‘Isbjørn’ wooden polar bear, nok1,112 (€114), by Arne Tjomsland, reissued by Eikund. Photography: Einar Aslaksen. Below explore designs from the Arne Tjomsland archive, 1955-1965

When designer Morten Hippe joined forces with furniture maker Frode Tingbø and a mutual friend, former professional footballer Jørgen Tengesdal, the trio had a clear idea in mind: to bring classic mid-20th century Norwegian designs back to life, or, as Hippe himself puts it, ‘to highlight the geniality of Norway’s long-lost design history for the world to see’.

当设计师莫滕·希佩(Morten Hippe)与家具制造商弗罗德·丁博(Frode Tingb)以及一位共同的朋友、前职业足球运动员约尔根·登格斯达尔(J Rgen Tengesdal)合作时，这三人心中有一个明确的想法：让20世纪中期的挪威古典设计重新焕发生机，或者像希佩自己所说的那样，“突显挪威早已失传的设计历史的亲切之处，让世人拭目以待”。

They set up Eikund in 2016 with this premise and, after a year of research into the country’s furniture archives, design history, manufacturing techniques and materials, the brand unveiled the first reissues of designs by Sigurd Resell, Torbjørn Bekken and Fredrik Kayser; wooden chairs and tables featuring a distinctive Scandinavian aesthetic and a minimalist sensibility. More furniture designs are in the works for 2019, and the young brand has also collaborated with hotels and restaurants, such as Stockholm’s At Six hotel, and institutions, such as the Norwegian Consulate General in New York.

他们于2016年在这个前提下成立了Eikund，在对该国家具档案、设计历史、制造技术和材料进行了一年的研究之后，该品牌首次推出了Sigerd Resell、Torbj rn Bekken和Fredrik Kayser的设计再版；木椅和桌子具有独特的斯堪的纳维亚风格和极简风格。在2019年，更多家具设计正在进行中，这个年轻品牌还与酒店和餐馆合作，比如斯德哥尔摩的六家酒店，以及挪威驻纽约总领馆等机构。

‘Norway is the underdog of Nordic design,’ says Hippe. ‘When people think of Norway, they think about our oil and fishing industries, but we are much more than that,’ he continues, citing craftsmanship traditions, which range from boat building to weaving, embedded in a design DNA that still inspires a young generation of brilliant creative minds.

希佩说，挪威是北欧设计的弱者。“当人们想到挪威时，他们会想到我们的石油和渔业，但我们不仅仅是这样，”他继续说。他引用了从造船到编织的工艺传统，这些传统植根于设计DNA中，至今仍激励着年轻一代聪明的创意人才。

Elk family, made in teak

麋鹿家族，柚木制成

Having established its furniture production, Eikund’s next project takes on a humbler scale – a polar bear figurine by Arne Tjomsland, a somewhat forgotten figure of Norwegian design. Until now, his work has been a well-kept secret outside of the country, and even there, Hippe notes, it is mainly appreciated by rare collectors. A self-taught designer, Tjomsland specialised in small animal figures carved from wood or whalebone. Hippe says Tjomsland’s designs were on their to-do list from the start, but they had concerns about their fit with the new brand. ‘We came to the conclusion that we had to get his collection preserved for future generations, as it’s way too good to be forgotten.’

在建立了家具生产之后，Eikund的下一个项目采用了一个更低的规模-ArneTjomsland的北极熊雕像，这是挪威设计中被遗忘的形象。到目前为止，他的作品一直是国外保存完好的秘密，希佩指出，即使在那里，他的作品也主要受到珍稀收藏家的赏识。Tjomsland是一位自学成才的设计师，专门研究用木头或鲸骨雕刻的小动物形象。Hippe说tjomsland的设计从一开始就在他们的待办事项清单上，但是他们担心他们是否适合这个新品牌。“我们得出的结论是，我们必须为子孙后代保存他的藏品，因为这样做太好了，不能被遗忘。”

Tjomsland was born in 1915, the son of a preparator at Oslo’s Zoological Museum. Having lost his mother at a young age, he spent his days at the museum with his father, surrounded by animals; an environment that inspired his creativity. ‘One of his clearest memories,’ says Hippe, ‘was of a skinned bear hanging from the roof, a vision that stayed with him his whole life.’

Tjomsland出生于1915年，是奥斯陆动物博物馆筹备人员的儿子。他在很小的时候就失去了母亲，他和父亲一起呆在博物馆里，周围都是动物，这种环境激发了他的创造力。“他最清晰的记忆之一，”希佩说，“是一只挂在屋顶上的皮熊，这是他一生中一直存在的幻象。”

Auk figures with fish made in whaletooth

用鱼牙制作的鱼的AUK图

In the 1940s and 1950s, Tjomsland worked in advertising and as a designer for the Kon-Tiki Museum in Oslo, before setting up his own carving workshop at home. The first piece he created, in 1955, was inspired by his time at the museum as a child: a stylised polar bear, its shape as simple as it was expressive. This marked the beginning of a prolific output of animal figurines inspired by Arctic fauna, as well as Inuits and Vikings, in wood and whaletooth. When demand for his pieces grew, production was partly taken over by a local company, Goodwill, which carried on making his pieces until the mid-1960s.

