Sunday, February 5th, 2012
and the winner is…
Ralph Rapson's 1951 lounge won the chair design contest with 60% of the vote. This dynamic chair was designed to be produced with a steel frame, wood stetchers and upholstery. Danish Teak Classics will now be moving forward, in collaboration with Toby Rapson, to produce prototypes of this Ralph Rapson design.
Friday, December 9th, 2011
This past spring, while researching Sweden's mid-century approach to mass housing projects, I had no idea there was any connection with the most famous modernist architect of my home town Minneapolis, Ralph Rapson. As I walked the streets of Stockholm, unbeknownst to me, perched on a rocky hilltop in the Djurgarden district overlooking the city centre, still sits the 1955 US Embassy designed by Rapson and his former Chicago partner architect, John van der Meulen. Rapson was granted US Embassy commissions in Stockholm, Oslo, Copenhagen, and The Hague. When the pair reached Stockholm, they set up an office inside the well-established practice of architect Anders Tengbom. Several local architects from Copenhagen and Stockholm assisted on the projects, basically turning Rapson's designs into working drawings for the review boards and contractors.
With hardly any monetary or design limitations from the US government, Rapson designed at will, but met disapproval with the mighty overarching force of Sven Markelius, Stockholm's master urban planner. Markelius was the mind behind the 'ABC' cities – Arbete-Bostad-Centrum [Work-Housing-Center] that dotted along the high speed rail lines radiating out of the city "like pearls on a string". His planned cities were, and still are, regarded as some of the most successful modern solutions to mass housing shortages. With a city in crisis, Markelius was given the power and burden of alleviating the cities housing shortage and providing its citizens with comfortable, affordable housing on a very limited budget. Miraculously, he did accomplish this, and to my knowledge, his ABC cities are still well loved by their inhabitants today. By the time of Rapson's arrival, his opinion was not one to be reckoned with. Rapson noted that every building planned for the city required a room-size model to be studied judiciously by Markelius before any plans went forward. "Everything in Stockholm went through that man" noted Rapson, including a foreign embassy.
Markelius edited out details of Rapson's design that didn't meet his taste, such as the barrel vaults that had no special precedence in the Swedish architectural vocabulary. Markelius insisted the building must not tower over its surroundings, and Rapson's design was reduced from 6 stories to 3. Even with the strong personalities and differences in opinion, construction was underway in a matter of months. What came of it was a modern building with an American personality but a Swedish mind to function. The strong geometric forms spoke of the interior hierarchy and function, keeping the public services in the one-story wing wrapping around the central 3-story tower. Natural light filled the interior through the floor-to-ceiling windows and reflected off the polished granite sheathed walls. A dramatic main stair ran the full height of the building, showing dramatically through the expansive glass wall. As far as I know, the building still stands and is still in use by the US Embassy. Pictures of the building have been hard to come by, so if you have any on hand, please send them onward.
The site in Copenhagen was much more restrictive, requiring Rapson and van der Meulen to fit the embassy between two existing buildings along a historic square. Though a modern esthetic was approved, the design had to correspond with the adjacent cornice lines and the facade had to be set back 23 feet from the others as to not be too loud in the the cityscape. As Rapson said, he "sort of shoe-horned the thing into the site."
Though the building in Copenhagen caused much less commotion than that in Stockholm, reviews of the Stockholm embassy tended to be in favour of it, if begrudgingly. Sven Markelius reportedly wrote in 1954 after a thorough inspection, that it was "the best office building in Stockholm". The size and stark modernity was unsettling to many in a group of 350 Swedish artists and architects that toured the building, but many conceded that the trend in architecture was going that way, and it would be senseless to revert to earlier, less challenging styles. The structure was awarded the AIA First Honors Award in 1955. The US embassy in Copenhagen was awarded the Danish Medal for Good Design by the Danish government in the same year. Of course, not everyone liked it, some criticizing it for it's "melancholy undertaker's interiors", but on the whole, it were regarded as a success and some ventured to go as far as calling it "one of the most beautiful, functional buildings in Copenhagen."
