I visited Copenhagen, Denmark in September 2022 as part of the Spectrum Tokyo editorial team. Working as a designer for a business company remotely from Kanazawa City in Ishikawa Prefecture, I have been increasingly considering how I, as a designer, can contribute to local social issues. Kanazawa, like many Japanese municipalities, has been influenced significantly by Denmark’s digital initiatives as part of its smart city development concept. Therefore I was very curious about the design and social implementation of urban planning in Copenhagen.

Previously I wrote a report on Design Matters 2022 DK. This time, I would like to introduce the charm of Denmark’s design from the perspective of a Japanese designer exploring the country. 

Urban planning where everyone feels close to the design

Denmark, known as one of the world’s leading design countries, produces valuable products and services across various fields. Through interactions with residents and designers, I was impressed by the strong interest in social issues such as social security and environmental conservation.

The photo above is Copenhagen City Hall, located in the heart of Copenhagen, which we visited multiple times during our stay. Many functional facilities beautifully blend sophisticated modern designs like this building with the traditional brick-built streetscape. These facilities carefully consider user experiences down to the details of furniture while valuing harmony with the surrounding landscape.

Moreover, there is a regulation in Copenhagen that prohibits building structures taller than the tower of the City Hall, resulting in few high-rise buildings in the city. This helps preserve the historic streetscape.

The City Hall allows visitors to enter individual offices, allowing interactions with city employees, and making the city’s administrative efforts feel close to the citizens.

Design engaged in citizens’ lives

Copenhagen is famous as a tourist city, attracting a diverse range of cultural tourists. However, when many tourists gather, there can be some discord with the residents. Yet, in Copenhagen’s streets, glimpses of an order that blends into the landscape were evident.

For example, the cobblestone-paved sidewalks. Not only does it harmonize with the old streetscape but also has a well-thought-out system for house water management infrastructure underground. While the uneven stone blocks may make walking slightly challenging and carrying luggage inconvenient, it has high reusability compared to asphalt or concrete during city infrastructure maintenance.

Due to Copenhagen’s overall flat terrain, bicycles are the main choice of transportation, with bikes moving swiftly throughout the city. The city has well-established bicycle lanes, and simple yet diverse signage can be seen in public transportation areas.

This is just my impression, but the cobblestone paths and the well-maintained bicycle lanes in the city seemed to naturally prevent bicycles from encroaching on sidewalks, creating a synergistic effect in urban planning through the design that influences human behavior seamlessly integrated into the cityscape upon closer observation.

Mutual tolerance

Throughout the city, beautiful natural parks that served as models for Andersen’s fairy tales line up. Not only people enjoying the lush greenery but also many individuals working on their laptops under the shade of trees were spotted. A mysterious space where the fantasy world harmonizes with modern style is seen here.

I’ve noticed that many locals gently warn tourists not to use their smartphones while walking or when they see someone littering. I felt it showcased a national character of cooperation among the community to maintain a good environment. Rather than enforcing discipline, it seems that the Danish have built their beautiful country by contributing to the local environment and society with mutual tolerance.

Pioneers of ecology

Copenhagen sees a high usage of bicycles among residents and tourists. With rental services offering various types of bicycles, one distinctive product that stands out is the “Christiania Bike,” a three-wheeled bike with a large basket in the front. This ecological bike symbolizes one of Denmark’s design cultures.

In the 1970s, Danish citizens invented this eco-friendly bike as a human-powered transportation method with consideration for the environment and society. Amid the global rise of internal combustion engines and industrial development, this product emerged during a period when air pollution and oil shocks became social issues. Locally, people were seen carrying children or transporting numerous items on this bike. Hearing local designers happily recount the birth story and spread of this product, one can feel the passion and pride towards design in Denmark.

Considering excellent design

Nordic design is often praised for its simplicity and sophistication, while Japanese design is frequently characterized as complex. I have heard many discussions on this topic in conferences and books, regarding items like TV remote controllers, convenience store coffee makers, toilet flush buttons, and subway signs, sometimes leaving a negative impression.

