Three large glass walls at 40 Gundulićeva Str. unselfishly reveal an airy and modern space entirely atypical not just for Zagreb but for a much broader area. How does one define the genre of Nord Klassik, a project of layered implications that is more than just a furniture showroom? The symbolic core of the space — The Chair – by Danish designer Hans Wegner, a chair of visually simple design and an even simpler name — is a possible guideline. Now an iconic piece of design, it attracted attention in 1960, when conservative Richard Nixon and J. F. Kennedy, the bearer of new democracy and optimism of the mid-20th century, faced each other in a presidential campaign debate. Wegener’s modern, functional and formally restrained chair, in which Kennedy seemed more natural than Nixon, is a signifier of the era in which design became more than just furniture: its ethics and aesthetics were matters of the world view and the orientation towards an open, progressive, and rationally organized society.
This was the point that architect Maja Tedeschi started from when she decided to open a showroom of Scandinavian, mainly Danish design and Bulthaup kitchens. Instead of a conventional furniture shop she came up with a concept similar to a gallery space where thoughtfully arranged groups of furniture pieces represent didactic, expressive environments. Within the neutrally shaped, monochromatic space similar to New York’s loft-galleries, the layout of the exhibits is such that every item can be seen as a separate artifact, yet preserving the density that suggests application in real situations. Groups of furniture, which Maja calls “compositions”, polemicize with the conventional “functions” of residential living and show that the kitchen, dining, living room or the workspace may overlap and combine in terms of the layout and selection of furniture, thus creating perhaps unusual but also enticing situations within the rhythms of everyday life.