Installation view of 'Danish Design - I like it!', curated by Jasper Morrison at Copenhagen's Design Museum Denmark.

他的作品在精神上常常被描述为斯堪的纳维亚人而非英国人，因此听到贾斯珀·莫里森(Jasper Morrison)接听邀请，在丹麦哥本哈根设计博物馆举办丹麦设计展览，这一点也就不足为奇了。这场展览是为了纪念博物馆最近的更名(“昆士泰博物馆”是一个口头禅，甚至对丹麦人来说也是如此)，它是精心挑选的丹麦所有名家家具的珍品，属于博物馆的大量藏品。莫里森的观点达到了顶峰，选择了一些作品，以体现丹麦设计中的经典和人道品质-他揭示出这一过程比最初预期的要复杂得多。他解释道：“这是一个非常浓缩的选择-你可能已经注意到了一切都是多么的拥挤，”他解释说，“在我们开始工作的第一天，我就有点担心我们会没有足够的东西，但到了最后，我们只是把东西塞进去，把东西搬来搬去，试图把它们都挤进去。”这次展览是与丹麦纺织重量级人物Kvadrat合作举办的，莫里森在展览的墙面上排列着Hallingdal。Hallingdal是丹麦设计师Nanna Ditzel于1965年设计的一种纺织品，它装饰了无数的设计经典-从弗里茨·汉森(Fritz Hansen)等人的作品到莫里森本人。展览的一个部分也专门展示纺织品的创作和生产过程，而纺织品现在被认为是丹麦的一个设计图标。鲜为人知的是，Hallingdal在国家铁路的座位上使用了很长一段时间-这意味着每个丹麦人都碰过它，但只有很少人知道它到底是什么。这个日常的方面反映了莫里森-一个不相信为感觉而设计的设计师-试图在展览中体现的东西。很容易理解为什么他被选为这份工作的人，尽管用他的话说，他不是一个有经验的展览设计师。莫里森的作品本质上是关于新的理性主义，丹麦的设计，在极端意义上，是基于工业类型。有一种明确的联系-既相当清醒，又谨慎，而且完全不炫耀，但最重要的是，是为了提高日常生活的质量而创建的。由此而来的展览有一种非常人性化，几乎诗意十足的感觉。莫里森把作品拼凑在一起，让它们彼此配合，尽管其中一些作品来自不同的时代，这一点立刻就显而易见了。瓦尔帕Per*和Morrison一起发现了他对这个项目的看法：你选择的一些作品对你来说是很私人的吗？是啊，你可以这么说。我的意思是，第一件作品，PoulKj rholm的PK 22凳子，在我学习设计之前，很早就成了我的最爱-我被它深深地吸引住了。你对这个节目的意图和愿景是什么？我不是一个有经验的展览设计师，但它只是从Hallingdal的颜色的概念开始，并有一些作品的背景，这将是同情的，然后发展到这四个颜色区域。蓝色的是丹麦设计中更酷、更合理的例子-更精确或更严格的设计。这就是为什么警察(凯·博耶森上世纪30年代的警察玩具)在那里的原因。绿色区域稍微柔和一点，更有户外气息，然后它就会变暖，变成红色和粉红色区域。因此，这只是一种利用Hallingdall的颜色为展览设置一种结构的方法。所以你说你不能把你想要的东西都装进去。可能他们当时没被展示出来吧？我不知道有多少人，但可能有50人，甚至更多。所以我们开始把这个展览叫做“第一部分”。你曾经说过，设计世界已经脱离了常态，忘记了它的根源。你看到丹麦设计和你自己的极简功能主义方法之间的联系了吗？我认为这是一个很好的提醒，在总体设计世界，看看所有这些东西。我的意思是，我们大多数人只知道这些作品来自书本，或偶尔遇到更著名的作品，如愿望骨椅。但是，仔细地看一看，确实很好地提醒了他们，他们仍然在销售和制造这些东西。我刚从一个工作室回来，克里斯蒂安·奥莱森(设计博物馆馆长)带我去了那里，他们还在订购这些东西。这是个很棒的地方。所以这是相当令人印象深刻的，这些设计是50年前做的，50年后，它们还在工作。你觉得在英国我们需要这样的东西吗？我认为这是一个真正的证明，如果它持续那么长的时间，设计是多么好。我认为设计师在设计时应该牢记这一点，这些作品在20到30年后会很好。那么，你认为哪一件作品会经得起时间的考验？这很难说，但我想说的是，新的设计更考虑到这一点。我现在试着设计一些有内置寿命的东西。什么一p

Conceived to mark the museum's recent name change ('Kunstindustrimuseet' being a mouthful, even for Danes themselves)...

... the exhibition is a handpicked bonanza of all-star Danish furniture classics that belong to the museum's extensive collection.

Jasper Morrison in production on the exhibition, seen here with Nilfisk's 2000 version of the GM80 vacuum cleaner.

A section of the exhibition has also been dedicated to showcase the creation and production process of Hallingdal, which most know now as a Danish design icon.

The exhibition has been set up in collaboration with Danish textile heavyweight Kvadrat, and Morrison has lined the panels of the exhibition's walls with the Hallingdal textile...

... Designed in 1965 by Danish designer Nanna Ditzel, Hallingdal is still produced to this day by Kvadrat.

The colours featured on the wall are the relaunched shades that Nanna Ditzel's grandchildren have brought out, and feature in the new Kvadrat collection.

The textile has been used on many furniture classics, and Ditzel herself worked with a lot of the designers involved in the mid-century modern movement of that time. Lesser known, is the fact that the textile was also used for a long time on the Danish national railway seats.

This everyday aspect echoes what Morrison - a designer who doesn't believe in designing for sensation - is trying to embody in the exhibition.

Morrison's work is essentially about new rationalism, and Danish design, in an extreme sense, is based on industrial types...

... so there is a definite connection - both rather sober, discreet, and completely un-showy, but above all, created with the intention to improve the quality everyday life.

A detailed shot of the Jasper Morrison's installation set-up for the main exhibition. On the panel sits Jacob Jensen's Beomaster 1200, circa 1969, for Bang & Olufsen.

Kay Bojesen's 1930s large 'Policeman' toy.

Morrison's conception for the exhibition space began with the idea of the colours of Hallingdal...

... using the idea of the coloured textiles as backgrounds for the pieces - which later developed into four main colour zones.  

The initial blue zone typifies the cooler, more rational examples of Danish design, while the green zone is softer and more outdoorsy.  

... which later on it warms up into the red and the pink zones.

A cabinet featuring the 'Seeguls' toys, from the 1930s, by Kay Bojensen.

Morrison's viewpoint has culminated in a selection of pieces that work to embody the classic and humane qualities that make up Danish design.

Morrison's 'Trattoria Sedia' chair, 2009, for Magis...

... and the classic Danish chairs - spanning more than a few decades - that inspired it.

A selection of LK FUGA sockets, by Jørgen Juhl Schneider, 1981 - an example of how even the most everyday Danish household items have become an iconic design classics. 

The resulting exhibition has a very human, almost poetic, sense to it all...

... and Morrison's eye for putting pieces together and making them work alongside each other, despite some of them being from different eras, is instantly apparent.

Exterior view of Design Museum Denmark in the Bergdade area.