Sigurd Ressell: A Pioneer of Scandinavian Furniture Design
Introduction
Sigurd Ressell (also commonly spelled Sigurd Resell) was a renowned Norwegian designer whose innovative approach to furniture and interior design left an indelible mark on mid-20th-century Scandinavian aesthetics. Born in 1920 in Norway, Ressell embodied the principles of functionalism and simplicity that define Nordic design, blending craftsmanship with modern materials to create timeless pieces. His most famous creation, the iconic Falcon Chair, remains a symbol of elegance and comfort, sought after by collectors worldwide. Throughout his career, Ressell collaborated with leading manufacturers and contributed to significant architectural projects, showcasing his versatility in industrial and furniture design.
Early Life and Education
Sigurd Ressell was born in Norway in 1920, during a time when the country was emerging from its own industrial revolution and embracing modernist influences. From a young age, he displayed a keen interest in carpentry and design, which led him to pursue formal education in the field. Ressell studied at the Norwegian National Academy of Craft and Art Industry (Statens håndverks- og kunstindustriskole) in Oslo from 1943 to 1947. This prestigious institution, known for its emphasis on practical skills and artistic innovation, honed his expertise in woodworking and industrial design. Graduating in 1947, Ressell emerged with a strong foundation in creating functional yet aesthetically pleasing objects, influenced by the Bauhaus movement and the growing Scandinavian design ethos of the post-war era.
During his studies, Ressell developed a deep understanding of materials like wood and metal, which would become central to his later works. His education not only equipped him with technical skills but also instilled a philosophy of design that prioritized user comfort, durability, and minimalism—hallmarks of what would later be celebrated as “Scandinavian Modern.”
Career and Collaborations
Upon completing his studies, Ressell wasted no time establishing himself in the design world. In 1950, he opened his own studio in Oslo, where he began working with various clients and manufacturers. One of his early international collaborations was with the Danish furniture maker Niels Vodder, a prominent figure in mid-century design known for producing works by Hans J. Wegner and others. This partnership allowed Ressell to gain exposure beyond Norway and refine his craft in a competitive European market.
From 1948 to 1968, Ressell enjoyed a long and fruitful association with the Norwegian furniture brand Rolf Rastad & Adolf Relling. During this period, he designed numerous interiors and furniture pieces, contributing to the brand’s reputation for high-quality, accessible modern design. His work for Rastad & Relling included series like the Bambi Chairs (models 56/1 and 61/1 in 1955) and the Blinken Armchair (1956), which exemplified clean lines, ergonomic forms, and the use of natural materials.
In the 1950s, Ressell also took on architectural commissions, designing furniture for major public projects such as the expansion of the Norwegian Parliament (Stortinget) and interiors for Fjernsynshuset (the Norwegian Broadcasting Corporation building) and the Televerkets administration building in Oslo. These projects highlighted his ability to scale his design principles from individual pieces to entire spaces.
By the 1960s, Ressell began experimenting with new materials, particularly steel components, which marked a shift toward more industrial and experimental designs. This era produced innovative pieces like the Circle Armchair, where he explored the integration of metal frames with organic shapes, pushing the boundaries of traditional Scandinavian woodwork.
Ressell’s career spanned over three decades, during which he participated in design competitions and exhibitions, further solidifying his influence. In 1990, the Vognremissen Gallery in Oslo honored him with a retrospective exhibition titled “Sigurd Ressell – Chairs for 30 Years,” celebrating his enduring contributions to furniture design.
Notable Works
Sigurd Ressell’s portfolio is filled with pieces that balance form and function, but several stand out for their cultural and commercial impact:
• Falcon Chair (1970s, for Vatne Møbler): Undoubtedly his most iconic design, the Falcon Chair—originally called the Blank Vals or Slengestol—is a lounge chair featuring a distinctive chrome or bentwood frame with a suspended leather or canvas sling seat. Produced from the early 1970s through the 1990s, it became a bestseller across Europe, embodying the sleek, bird-like silhouette that earned it its name. The chair’s ergonomic design and striking visual appeal make it a staple in vintage Scandinavian furniture collections, often fetching high prices at auctions today.
• Bambi Series Chairs (1955, models 56/1 and 61/1): These lightweight, stackable chairs for Rolf Rastad & Adolf Relling showcased Ressell’s early mastery of wood, with slender legs and simple upholstery ideal for modern homes and public spaces.
• Blinken Armchair (1956): A comfortable, upholstered armchair that highlighted Ressell’s attention to comfort and subtle elegance, using soft curves and quality fabrics.
• Circle Armchair (1960s): An experimental piece incorporating steel elements, this design represented Ressell’s innovative foray into mixed materials, creating a sculptural yet practical seating option.
Ressell’s works are characterized by their adaptability—many pieces were produced in variations of leather, wood, and metal, catering to both residential and commercial needs. His furniture often features in museums and design archives, underscoring its historical significance.
Legacy
Sigurd Ressell’s legacy endures as a testament to the golden age of Scandinavian design. His emphasis on quality craftsmanship, innovative material use, and timeless aesthetics continues to inspire contemporary designers. The Falcon Chair, in particular, remains a collector’s item, with vintage examples commanding premium prices on platforms like 1stDibs and at auctions worldwide. Ressell’s contributions to public buildings and furniture manufacturing helped elevate Norwegian design on the global stage, aligning it with the likes of Denmark’s Wegner and Sweden’s Asplund.
Though Ressell passed away (exact date not widely documented, but active until at least the 1990s), his pieces are still produced or reproduced by select manufacturers, ensuring his influence persists. For design enthusiasts, Ressell’s work serves as a bridge between mid-century modernism and today’s sustainable, functional ideals.
If you’re exploring Ressell’s designs for your collection or inspiration, consider visiting galleries in Oslo or browsing online archives for authentic pieces. His story reminds us that great design is not just about beauty—it’s about enhancing everyday life.