However, when I asked local designers about their thoughts, I received many positive evaluations stating that Japanese design effectively expresses vast information within various constraints. They are inspired not only by digital products but also by Japanese design and cultural backgrounds. Reflecting on this, it becomes clear that design evaluation should consider not only surface elements but also context and circumstances.
Receiving these comments, I felt pride in the designs Japan has created and recognized the need to delve deeper into exploring my own country’s design as a designer.

The difference in social implementation

One of the most notable facts is the high level of support from citizens towards the government and the participation rate of young people in elections. I felt a significant level of interest from the local people in the issues facing the community and society. In particular, as part of supporting the independence of the elderly, the government provides smartphones to each of them, promoting digitization. The world where no one is left behind, achieving high citizen satisfaction with quality of life.

As a result, the transition of digitalized systems for payments and life support by public institutions encountered minimal friction. With a total population of 5.83 million in 2020, Denmark is about the size of Kyushu in Japan. Due to this compact size, it is considered an environment where bold reforms can be easily implemented. Therefore, 

Denmark is attracting global attention as a model case.

During our two-week stay in Copenhagen, the editorial team was able to get by with almost no cash. By using the app “DOT (Din Offentlige Transport),” we could easily take buses and subways. I learned a lot as a UX designer, from this experience of purchasing bus, train, and boat tickets all in one app.

The Tourism Highlight

It is said that the vibrant colors adorning the buildings in Copenhagen were originally painted by sailors living in the Nyhavn district to easily identify their homes by using colors as markers. In modern times, tourism has risen to prominence from industries like fishing, with cafes, restaurants, and souvenir shops lining the streets.

In this historical evolution, considerations for the environment such as carbon neutrality and noise reduction have progressed in residential areas, and gasoline-powered cruise ships within Copenhagen have been switched to rechargeable electric boats. The application and payment process for boarding has been automated, allowing tourists to explore the city at their own pace and enjoy rich experiences.

Such tourism initiatives require cooperation not only from the city government but also from residents and private companies, I truly felt this is a wonderful model case.

Japanese design found in Denmark

In Europe, the influence of Japonism, which spread during the Art Nouveau trend, was strongly felt, and this influence was prominently observed in Copenhagen’s shops and galleries. Prints of artists like Hokusai and Kawanabe Kyosai were displayed in various places, which may appear somewhat stereotypical to us Japanese. On the other hand, I intuitively felt that the Japanese aesthetic of “wabi-sabi” was incorporated into various elements of product design.

In recent years, a new style called “Japandi” has been gaining attention overseas. Japandi combines Japanese and Scandinavian elements in interior design, blending the coziness of Scandinavian interiors with the minimalism of Japanese design, creating spaces where warmth and sophistication coexist and garnering attention internationally.

In the Nordic region, where winters are long and daylight hours are short, the importance of spending comfortable time at home is emphasized. The increased time spent at home worldwide due to the spread of COVID may also be a reason for the popularity of this style.

Sustainability is a prerequisite, with enduring simple forms and functional beauty being its characteristics. It seemed natural for locals in Denmark to use environmentally friendly materials in their lives. The belief that the government, companies, and citizens have for the design that considers society and the environment without trying so hard, was very appealing.

A country where design seamlessly integrates into life and society

Denmark is a country with a high interest in social implementation and it has become evident that there is a strong interest in sustainable design. Additionally, the high level of political support and the valuable experience of deepening knowledge in this field were significant takeaways.

I learned a lot from local designers on this trip, and their deep interest and pride in their country’s design, including its historical origins, were very captivating to witness.

Through my experiences in Denmark, I discovered many excellent designs in this country. Still, at the same time, I realized that I have not yet fully articulated what constitutes Japanese-like design. I feel that there is still a need for a more thorough exploration of the cultural origins and multifaceted aspects of my own country’s services and products.

Attending international conferences like Design Matters and conducting fieldwork on-site, I am driven to explore better design possibilities for the future. I am determined to proudly introduce Japanese design to designers from around the world.

Insights gained from our interviews with local companies are shared in an interview article on Spectrum Tokyo. We will continue to rediscover the charm of Japanese design and strive to widely share it both domestically and internationally.