For a full account of Rapson's work for US embassies abroad, reference The Architecture of Diplomacy: Building America's Embassies, by Jane C. Leoffler. [quotes are taken from p. 72-75]
Caroline Engel for Danish Teak Classics
Thursday, November 24th, 2011
While sharing a bottle of cava at a little Swedish bar near the harbor in Leith a few months ago, my friend Susan was reminiscing about the time she lived in Paris. Like me, she has a degree in art history and recently finished the MSc in architectural conservation. She talked about her favourite districts, the street venders, the coffee shops, the view from the Arch de Triomphe, the art galleries and the beautifully dressed women. After a few minutes, I decided we should just book tickets that night and go. Buzzing from the bubbly and excitement of adventure, we did just that. That was months ago and I cannot believe how the date has snuck up on me. Up to this point, I have not done any planning or research, but luckily, my creative, well-traveled flatmate Cameron has a copy of Graphic Europe: An Alternative Guide to 31 European Cities. Having never been to Paris, I'm sure I will want to visit some the typical tourist sites – Eiffel Tower, Sacre Coeur, Musée d'Orsay, etc – but this guide offers an altogether unique approach to tourism compared to the other guides. A graphic designer in each city was asked to suggest their favourite places to stay, to eat, to go, to see,to do. Each section has the individual graphic stamp of the designer, beautiful, tasteful and unique. Elamine Maecha's Paris begins with a foreword to introduce the reader to the truths and untruths of the city often held by outsiders. Maecha describes the city as an escargot – spiraling outward from the oldest districts in the centre. Arrondissements 18, 19, and 20, he says, have a mix of immigrant inhabitants and 'bobos' (bourgeois boheme) – architects, designers, lawyers and other intellects that have been priced out of other districts. For Maecha, the 18th not only offered cheap rent, but the mixture of people created a natural vibrancy, a fresh openness which bred creativity.
Maecha suggests bars and restaurants both for their food and atmosphere. In the shopping section, Galerie Dansk is listed first, featuring vintage mid-century Danish furniture. Maecha applauds it's immaculate layout and I hope to have a browse through their inventory. Also highlighted is the Librairie la Hune in the heart of Saint-Germain-des-Pres. Since opened in 1949, this bookshop has been a home away from home for such literary figures as Max Ernst, Henri Michaux and Andre Breton.
Next to the Musée d'Art Moderne, in what was a derelict Art Deco building, now sits the Palais de Tokyo. With no permanent collection, the gallery is unorthodox in its ability to experiment fully with temporary installations. As a huge fan of the new Guthrie Theatre by Jean Nouvel in Minneapolis, I am curious to see what he has done at the Fondation Cartier in Paris. In Maecha's opinion, the architecture is integral to its contents, merging into the surrounding Luxembourg Gardens while promoting contemporary art. The Galerie Magda Danysz is a trendy place all the aforementioned 'bobos' like to go. Near the Picasso Gallery, a strange gallery, Espace Topographie de l'Art, hosts exhibitions in a completely unmodernized old warehouse. Though I feel I should visit the Louvre, I feel these small quirky galleries will proffer a better glimpse into the modern creative currents running through Paris.
In many ways, Paris was the canvas for modern architects. It is here that the Baron von Haussmann implemented his image of wide, monolithic boulevards connecting the most important monuments and buildings of the city in the 19th century. His plans for Paris had a worldwide rippling effect on cities undergoing urban renewal for decades to come. Le Corbusier, arguably the most influential modern architect in the 20th century, built a number of modern structures within the boundaries of Paris, including the Villa la Roche, the Pavillion Suisse, the Villa Savoye and the Immeuble Molitor. Though it is most definitely impossible to see all the places I've talked about here, I'll write a follow-up review of the gems I am sure to come across in my own experience.
Caroline Engel for Danish Teak Classics
Wednesday, November 16th, 2011
A Royal Affair looks to be an historic drama ripe with sex, scandal, and betrayal set in one of them most important historical political events in Denmark's history. The plot, the young Queen, Caroline Mathilda (Alicia Vikander), falls secretly in love with her insane husband Christian VII's (Mikkel Boe Folsgaard) physician, Johann Friedrick Struensee (Mads Mikkelsen). The pair are strong, brave, idealistic and willing to risk their lives for each other and for the freedom the Danish people deserve. Rather than rewrite something that is already well written, I've included a snippet of the story below, which can be read in full at the Copenhagen Post.
After settling down to practice in Altona, Struensee’s sharp intellect and controversial political treatises began to impress several aristocrats who had been rejected from the court in Copenhagen. His fledgling relationship with Danish politics intensified in the summer of 1767 when Struensee began treating King Christian VII of Denmark – a psychotic and violent young royal with a voracious sexual appetite. His treatment was effective and he gained the king’s affections, becoming his travelling physician on a foreign tour to Paris and London. The pair developed a close relationship during the trip and the king began to trust Struensee absolutely. Pleased with the doctor’s positive influence, powerful courtiers supported Struensee’s permanent appointment as the king’s personal physician upon their return to Copenhagen.
