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“Butaca Basket”

Fichas Técnicas

Autores: Nanna y Jorgen Ditzel, Dinamarca 1950

Materiales: mimbre y caoba, y roble en el aro que sustenta el cesto

Técnicas: trenzado de mimbre y torneado

Construcción: caja y espiga en el armazón de madera. Trenzado en el mimbre

Basket original 50’s

Basket reedición Kettal 2014

Autor: reeditada por Kettal. España:, 2014

Materiales: médula de ratán, roble, tejidos colecciones Kettal Terrain y Geometrics diseñadas por Doshi Levien

Técnicas: trenzado de médula de ratán y torneado

Construcción: caja y espiga en el armazón de madera. Trenzado de médula de ratán

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Basket original 50’s

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https://www.kettal.com/es/particular/disenador/nannaditzelandj-rgenditzel/

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La butaca Basket fue diseñada por la pareja danesa Nanna & Jørgen Ditzel, siendo premiada en 1950

por la Exposición del Gremio de Ebanistas y la Trienal de Milán en 1951.

Originalmente fue producida por L. Pontoppidan, 1950.

El diseño

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Todo sobre Nanna

Nanna Ditzel was a Danish designer who studied furniture design in the Royal Danish

Academy of Fine Arts and started her career together with her partner Jørgen Ditzel, with

whom she designed the famous Hanging Egg chair. Ditzel’s organic designs and innovative

use of materials gained popularity in the 1950s.

Nanna Ditzel is an iconic figure of mid century Danish design. She worked as a

cabinetmaker before graduating from the School of Arts and Crafts and The Royal Academy

of Fine Arts in Copenhagen in 1946. Ditzel went on to design timeless furniture, jewellery

and textiles, many of which are still in production today.

Her work embraced the production and material innovations of her time: she designed

objects in a wide spectrum of materials including fiberglass, wicker and metal. Ditzel’s work

often made use of colour and organic forms and is widely celebrated for it’s timeless

functionality, this quality is never more apparent than in her classic textile design Hallingdal

65 which has remained in constant production and widespread use since its launch in 1965.

https://www.mobilia.com.au/commercial/designers/nanna-and-jorgen-ditzel

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Nanna Ditzel en la prensa

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Nanna Ditzel en la prensa

Article from Vi Kvinder (We Women) – 3rd December 1951

Picture text: The bowl-shaped chair in the cosy corner of Nanna and

Jørgen Ditzel’s home immediately catches the eye. Its companion is

Kaare Klint’s Safari chair – it has light coloured leather upholstery.

Inset text: We present the designer couple Nanna and Jørgen Ditzel –

the mistress initiates a collaboration with Vi Kvinder.

Headline: We live as one with the furniture we design

Nanna and Jørgen Ditzel, who gained a lot of attention at the cabi-

net-makers exhibition, go out of the way to let design competitions

lead them into another field. Furniture is their actual domain, but

apart from that they have also designed jewellery, made printed ma-

terials and a wallpaper which will soon be in production. They have,

with luck also participated in a glassware competition.

In a few days time Nanna Ditzel will start as a colleague at Vi Kvinder

bringing us pictures and useful information about all the smaller

items that are today in production in the Danish Arts and Crafts in-

dustry. Here she will be introduced to our readers in a conversation

with her and her husband – he must be included – because everything

they do is in very close collaboration. All their works are joint

projects and it’s been like that since they met at the school of Arts

and Crafts in 1944 where they were both students. Their cooperation

has continued since then and they have been married for five years. …

(Traducción danés-inglés facilitada por la hija, Nanna Ditzel)

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Nanna Ditzel en la prensa

Only the bowl-shaped

They have a lovely little terraced house in

Bagsvaerd, a suburb of Copenhagen. Their living

room is

elegant with clean lines having both new and old

furniture but only one piece is their own – the

bowl shaped prize-winning wicker chair that is so

comfortable to sit in and has such a lovely untra-

ditional shape.

When you are designing for the cabinet-makers

exhibition, says Jørgen Ditzel, things are so ex-

pensive that oneself can’t afford to buy them and

apart from that when one has designed one

thing and followed it through the whole process

then it has become part of oneself and I don’t

think you necessarily have to bring it into your

living room.

We talk about designing furniture for sitting in – it

has become more free – says the gentleman of

the house – and it is a great satisfaction to work

with wicker furniture as it offers so many oppor-

tunities for interesting shapes. But I think people

may still have the idea that cane furniture is only

for use in gardens and verandas.

Article from Vi Kvinder (We Women) – 3rd December 1951 …

Knowing what the other is doing

– Is working together inspiring?

