Magazine

Letting in the Light: the Furniture of Hope and Tranquility

In the dark middle decades of the last century a quiet rebellion took place against the brutality of urban modernism. Social and political, as well as artistic, it was characterised by a brave refusal of despair, an insistence on optimism and a belief that, out of the ashes of war, a new and better society could be built for all.

Nowhere was this more clearly epitomised than in the Scandinavian ‘sports cabins’ pioneered by Gustaf Odel, beautiful, affordable holiday houses in the healing environment of woods, lakes and mountains, where everything was designed to be ‘primitive but practical’ . The cabins as well as their custom-designed furniture have a clean, pared-back aesthetic, expressive of a belief in humanity combined with a deeply artistic sensibility. Here, in Odel’s words, ‘one should relax and live as naturally as possible. That is the charm.’

Rose Uniacke’s stand beautifully recalled this moment when the possibility of health and hope flowered among the Scandinavian designers. In her own thoughtful and innovative curation she brought together a wider collection of pieces, adding furniture from Italy and Austria, to embody and redefine this spirit of optimism, humanity and possibility. Through the delicacy of Paavo Tynell’s floral lights, to the airy simplicity of the Aalto dining suite the stand was a reminder of the tranquility of a lifestyle rooted in harmony with nature and the healing power of quiet luxury and sustainable design.

Among the major pieces, the four-piece Aalto dining suite was a perfect expression of the breath of humanistic life and freedom prescribed by Aalto. The chairs have the curl of a falling leaf and the playful bounce of a branch. The whole suite, despite being machine-made, feels sprung with the airy energy of the trees it came from.

Perfectly partnering the dining suite was a rare Axel Einar Hjorth wall cabinet made in stained pine and with detailing that recalls the breeze-ruffled waters of the Swedish archipelago. Hjorth, who designed much of the sports cabin furniture, named his early pieces after the islands on which many of the cabins were built. This beautiful and lively corner-cupboard is named after Sandhamn island.

Similarly spritely and light-hearted in their curved detailing was a large sofa by Kaj Gottlob, upholstered in Rose Uniacke Copper Beech, and a beautifully rippling, screen by the French designer Jomain Baumann, made of slender, patinated pine slats held together with an internal system of wires that allow the screen to coil and undulate, unfurling to fit any space.

The blurring of the lines between the world of nature and the modern world of technological advance was evoked in Andre Cazenave’s sponge light, bringing the creatures of the sea into the sitting room. And in keeping with a more fluid and open society, where the kitchen increasingly becomes the heart of the home and the family has more time for leisure and enjoyment, there was the beautifully functional Italian walnut bar cart, complete with its original rubber casters, side-bars and brass handles.

Also from Italy, was a sleek, circular Gio Ponti polished walnut games table. Its playing surface is covered in the original green baize and the rim is fitted with brass ashtrays for each player.

The stand is lit from above by a pair of exquisite three-arm ‘Bridal Bouquet’ lights by Paavo Tynell. These take the form of airy sprays of flowers, made of brass and wire mesh, naturally grouped around frosted glass shades. The effect is of a glowing diffused light, enhanced and varied by the play of reflection in the polished brass.

Against the soft dark of walls upholstered in Rose Uniacke Velvet in Mole and a floor of black stained oak, the lightness of the furniture floated bright and clean while keeping a cosseting feeling of softness and domestic warmth.

Rose Uniacke was located at Stand B3, from 14-19th October, Berkeley Square, Mayfair.

Discover the collection here. 

Photography and video by Genevieve Lutkin.