Having dedicated almost 40 years of his life to the work at the largest Scandinavian factories (Nuutajarvi Glass, Hackman Designor Oy Ab), Professor Oiva Toyka believes that small firms determine the development of design

Passing the gallery

Interview prepared: Dilara Muradova

Magazine: (63)

His talent is multifaceted (glass, ceramics, textiles, theatrical scenery, teaching), awards are numerous (among them - Kai Frank Prize), judgments are unexpected and not always politically correct. Having devoted almost 40 years of life to working at the largest factories in Scandinavia (IITTALA, Hackman Designor Oy Ab), professor Ойва Тойкка believes that the development of design is determined by small firmsSALON: Why did you decide to become a designer? - Not that I thought a lot about it ... It happened. I was going to be an artist. Then, by chance, he got into the pottery department. I had a great opportunity to do all sorts of things. Glass, ceramics, theater and graphic design - I worked in almost all areas. Perhaps, besides painting. Painting - the only thing I almost did not do ...S: Could you define your design philosophy? - I can not say that I know her for sure. I am not so theoretical. I am very open. Depending on the situation, I easily change my philosophy.S: Which designer do you prefer? - The greatest creator is God. He has good taste. He created a cube, a ball and a cylinder ... He is my favorite. But, of course, Kai Frank is very important to me. Once we worked together. He was an outstanding designer.S: Your collection of glass birds is considered one of the most famous in the world. Where does this motive come from? - Birds - a typical plot for glass. Many artists made birds. True, I made them a little more than others. When we first started producing birds, it was expensive. But as a result it worked. Now it is a very big business. I think the birds are very individual. Every time I come up with a new funny idea, apply different techniques, colors ...S: You've been teaching design for a long time ... - I taught in Sweden. It was a wonderful time. Wonderful students. Mostly beautiful young girls. And besides, talented. I enjoyed teaching them. I put problems for students - they had to solve them. It worked very well.S: How do you assess the development of Scandinavian design at the present time? - I think the possibilities of Scandinavian design are inherent in it. Now dominated by large firms. The design becomes theoretical in sensation. The tasks are set as follows: now we need it, then - that. It seems to me that this approach ruins inspiration. There must be small factories. There must be people who go against good taste. Good taste is very, very dangerous in an artistic sense. There is nowhere to appear new ideas. Some designs must be stupid. If this is not the case, if designers are sure that they all know, they will not know anything. Well, when there are questions that will again and again begin to think: is it possible? Silly questions. Otherwise, it turns out that everything is just black and white. Which, of course, is safe and beautiful, but this is only one angle of view on the design. I admire ordinary people. They love bright colors, different (not only beautiful) things. I have nothing against beautiful design, but there must be other sensations.