Now Johann Struensee was not only a clever doctor but also an astute and ambitious man. He saw the potential to manipulate the ailing king in order to experiment with the Danish state. Struensee calculated that he should also win over the young queen to consolidate his influence at court. However, the king’s wife was at best indifferent to her husband’s new pal.
Queen Caroline Mathilde – the sister of George III, the king of Britain – was in an unfortunate position. Having been forced to leave her home and move to Denmark at the age of 15 to marry her cousin, she was now neglected by Christian VII. His affections for his young wife were lukewarm, to put it mildly. It is reported that despite being a regular at the city’s brothels, he had to be persuaded to consummate their marriage for the sake of the succession.
Spurned by her husband and her subjects, Caroline Mathilde eventually fell into the well-placed arms of Struensee, who provided the attention and affection that she craved. Her capitulation was helped by the doctor’s successful inoculation of Crown Prince Frederick VI, saving the child’s life as smallpox ravaged Copenhagen. By spring 1770, the pair had become lovers.
I'll stop there so I don't give away the ending to anyone who doesn't wish to hear it! The trailer for the film can be watched at the Trust Nordisk site. The highly anticipated film is set to be released 15 March 2012 in the UK. Director Nikolaj Arcel has recently been nominated for The Nordic Film Council Prize, the most prestigious film award in Scandinavia, for the comedic drama Truth About Men (2010). Arcel wrote the screenplay for Stieg Larsson's The Girl with a Dragon Tattoo, and has won numerous awards for King's Game (2004) and The Island of Lost Souls (2007).
Caroline Engel for Danish Teak Classics
Tuesday, November 8th, 2011
Dezeen, an online design magazine, has released two books of interest for the design minded individual. The Dezeen Book of Ideas is a compilation of 116 design innovations selected from Dezeen's deep archives. The selection covers architecture, interiors and design, most of which are inspiring and uplifting in their conceptual approach to creating a better life through design. Mobile phones powered by fizzy drinks, fabric cars and houses with indoor slides are just a few of the featured projects. The book is filled with large, colored photos accompanied by current, rewritten commentary. Dezeen is the world's most influential online architecture and design resource; one I can vouch is definitely worth a bookmark.
One of the most ingenious products featured in the book is an expanding bookshelf by Reinier de Jong. Sleek and functional, the REK bookcase is as much an essential piece of furniture as it is sculptural. Rather than taking up an allocated amount of space in your home, this shelf expands with your book collection, only using up as much space as necessary.
The Corpus 2.0 photographs by Amsterdam based artist, Marcia Nolte, examine the concept of amending the body to our needs, rather than designing a product around our bodies. Each photo exhibits a subtle, but jarring mutation; an enlarged shoulder to keep a purse strap from slipping, a high-heeled heel, a cigarette slot in the lips [see photo above]. Nolte chooses to work with every day objects and experiences, then challenges herself and viewers to see each with fresh eyes.
Published alongside the Dezeen Book of Ideas this year is the 2012-2013 edition of the London Design Guide, edited by Spotlight Publisher's founder, Max Fraser. The book highlights the city's design galleries, bookshops, museums and all the best vintage and contemporary retailers. After following one of the walking tours, or browsing the sites around one of the neighborhoods the book is broken down into, you'll be in need of a strong coffee and a rest. For that, the guide suggests cafes, restaurants and bars selected for their credentials and creativity in design and food.
Each book is sold for £12, or £20 for the pair. Of course, the books can be shipped worldwide for a small additional fee, making them a nice gift for anyone with a creative spirit.
Caroline Engel for Danish Teak Classics
Wednesday, October 26th, 2011
While in the capital city of Luxembourg last week, I happened upon a mid-century building near the 'red bridge' which spans one of the gorges cutting through the city. Enticed by the geometric shapes of rocks of various colours stamped into concrete, I detoured to take a quick look and was pleasantly surprised. The Grand Theatre de Luxembourg was designed by Parisian architect Alain Bourbonnais and built in 1959-63, commissioned and completed in time for the city's millennium celebration. The building was renovated in 2002-03 by the Berlin architectural firm, Gerling + Arendt Planungsgesellschaft mbH, as it was in dire need of updated stage technologies, lighting and acoustics. The building is the city's major venue for ballet, drama and opera productions, and also hosted the Eurovision Song Contest twice, once in 1973 and again in 1984. Bourbonnais was also the architect of the beautiful modern church, l'eglise Stella Matutina in the western Paris suburb Saint-Cloud-Montretout, and of the gare de Nation, located on the edge of the 11th and 12th arrondissements of Paris.
