It is a very contemporary journey to discover the different expressive possibilities of wood. This experience, which reflects on the precepts of Emanuele Coccia and the scientist Peter Wohllenben, has reinvented familiar objects. As? Reflecting on the qualities that the couple likes to define as 'cautious': they are the weight, the movement, the balance which together have contributed to the definition of a collection of rocking horses and swings. Together, at a slow pace, they design a new domestic harmony. Code poetic.
Inner beauty by Anne Brandhoj in Three by Ahec
It is a collection of enigmatic objects that undermines the concept of function to reflect on a provocative question: should we really continue to produce objects or are there already enough in the world? With her project, the Danish designer, a graduate of the Royal Danish Academy in Copenhagen, shifts the focus of production to the quality of cherry (or Prunus Serotina): rich, smooth, vibrant and flexible. Working on these characteristics, she has excavated monumental volumes and freed living bodies to caress. Sculptural code.
Pillar Counter by Bunn Studio for Radnor
They are Louise Sigvardt and Marcus Hannibal, a couple in life and in their profession. They set up the studio in New York before the pandemic, but then decide to return to Copenhagen, their hometown.
The architecture of this chair, characterized by cantilevered elements, in a falsely precarious balance, tells us who they are: in their work, from industrial design to interior design, the sole purpose of the project is to promote physical and emotional. They love simplicity and the slow rhythms that make life stable: "even the smallest object, revealing its uniqueness, has the power to color the atmosphere". Code therapeutic.
The origin of things by Sara Martinsen
The exhibition in the Garde Hvalsøe showroom is a reflection on the passion shared by the artist and the brand, both Danish, for the history and beauty of natural materials.
“My work goes back to the origins of ideas, matter, objects: I like to understand where they come from, how they are made and what we can learn from them. To then reveal them to people who, when encouraged to interact, activate the senses: gaze, smell, touch.
It is discovering the strength of imperfections: the grain of a wooden knot, the roughness of a fiber or the aura of a freshly cut essence”, says the artist proud of her fiber tapestry of bark. Code conceptual.
Marbelous Wood by Pernille Snedker
In House of Nordic Design is a truly precious selection of pieces. Among table ceramics, steel furnishings and designer lights, the work of this young designer on the covering surfaces, on the floor and on the wall.
The collection tells of her her ability to marble those that in her hands become real domestic scenographies.
It's the process that makes the difference: the pattern is created slowly, drop by drop, no waste, no chemical dyes, just a water surface that lets the wood growth ring patterns emerge and absorbs the palette to return it. Circular code.