I Expected to Love My First 3Days of Design in Copenhagen. But I Could Never Have Anticipated What Would Make It So Great.

If you can believe it, this was my first year attending 3DaysofDesign in Copenhagen, and I went to the fair, now in its 10th year, armed with absurdly high expectations. I knew that just existing in Copenhagen in early June — using Lime bikes to cycle around, drinking natural wine, eating smørrebrød — would set a good baseline for fun. But after my experience at Salone, which I wrote about here, I felt increasingly desperate for Copenhagen to mean something. I told people I was going because, as a chronicler of design fair culture, I felt compelled to see one that had become such a word-of-mouth success. But on a personal level, it’s like I needed Copenhagen to prove to me that design fairs were still worth attending. As hesitant as I am to say this — lest everyone frantically start planning their show next year in Denmark, which is simply not the right move for everyone — Copenhagen actually exceeded my expectations.
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Vintage Starck, Burl Wood Veneer, and Collectible Furniture From the Current London Scene Define This Modern Cottage in Rural England

You’re probably most familiar with the work of designer and gallerist Max Radford through his Instagram. Mostly, the account acts as an archive of design research, where he posts projects he comes across in vintage books, as well as the work of the contemporary designers he shows with The Radford Gallery, the roving exhibition platform that pops up in London locales and European design fairs a few times a year. (Radford's most recent show, a dual exhibition by Amelia Stevens and Matthew Verdon, featured stainless-steel furniture from the former and lamps in hemp and translucent fabric from the latter). But behind the scenes, Radford is also an interior designer and architect, and his first project — a contemporary cottage in rural England — ties together all of the threads he’s amassed such a following for online.
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