Bourbonnais (1925 – 1988) was an enthusiastic collector of Art Brut. In 1983, he established The Fabuloserie, a museum for his collection in Dicy, France. His widow, Caroline Bourbonnais, still manages the museum today. Bourbonnais collected pieces by unknown artists outside the artist community – farmers, miners, factory workers, etc. The creators were all thinkers, inventors, tinkerers, who created art out of discarded objects. As a young man, Bourbonnais had aspired to be a painter, but practicality and his parent's urges led him to architecture, which gave him the creative canvas he seeked. While on a site visit in the central country of France, he spotted some strange figurine creatures on the shelf of a pub. The barman told Bourbonnais that the Innkeeper carved them out of tree roots he found in the nearby dam. Caroline recounts how from that point on, whenever they took a holiday in the country, Alain would say to the locals, "We heard that in the region, there is a man or woman, we do not know very well, which makes things not seen anywhere else." Inevitably, they would be directed to these creators who Caroline said were often locked in their solitary, dream-like world. Then Alain arrived unexpectedly and gave them the praise, assurance and acceptance that they had been longing for, a "moment of grace". Michel Ragon, art critic and friend of Bourbonnais, said The Fabuloserie was not a museum per se, but a cabinet of curiosities. It is a celebration of nonconformity, of 'art outside the standards'.
One of the most celebrated artists on show is Pierre Avezard, affectionately known as Petit Pierre. Born partially deaf and with physical deformities, Pierre grew up on the outside, taken out of school after only two years and ignored by most of those around him. In effect, he developed an astute eye for observation and a profound ability to understand how things worked mechanically. He tinkered with metal scraps found around his parent's farm and created a crane propelled by his bicycle which he used to drop beets into the pen of his favourite cow. His most well-known work is the carousel now housed at The Fabuloserie. For 20 years (1937-57), Pierre worked on his beloved carousel, collecting materials which the rest of society regarded as worthless. Many curious onlookers were drawn to see his gigantic undertaking and he charmed them with his unguarded kindness and exceptionally unique vision. One visitor's recount of his experience demonstrates the awe inspired by the intricacy of the spectacle. "The magic was beginning to invade the soul of every visitor: the small world tin animated in a whirlwind of fantasy in which fantasy and reality blended perfectly. Bicycles, trucks, carts circulated in all directions, planes circling in the sky, the village policeman sat down at [a] table, a few couples whirling, a ball field, a skytrain and a cable passing over the heads, fishermen came out of big fish in April, a cyclist trying to catch a rail car without end, the farm animals were moving here and there." Video of Petit Pierre's creations at The Fabuloserie.
"We live, yes, in a materialist society so commonplace, and stressed over the market because the race to the carrot is more rapid than our imagination, our vital need for dreams we are stolen." Caroline attests that in this society, The Fabuloserie stands as a "message of hope, faith in man to do by giving those who are not allowed to plunder their imagination." Caroline's full account of the creation of The Fabuloserie can be read here.
New York Times article of Petit Pierre and The Fabuloserie.
Caroline Engel for Danish Teak Classics
Monday, October 17th, 2011
I will be traveling to Luxembourg, Luxembourg this coming Wednesday, and while doing a bit of research and planning, I have come across a modern art museum worthy of a DTC post. The Musée d’Art Moderne Grand-Duc Jean, informally known as the Mudam, selects and displays artworks responsive to the current world culture and times, regardless of techniques and mediums. As Luxembourg is an internationally connected city, the collection consists of approximately 10% Luxembourgish artists, and the rest are selected from all corners of the world. The current collection, Walking Through…, is a reflection on the perception of landscapes. Some artists question the definition of a landscape; David Zink Yi inverted the human body as a landscape to be moved over. Other artists have taken a more literal approach but create a thought-provoking juxtaposition or display an ordinary landscape in a different spotlight. The 20 artists featured in the exhibit speak to the plurality of views and relationships with our landscapes, each approaching the topic with unique views.
