"That business of relaxation, which is so terribly modern today, is all good and well, but my work interests me so much, and is so varied, that many times it seems relaxing when I go from one aspect to another"
About this Quote
Relaxation, in Arne Jacobsen's telling, isn’t a soft chair and an empty calendar; it’s motion with purpose. He opens by lightly skewering the “terribly modern” fetish for downtime, a phrase that lands like an arched eyebrow. The subtext is less anti-rest than anti-performative rest: the idea that relaxation has become another lifestyle product, something you schedule, optimize, and conspicuously consume.
Jacobsen’s pivot is the real sleight of hand. He doesn’t claim to be above fatigue; he reframes work itself as a renewable resource when it’s genuinely absorbing. “So varied” is doing heavy lifting here. Architects like Jacobsen weren’t just drawing facades; they were orchestrating whole environments, often down to the chair, the light fixture, the handle you touched. Moving “from one aspect to another” describes a modernist workflow that’s modular, iterative, and tactile. The mind gets to rest by changing its angle of attack, not by turning off.
Context matters: mid-century Scandinavian modernism sold a vision of life streamlined by design, where functionality could feel like calm. Jacobsen’s line subtly defends that ethos against the creeping postwar anxiety that leisure must be earned and then curated. It also reads as a self-portrait of the designer as someone who doesn’t separate life into neat bins of labor and recovery. Variety becomes his internal spa: not escape from work, but escape from monotony. And that’s a pointed provocation in any era that treats “balance” as a checkbox rather than a lived rhythm.
Jacobsen’s pivot is the real sleight of hand. He doesn’t claim to be above fatigue; he reframes work itself as a renewable resource when it’s genuinely absorbing. “So varied” is doing heavy lifting here. Architects like Jacobsen weren’t just drawing facades; they were orchestrating whole environments, often down to the chair, the light fixture, the handle you touched. Moving “from one aspect to another” describes a modernist workflow that’s modular, iterative, and tactile. The mind gets to rest by changing its angle of attack, not by turning off.
Context matters: mid-century Scandinavian modernism sold a vision of life streamlined by design, where functionality could feel like calm. Jacobsen’s line subtly defends that ethos against the creeping postwar anxiety that leisure must be earned and then curated. It also reads as a self-portrait of the designer as someone who doesn’t separate life into neat bins of labor and recovery. Variety becomes his internal spa: not escape from work, but escape from monotony. And that’s a pointed provocation in any era that treats “balance” as a checkbox rather than a lived rhythm.
Quote Details
| Topic | Work |
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