– You get more done when you are two, Mrs Nanna

thinks, – the road is not so long as it is when

you are sitting alone and can’t move forward with

something. Over time we have also formed our-

selves around each other and know completely what the

other is doing – – but, adds Jørgen, some-

times dichotomy occurs.

– And how do you resolve that?

– Then there will be more talk about the process and

what would otherwise be thoughts become dis-

cussions.

The couple have also been very involved in designing

jewellery and at the moment they are designing

new ones in silver – the things one wears, says Nanna

Ditzel, are just as important as the things we

surround ourselves with. Fashion accessories are pretty

much untouched, and it is without doubt

beneficial that there is now a Silversmith Guild

competition just like there are some for the Carpentry

Guild. It may seem strange that we go from one field to

another – but they are of course all related.

There has been only one objective namely that one

dreams of to having a craftsmanship education in

several areas, because a working relationship

between the designer and the one who is producing

the

things means so much. My husband and I of course

also dream of having our own workshop, but

maybe then we would spend all our time just

administrating it.

– Are you free-lancers?

– Yes, and that is lovely. We don’t make many

things at the same time - we don’t have much

capacity.

– What are you working on now?

– There is going to be a furniture exhibition in

Forum in February and we are designing the

furniture for

an entire flat for the Magasin du Nord stand. It is a

big piece of work and we have been working on it

for half a year.

(Traducció danés-anglés facilitada per filla Nanna Ditzel)

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Nanna Ditzel en la prensa

The Only Woman

As the only female furniture designer at the Cabinetmakers Guild’s

Furniture Fair this year, Mrs. Nanna Ditzel, together with her

husband Jørgen Ditzel, has designed this easy chair which is

based on a very amusing idea.

On a very light teakwood tripod

rests a basket woven like an ordinary clothes basket which forms a

comfortable seat with back and armrest. It is seldom that one sees

such a successful combination of carpentry and basketry.

In the photograph Mrs. Ditzel herself shows the wicker chair.

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Extract from Nanna Ditzel by Hanne Horsfeld Published 2005

Translation of Hanne Horsfeld’s ”Nanna Ditzel” p. 23

For Nanna and Jørgen Ditzel wicker work proved to be a very potent material. Inspired by Finn Juhl’s

idea of an exposed frame with a suspended seat, Nanna and Jørgen Ditzel’s work, prior to the wicker

chair of 1950, was based on the idea of a rounded frame with a leather bag suspended with leather

strips. However, during the process, they found out that wicker work was more suitable; hence the

unusual almost bowl-formed sitting shell, practically a basket suspended on a light teak frame.

Together with an initially sceptical basket-maker from the esteemed wicker-making firm R. Wengler,

they reached what should be seen as a sensational solution. By using the old wicker makers’ craft in a

new way Nanna and Jørgen Ditzel managed to create an early and important design in the series of in-

ternational attempts to combine seat and back in one coherent shell form, which also excels in being

organic in its material. ...

CONECTAMOS SILLASNanna Ditzel en la prensa

Extract from Nanna Ditzel by Hanne Horsfeld Published 2005 …

Translation of Hanne Horsfeld’s ”Nanna Ditzel” p. 23

Winning awards at both the Carpenters Guild Exhibition and the Triennial in Milan in 1951, the wicker

chair initiated a revival of the malleable properties of the wicker material, and thus revived the status of

wicker furniture in interior decoration. As such it represents an alternative to the other attempts of the

period, which are linked to the exploration of new industrial materials such as the fibreglass shells car-

ried out by Eames and by Saarinen at the end of the ‘40s. The materials, craftsmanship and rounded

form of the Basket Chair radiates an attractiveness which also includes the body because, as Finn Juhl

says, “it allows a good variety of sitting positions”.

Based on the idea on the Basket but at the same time leaving the stating point Nanna and Jørgen Dit-

zel managed, with the subsequent wicker chair from 1951, to develop a material coherence between

shell and frame and at the same time minimise the construction of the frame. Therefore the chair as a

whole appears as one organic expression and, with simultaneously rigorous and delightful design, it

becomes both physically and visually light.

The Basket chair from 1950 not only initiates Nanna and Jørgen Ditzel’s experiments with the wicker

material but also a number of experiments into suspended upholstered shell forms in wooden frame

constructions.

CONECTAMOS SILLASNanna Ditzel en la prensa

Basket, reedición Kettal

2014

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Hace casi 70 años que surgió de las manos de los Ditzel y a pesar de

tan longeva existencia, la Basket Chair, reeditada por la firma

española Kettal, sigue siendo un soplo de aire fresco.

Es tan solo un ejemplo de la imaginativa capacidad creativa de un

matrimonio danés que en los años siguientes a la II Guerra Mundial

supo revolucionar el mundo del mueble con iconos como éste o la

mítica Hanging.