The other exhibition on show right now, Mondes Inventes, Mondes Inhabites, reveals the world through the eyes of engineers, architects and thinkers. Dismantling the forces and mechanics that control our politics, economies and world in general, these often complicated works attempt to translate the beauty of the dynamics that drive the world as we know it. Isa Melsheimer's work translates her interests in architecture "as a means of developing ideas about the space we inhabit, the conception we have of it but also its instability." The works of David Altmejd playfully recreate fantastical worlds with unlikely materials.
The building housing these artworks is worth mentioning as well. Designed by Chinese-American architect, Ieoh Ming Pei, the building mimics some of the architectural vocabulary employed at the earlier, and more widely known and controversial glass pyramid addition (1988-89) at the Louvre Museum in Paris. His design for the Mudam was derived from the shape of the Fort Thungen walls still located on the site of the new museum. Pei had planned to remove a portion of the fort's foundations, but public outcry was so forceful that his plans were cut in half and set back from the foundations. Though Pei was disappointed with the alterations, he remained involved in the project through its completion in 2006. In my opinion, the building is laggingly reminiscent of Post-Modern architecture. The whole Po-Mo movement is beginning to grow on me, especially after a short visit to the premiere Po-Mo city of Eichstatt, Germany this past April (possibly a topic for an upcoming post). Yet, with Pei's Mudam Museum, the forms are just too massive, too simple. It isn't innovative and it doesn't seem to speak for anyone or anything. I realize that the Post Modern movement was about disconnecting architecture from emotions or the antiquated notions of using architecture to denote the views of its occupants or its proprietors, but this building missed the gun by about 15 years. I will save any further scathing critique until after I see the building and site first hand, as it is not nice to judge without experience.
Caroline Engel for Danish Teak Classics
Wednesday, October 12th, 2011
As the Scots start to moan about the impending snow that has continued to astonish Edinburgh residents the last 3 to 4 consecutive years, I keep my fingers crossed that the snow levels take on a cumulative effect. For the past two hours, I have been browsing through Swedish design blogs, looking at cozy fabrics, textile patterns and fun kitchen wares. I couldn't think of a better way to spend the evening; warm mug of caffeine enveloped in my hands, scrolling through inspirational projects – never mind if I never actually make anything, its the creative fix that makes me feel more alive.
As we fall into Autumn, my mind turns to baking, knitting and reading novels by lamp light. I'll attribute it to the Minnesotan hibernation gene we're all born with. As I have a large oak dining table with benches in a lovely, sociable flat, I have been nominated to host the first dinner party of the season. Living with two other architecture graduates, the presentation is almost as important and enjoyable as the food. I've come across a few nice pieces, some by designers I had heard of before and others completely new, but all Swedish. The first, and possibly my favourite, is this quirky pot by Camilla Engdahl. She said she finds pattern and colour inspiration in magazines from the 1970s, but the 'Arla' bird pot came into being because every shape she made just looked like a bird to her. I think it was a happy accident. These pieces are just the latest addition to a long line of fun, ultra-modern designs.
I have also spotted works by Swedish designer Maria Holmer Dalgren popping up in all my favourite shops around Edinburgh. Her designs are bright, playful and energetic to say the least. She has released a popular line of prints that celebrate the icons and particular culture of a place. So far, in the UK, she has bestowed London and Edinburgh with their own editions. This line is designed for the high-end tourist market, but she designs other tea towels and trays for her own reputable company, Metagram. In the US, many of her products can be bought at Huset. For the style slaves in the UK, I've really come to love Utility. A fantastic plastic tomato shaped ketchup container is currently waiting in my shopping bag.
The Scandinavian blog, Mackapar, features beautiful pictures of interiors, things and people. Awhile back, writer Ulrika Kullenberg highlighted the new ceramic collection by Höganäs. Simple, sturdy and beautiful, the kitchen set is classic Scandinavian. The wooden coaster that fits snuggly and quietly atop the cup, keeping the beverage warm, is brilliant and obvious at the same time. The black and white are classic, but the line features many rich colours that are perfect for the autumn season and long winters. I had forgotten, but I had actually seen this new line at the Rohsska Museum in Goteburg, Sweden last December. More information and beautiful photos can be found at the Höganäs Keramik blog. I think the child in second photo below is actually wearing trousers in a Maria Holmer Dahlgren design.
