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Morten设计：丹麦风中国客厅

家居百科
2026-09-11 14:49

Denmark's Morten Georgsen at the 31st China International Furniture Fair Denmark's Morten Georgsen at the 31st China International Furniture Fair

On September 9th, at the NEST booth of the 31st China International Furniture Fair, Danish designer Morten Georgsen (莫滕·乔治森) was a hot topic among media professionals. In the industry, Morten's resume is a hard currency: from Bang & Olufsen, he founded his own studio in 1992, and has since collaborated with brands such as Crate & Barrel and West Elm. He has traveled extensively between Denmark, Spain, and China. His most adventurous attempt was to bring ceramics from floor materials to furniture countertops. Now, as a signature designer, he collaborates with NEST SPACE, taking the route of "Danish design + Chinese manufacturing, accessible to the public." Following this route, Morten showcased his design sketches of the "Chinese living room" to us.

Morten Georgsen at the China International Furniture Fair

Bringing Hygge Out of the "Fireplace"

NEST SPACE emphasizes the concept of "Danish happiness," which originates from the Danish word Hygge: fireplace, candles, woolen blankets, and a bit of relaxation during long winter nights. However, the daily life of Chinese families is compact, with long commutes and multi-generational households or single-person households. "Hygge is not an outer object like a hooded sweatshirt," Morten says, "it is an inner emotion and atmosphere." Therefore, to land Hygge in China, one must first do subtraction.

Morten understands the question of "how can I create an atmosphere when I don't even have time?" But his answer is: happiness comes from many small things—like the color matching, material selection, and a few floral decorations in this space, which are enough to create a relaxed and comfortable environment suitable for enjoying the evening at home. "You don't need a fireplace, but candlelight will add points, and candles are also available in China. The essence of comfort is the combination of appropriate colors and the selection of appropriate decorations." Morten summed it up in a simpler way: relaxation is the most important premise. Being in an environment composed of the right furniture will push you into a relaxed state, making it easier to approach the so-called "Scandinavian happiness" that people talk about.

Subtraction is the Shortest Line Between Function and Appearance

This year's theme of the Shanghai Modern Design Week is "Design Without Limits." It is interesting that Danish design is known for its restraint, and Morten's own principle is "each element must be useful." When all exhibitions are shouting about infinity, breakthrough, and cross-border, is there a sense of loneliness for those who do subtraction? He doesn't think so.

Fashion and interior design are in a cycle: minimalism and simplicity have been popular for many years, and then someone will shout "it's time to add decorations, to put more things in." But Morten does not think that the change of trends should change the core of Danish design. His argument comes from history: looking back at Danish design in the 1950s and 1960s, masters also used marble, glass—these are not materials produced in Denmark, but materials from Italy, which were introduced and became part of Danish design. "So Danish design has never existed in terms of material limitations, the key is to use the materials in the right way."

Good Design Must Answer "How Much Does It Cost" First

Morten's career has a clear thread: optimizing production methods, controlling costs, and not sacrificing design. This is naturally aligned with NEST's positioning of "accessible to the public." But for designers, does it count as a compromise to have the factory production line and price list in mind when drawing the first sketch? His answer is straightforward: this is not a compromise, it is understanding the customer.

When collaborating with manufacturers, the first step is to judge the market position of the manufacturer. If the manufacturer is a mid-range positioning, but designs a product with a very high cost, far beyond the affordability of its audience, it only shows that you do not understand the customer—"You must understand the customer, especially the position of the end consumer in the market."

Specifically for NEST, the rules are clear and cold: first determine the appearance from the design perspective, it must be consistent with the overall concept of the brand; at the same time, it must fall into the price range of NEST. "If the designed product falls out of the original price range of the brand, this design task is a failure."

Design for a 60-square-meter Chinese Living Room

The series showcased in Shanghai this time is Morten's "Chinese answer."

After visiting many stores in China, he brought the problem back to the starting point: how to bring the atmosphere, emotional value, and beautiful way of life of Hygge into Chinese families?

Editor's Note: The Gold Content of Restraint

Bringing Morten's entire expression together, it can be found that he has never given a style, but a methodology.

In the current era when "Design Without Limits" has become a common slogan at exhibitions, he defines minimalism as "the shortest distance between function and appearance"—first grasp the core and then talk about addition. For the domestic market accustomed to expressing "high-end" through material accumulation and造型堆砌, this is more like a wake-up call: the real threshold is never the imagination of adding, but the judgment of subtraction.

The relationship between design and manufacturing has also been redefined. He emphasizes both "respecting the equipment and expertise of the factory" and "daring to challenge the factory," which exactly corresponds to the change in the power of the Chinese supply chain: the old model of European creativity and Chinese manufacturing is loosening, Chinese original design is rising, and part of the production is beginning to return to Europe, while China will still be a global furniture manufacturing giant. In such a pattern, the value of the designer is no longer to draw a beautiful picture, but to simultaneously master the price range,工艺boundary, and brand concept—once the product falls out of the established price range, the design task is a failure. This is simple, but it is the most lacking lesson in many design collaborations that are praised but not sold.

As for the Chineseization of Hygge, he also gives a surprisingly "pragmatic" landing point: not the romance of fireplace and candles, but the freely combinable modules in a few square meters of space, and the push-to-open details without handles. Emotional value can only be translated into apartment size, price range, and technology to truly sell. And the distance between Shanghai and Milan that still exists leaves a long-term question for the Chinese home industry—the pursuit of manufacturing has basically been completed, and the next step is the top brand and pricing power.