Jørgen y Nanna tuvieron una fructífera relación profesional capaz de

introducir nuevos materiales y usos en la industria del diseño como

la fibra de vidrio, la cestería, la cerámica, el cristal o la goma espuma.

Durante más de tres lustros sus diseños se caracterizaron por una

extrema pureza y simplicidad.

Kettal reedita

https://www.revistaad.es/decoracion/iconos/articulos/nanna-y-j-rgen-ditzel-bio-disenadores/20029

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Kettal edita el sillón Basket,

diseño de los años 50, de los

daneses Nana y Jørgen Ditzel.

El sillón Basket, de estructura en

madera de roble, se presenta en la

versión original creada por los Ditzel,

trenzado a mano con médula de

ratán, y en una versión para uso

exterior, en la que se utiliza la fibra

artificial y la madera de teka.

Interior Exterior

Kettal reedita

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El oficio de cestería y trenzado

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La cestería, un oficio en peligro de extinción?

http://www.esbioesfera.cat/index.php/9-autosuficiencia-oficis/23-fes-te-el-teu-cistell

https://www.instagram.com/p/B9Kj0fTowXI/?igshid=hoaq86alahl5

http://cistell.cat/cursos-al-jardi-botanic/

Cursos de cestería

Archivo TVE Catalunya - Oficis que es perden –https://www.rtve.es/alacarta/videos/oficis-que-es-perden/arxiu-tve-catalunya-oficis-perden-cisteller-espardenyer/2599696/

Cestero

23:02 12 set. 2005

Miquel Redon hace cestos, productos de mimbre y otras fibras

naturales por tradición familiar, heredada de su abuelo. Las

dificultades de este oficio se explican con recança, perquè es veu la

importància que tenia abans.

El progreso y las técnicas modernas condenan a desaparecer los

trabajos artesanos. Pero aun así, todavía quedan aquellos que

aman su trabajo, por oficio o profesión, los verdaderos artesanos.

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Exposición

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Los azulejos de oficios ocupan un lugar destacado en la cerámica catalana entre los siglos XVII y XIX. El origen,

como su nombre indica, lo encontramos en la representación de los oficios más habituales en Cataluña, que los

ceramistas reproducían inspirándose en aleluyas, grabados y estampas. Por su calidad son considerados los

mejores de entre los existentes en Europa y son muy valorados por museos y coleccionistas.

Los azulejos de oficios son también un testigo de la historia y la vida popular, cuando la artesanía tenía un

gran peso en la sociedad. Hoy, estas piezas cuadradas, de casi catorce centímetros por lado, de fondo blanco y

pintadas con varios colores, muestran unos oficios que en alguno de sus aspectos todavía perduran. Artesanos

actuales, fieles a la tradición pero con una mirada contemporánea, elaboran objetos innovadores, arriesgados y

creativos.

Esta exposición quiere mostrar el devenir de estos oficios, ahora en proceso de cambio y actualización en busca

de nuevas formas de expresión, que han sabido adaptarse a los tiempos buscando nuevos públicos y generar

propuestas funcionales que satisfacen los nuevos gustos de la sociedad, así como destacados diseños y

propuestas artísticas.

Azulejos y oficios. Propuestas artesanas contemporáneas

Exposición

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La capacidad del artesano de culminar el proceso creativo y productivo, y su conocimiento de las

técnicas y los materiales, da a la artesanía una ductilidad y adaptabilidad poco frecuentes en otros

ámbitos productores.

La exposición “Azulejos y oficios” presenta una selección de azulejos de oficios de gremios y

colegios barceloneses conservados en el Museo del Diseño de Barcelona y los contrapone a

varios objetos de destacados creativos del panorama actual que utilizan técnicas artesanas para

materializar sus proyectos. Del referente del pasado a la actualidad del sector artesanal, los

objetos nos acercan a mundos no tan distantes: el del artesano, el del artista o el del diseñador.

Una continuidad que se encuentra en la fina línea que separa estas disciplinas, una línea que las

nuevas generaciones de artesanos están desdibujando cada vez más.

Exposición organizada en colaboración con Artesania Catalunya Inauguración 20 de febrero

2020 a las 18.00h

COMISARIOS

David Places

Isabel Fernández del Moral

Azulejos y oficios. Propuestas artesanas contemporáneas

El trenzado en la red

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Associacio per a l’Estudi del Moble

Disseny Hub Barcelona

Pl. Glories, 37 planta - 1

08018 Barcelona

93 256 67 85

info@estudidelmoble.com www.estudidelmoble.com

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Ester Grau i Solà

Agradecemos toda la información facilitada por Rosa Aznar de la firma Kettal

Marzo 2020