Caroline Engel for Danish Teak Classics
Tuesday, October 4th, 2011
While waiting to interview a city planner in Belfast a few months ago, I browsed through the office book collection and came across a book of Modernist architecture in Ireland and Northern Ireland. Flipping through, one building in particular caught my eye, The Church of Christ the King, located in Cork City, Ireland. While visiting friends in Ireland last week, I made it my top priority of sights to see and dragged a few friends along in my quest.
The church stands in stark contrast with a city of buildings primarily from the 19th century, but it's history is peculiar for another reason. The architect, Barry Byrne (1883-1967), was born in Chicago and trained under the iconic American modernist architect, Frank Lloyd Wright. Byrne worked on the drawings of F.L. Wright's Unity Temple, in Oak Park, Illinois, which proved to be highly influential on his designs for Roman Catholic church architecture. After some time, Byrne opened his own practice and in 1921, designed his first solo ecclesiastical commission, the Church of St. Thomas the Apostle in Chicago. An acclaim in the Catholic journal, Commonweal, by the renown architectural critic, Lewis Mumford, caught the attention of the Bishop of Cork, Dr. Cohalan. Byrne was given the commission for a new church in 1927, and the church was consecrated in 1931.
Catholic architecture tended to be conservative, especially in Ireland, so this building was quite unusual for its time. Dr. Cohalan had visited Chicago before making the decision, but it is unclear if he would be getting such a radical design for Cork. Byrne was known to have worked under oppressively restricted budgets, so that may have been a factor in the choice. Butting the conventional Catholic Church forms, Byrne designed The Church of Christ the King with an octagonal floor plan, bringing the alter and congregation together in one great expansive space. Byrne applied an innovative suspended-ceiling design he had used before. The roof trusses span the width of the building, allowing the interior beams to run the length of the building, drawing the eye towards the alter for theatrical emphasis. The exterior was originally planned in red brick, but was changed to concrete for economic reasons. Standing at the center of the incrementally stepped-back facade is a 19 foot tall concrete statue of Christ by Chicago sculptor, John Storrs.
As I had mentioned in an earlier article, Byrne was not the only architect in Ireland and the United Kingdom to be working in the Modernist style under the commission of the Catholic Church; however, he preceded the others by a good 30 years. The architectural firm, Gillespie, Kidd and Coia, were perhaps the most prolific in this field and also created some of the most imaginative buildings. Cardross Seminary outside of Glasgow has now become infamous in its own right as one of the first modernist ruins. By the 1960s, the Catholic Church had lost great numbers of devotees and was looking for a way to revive its membership and market itself to a younger generation. Why Dr. Cohalan chose an architect known for such modern designs is not known, and peculiar since he reportedly gave only a "muted approval" upon its completion. Saddened by this response, Byrne reportedly never visited the church he considered to be his best work.
Caroline Engel for Danish Teak Classics
Wednesday, September 21st, 2011
As of October 1, many Danish residents will be faced with a noticeable hike in their grocery totals. In an effort to combat the trend of expanding waistlines, the Danish Parliament has passed a new sin tax, or 'fat tax'. The new tax will modify the prices of all foods consisting of more than 2.3 percent saturated fat. The prices of butters, oils and heavy dairies like creme fraiche will be affected, as well as cookies, cakes, and other savory snacks that tip the scales. The tax will mean an extra 16 kroner per kilogram of saturated fat, equal to nearly 3 USD per kilogram. The price jump seems alarming, but there are 58 grams of saturated fat in a stick of butter, or 0.058 kilograms, which means only an increase of $0.18 per stick. When laid out like that, it hardly seems this new 'fat tax' is going to break the bank for most people. Many people already choose to pay nearly double for more sustainable or farmer friendly products, so this new tax merely seems like a slight inflation influx.
The Danish Parliament said that it hopes people will slim down in their efforts to save money. The tax is also predicted to bring in an extra 1.5 billion kroner in tax revenue. Denmark, a country widely known for its active population and cycling culture, is hardly known for a population troubled with obesity, but maybe they would rather take precautionary action than face the crisis the American government is battling. I have wondered for years why the American government has not taken a more reactionary approach to this issue. The corn subsidies have introduced a wide range of new processed foods over the last few decades, and have made them available to the public at prices far lower than should have been possible. There would undoubtedly be a massive outcry if these sort of foods were to double in price tomorrow, but even still, a Coke would still cost less than it does in the UK. The 'fat tax' in Denmark will not take butter and oils out of people's budget range, but it may make them rethink the biscuits at the checkout counter.
Caroline Engel for Danish Teak Classics