在20世纪40年代和50年代，Tjomsland从事广告业和奥斯陆Kon-Tiki博物馆的设计师工作，然后在家里建立了自己的雕刻车间。1955年，他创作了第一件作品，灵感来源于他小时候在博物馆的经历：一只风格各异的北极熊，它的形状既简单又富有表现力。这标志着由北极动物群，以及因努伊特人和维京人在木材和捕鲸牙的启发下产生的大量动物雕像的开始。当对他的作品的需求增加时，生产部分被当地的一家公司-古德威尔接管，该公司一直在生产他的作品，直到20世纪60年代中期。

To get to grips with the full stretch of the archive, Hippe and his team worked closely with collectors all over Norway and with Tjomsland’s son Stein. ‘When I was young, I didn’t think much of all the sculptures he brought home,’ says Stein Tjomsland. ‘But in recent years, I could clearly see his genius in making those objects look so alive.’ One of his most vivid memories of his father involves him carving a piece of soap. ‘I was about eight or nine and I saw my father standing at the kitchen table with the soap and a knife. He started carving and within a few minutes he had turned it into a musk-ox. Then he said: “Now go wash your hands for dinner, and use this musk-ox to do it”.’

“为了抓住档案的全部伸展，嬉皮士和他的团队在挪威和Tjomsland的儿子斯坦（Tjomsland）的儿子斯坦（Tjomsland）的儿子斯坦（Tjomsland）的儿子斯坦密切合作。“当我年轻时，我没有想到他带回家的所有雕塑，”SteinTjomsland说。“但是近年来，我可以清楚地看到他的天才使这些物体看起来如此活跃。他父亲最生动的记忆之一就是他雕刻一块肥皂。“我约八或九，我看见父亲站在厨房桌子上，用肥皂和一把刀。他开始雕刻，几分钟内他把它变成了麝香牛。”他说：““现在去洗你的手吃晚餐，用这个麝香牛去做它”。”

Fisherwoman made in teak

在泰克制造的渔民

All of Tjomsland’s pieces seem to be intuitively carved with a sensibility that combines a deep understanding of natural shapes coupled with a poetic imagination and a touch of humour. ‘They all have their own personality in the way they look,’ says Hippe. ‘Tjomsland was able to catch a feeling in all his pieces, not too serious, not too playful, but just right.’

Tjomsland的所有作品似乎都是凭直觉雕刻的，它结合了对自然形态的深刻理解，再加上诗意的想象和一点幽默。希佩说：“他们的外表都有自己的个性。”“Tjomsland能够从他所有的作品中感受到一种感觉，不是太严肃，也不是太好玩，而是完全正确。”

The polar bear is the first of what Hippe hopes will become a series of pieces by Tjomsland. It also expands Eikund’s scope as it enters into a collaboration with the WWF. ‘Together we will put focus on the polar bear and its diminishing habitat, issuing a special edition to support all the work that’s being done to protect this threatened species,’ says Hippe. And as Tjomsland’s originals were carved out of teak, a material from the rainforest, this has been substituted for a more sustainable wood, alder.

北极熊是河马希望成为Tjomsland系列作品的第一个。河马说：“我们将把重点放在北极熊及其日益减少的栖息地上，发布特别版来支持所有为保护受威胁物种而做的工作。”正如Tjomsland的原稿被从雨林里雕刻出来的，这已经取代了更可持续的木材，阿尔德。

It has been a learning curve for Hippe and his team, both from a manufacturing perspective and for expanding their knowledge of Norway’s design history. ‘Tjomsland was special in that he saw things differently. He wanted to show the beauty of Nordic fauna in a pure and simple way,’ says Hippe, concluding with a quote from Tjomsland himself, which could very well serve as a universal definition of good design: ‘Because life is complicated, it has to be pure and right. §

河马和他的团队，都是从制造业的角度，也是为了扩大他们对挪威的设计历史的了解。“Tjomsland的特殊之处在于他看到了不同的东西。他想以一种纯粹而简单的方式来展示北欧动物的美丽。”嬉皮士说，“因为生活是复杂的，所以它可以很好地服务于良好的设计：“因为生活是复杂的，它必须是纯洁的和对的。

As originally featured in the April 2019 issue of Wallpaper* (W*241)

原在2019年4月壁纸*版(W*241)

产于鲸齿中的松鸡图形