Form, function, fiction – translations of technology and design in product development

Abstract

This article is a case study of the design and development of a Norwegian crockery series for institutional households – the 1962 Figgjo 3500 Hotel China. It investigates how this product represented a decisive break with the conventions of postwar Norwegian design and manufacture. The onset of international free trade meant export or die for the manufacturing industry. The elitist aestheticism so prevalent in the so‐called Scandinavian Design movement was abandoned in favour of an ideology remarkably akin to what was at the German Ulm School of Design called scientific operationalism. The paper also analyses how the manufacturer sought to portray this product: first, it was inscribed as science incarnated, and the material morality reigned supreme. But as society's faith in science took some serious blows in the course of the 1960s and modernist design idioms were partly forsaken in the 1970s, the engineered tableware became the fashioned tableware as trends tamed technology. These translations of technology, design, identity and consumption tell the story of how an artefact is constantly in a state of transformation – on both sides of the factory gate.