Ildhane, the start of Nedre Foss Ildhane was the first object of our collection at Nedre Foss and has an expressive shape that resembles a bird with a handsome tail. The idea of the product was prior to the idea of creating a brand. The conclusions made after developing Ildhane and the experience of how the object was accepted by very different people in very different contexts, got to define the values at Nedre Foss and how they communicate their identity.
Ildhane has an expressive shape that resembles a bird with a handsome tail. 'Ild' is Norwegian for fire and 'hane' translates to rooster. As with most projects from Anderssen & Voll, Ildhane was born as a hand sketch. The sketch was translated into a computer model which then was printed in 3D. This process of printing, making subtle changes and then reprinting was looped until the designers felt absolutely confident about the shape. The tradition of making animal-like figurines is as old as mankind, and it is somewhat hard to tell exactly from which time this object originates simply by looking at the shape. It has an indeterminable quality to it and effortlessly settles in the most diverse interiors. Ildhane is casted in solid GGG50 iron. The iron is powder coated.
Anderssen & Voll
Torbjørn Anderssen and Espen Voll are two of Norway's most lauded designers and were the designers and founding partners of the internationally renowned Norway Says design office. Røros Tweed's Berg, Skog and Kors designs were the first designs launched on behalf of Anderssen & Voll. Berg, which is named after textile artists, Sigrun Berg, received the honor of being awarded the Good Design Award in 2011.
Nedre Foss of Norway
The core of Nedre Foss is the notion of the Century Product + what they refer to as Sculptural Utility or bruksskulptur as said in Norwegian. By this we mean objects that will serve you for at least 100 years, and where the sculptural qualities on one side and the utility aspect on the other, are equal parts of the function.
Physical & Emotional
There is a physical aspect as well as an emotional aspect to the longevity of an object.
Looking at the physical aspect, solidity is an important property to us—in terms of continuous shape in one material and also in terms of shear mass. Another key instrument is to choose materials that age well.
From an emotional point of view, it is impossible to ensure that an object will stay relevant over the next 100 years. Nevertheless our designers have gone about this task by choosing categories that have already been a part of our collective culture for centuries, as well as allowing themselves to draw inspiration from a vast time span stretching back well beyond modernism and the birth of industry.
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