Daniel Rybakken Mirror: The Story Behind the 124° Design

The Daniel Rybakken mirror is a distinctive example of contemporary Scandinavian design, combining reflection, geometry, light, and functionality in a surprisingly simple object. The best-known mirror associated with Norwegian designer Daniel Rybakken is the 124° mirror, created for Artek in 2017. Unlike a conventional flat mirror, it uses two polished surfaces positioned at a 124-degree angle, creating unusual reflections and giving the object a sculptural presence.

Rybakken is known for exploring the relationship between natural light, artificial illumination, reflection, and space. His work frequently sits between traditional product design and conceptual art, which helps explain why the Daniel Rybakken mirror feels like more than an ordinary household accessory. It can function as a practical mirror while also becoming a visual feature within an interior.

Who Is Daniel Rybakken?

Daniel Rybakken is a Norwegian designer born in 1984. He grew up in Oslo and studied design at the Oslo School of Architecture and the School of Arts and Crafts in Gothenburg, Sweden. After completing his Master of Fine Arts in 2008, he established his own design practice with connections to both Oslo and Gothenburg.

His design philosophy has often focused on daylight and the possibility of recreating some of its visual and psychological qualities through designed objects. Before becoming widely recognized for products such as the 124° mirror, Rybakken developed experimental installations, lighting concepts, prototypes, and limited-edition works that investigated how light changes our perception of space.

What Is the Daniel Rybakken 124° Mirror?

The 124° mirror is a collection designed by Daniel Rybakken for Finnish design company Artek. Introduced in 2017, the collection consists of three mirror versions in different sizes. Its defining feature is the angle between its two reflective faces: they are positioned 124 degrees apart.

This construction changes the experience of looking into a mirror. Instead of presenting one completely flat reflection, the two surfaces create a dual-aspect view of the surrounding environment. As a result, the mirror can reflect different parts of a room simultaneously and produce unexpected visual relationships between the object, wall, furniture, and light.

Why Is the 124° Angle Important?

The number 124 is not simply a product name. It describes the physical relationship between the two mirror surfaces. By opening the reflective planes to this specific angle, Rybakken creates an object that behaves differently from a traditional flat mirror.

The angled construction also gives the mirror depth. A normal wall mirror generally appears as a flat surface attached to a wall, while the 124° design projects into the room and can create reflections that change as someone moves around it. Artek describes the result as an unexpected dual-aspect reflection of the surrounding space.

This approach demonstrates one of Rybakken’s recurring interests: using relatively simple physical principles to alter how people experience light and space.

Materials and Construction

The Daniel Rybakken mirror is made primarily from mirror-polished stainless steel sheets. This is an important part of its visual identity because the material allows the mirror to maintain a thin, almost frameless appearance.

The polished steel also contributes to the sculptural character of the product. According to product documentation, the mirror collection uses polished stainless steel, while the medium version can include an integrated wooden shelf.

Using polished metal rather than a conventional thick framed glass mirror helps make the object look lighter and more architectural. The reflective surface becomes part of the structure rather than simply being placed inside a separate decorative frame.

The Mirror With a Wooden Shelf

One of the 124° versions includes an integrated shelf made from solid ash wood. The combination of polished metal and wood creates a contrast between industrial and natural materials.

The shelf is particularly useful in an entryway, bedroom, or living area because it gives the mirror an additional practical function. Small everyday objects can be placed on it, while the angled reflective surfaces continue to interact with the surrounding room. Artek’s original description identifies the medium-sized mirror as the version featuring the integrated wooden shelf.

The wooden component also connects the product to Artek’s broader design tradition. Rybakken has explained that working with Artek involved considering the company’s Finnish modernist heritage and determining how contemporary design could relate to that history.

How the Daniel Rybakken Mirror Uses Light

Light is central to understanding Rybakken’s work. His broader practice has repeatedly investigated daylight, reflection, and artificial illumination. His earlier Right Angle Mirror, for example, explored ways of reflecting and distributing daylight and artificial light.

The 124° mirror continues that interest in a more practical product. Because its surfaces are angled, the mirror can catch and redirect views of windows, lamps, furniture, and other reflective or illuminated elements within a room.

This means that the mirror can contribute to the visual atmosphere of an interior even when it is not being used to check one’s appearance. Its reflective surfaces become part of the room’s overall composition.

Wall-Mounted or Freestanding?

Another interesting characteristic of the Daniel Rybakken mirror is its flexibility. Artek explains that the 124° mirrors can be mounted on a wall or used freestanding on a table, depending on the version and installation.

This flexibility supports different interior applications. A smaller model can work as a tabletop object, while larger versions can become more prominent architectural elements on a wall.

The choice of placement can also change the reflection. A mirror positioned near a window may emphasize daylight, while one installed opposite furniture or artwork can create layered views of the room.

Daniel Rybakken’s Design Philosophy

Rybakken’s approach is closely connected to experimentation. His work occupies a space between art and industrial design, with projects ranging from conceptual installations to products made for established manufacturers.

He has also spoken about avoiding repetitive design trends and looking for inspiration beyond the immediate design environment. In an interview with Interior Design, Rybakken discussed his preference for working from his Gothenburg studio and gaining influences through travel, including trips to Japan.

That attitude can be seen in the 124° mirror. It is familiar enough to function as a household mirror, yet unusual enough to challenge expectations about what a mirror should look like.

The Relationship Between Art and Function

A major strength of the Daniel Rybakken mirror concept is its balance between artistic appearance and everyday use. The object does not abandon functionality in favor of sculpture. Instead, the unusual geometry directly affects how the mirror functions.

The two reflective surfaces produce a different viewing experience, while the thin polished structure gives the object a strong visual identity. The result demonstrates how a functional product can also influence the atmosphere and perception of an interior.

This combination is characteristic of Rybakken’s wider body of work, where practical products often originate from experiments with light, materials, geometry, and perception.

Daniel Rybakken Mirror in Scandinavian Interiors

The 124° mirror fits naturally within contemporary Scandinavian interiors because its design emphasizes clean geometry and restrained materials. However, it does not depend entirely on minimalist decoration.

Its polished surface can introduce brightness into a neutral room, while the angled form creates a stronger architectural presence than a standard rectangular mirror. The wood version adds another material layer and can work particularly well alongside Scandinavian furniture.

Because the mirror itself is visually distinctive, it can also function as a focal point without requiring additional decoration around it.

Awards and Recognition for Daniel Rybakken

Daniel Rybakken has received numerous international design awards and distinctions throughout his career. Archiproducts lists recognitions including the Red Dot Award’s Best of the Best, the Anders Jahre’s Cultural Prize for Young Artists, and the Design Report Award for Best Designer at Salone Satellite.

His later recognition has included the Bruno Mathsson Award, the London Design Medal, and the Golden Chair from the Swedish Association of Architects.

The 124° mirror forms part of a broader career in which lighting and furniture design have played major roles. His work for companies such as Artek, Luceplan, and HAY demonstrates his ability to translate experimental ideas into products for everyday environments.

Why the Daniel Rybakken Mirror Remains Interesting

The continuing interest in the Daniel Rybakken mirror comes from its ability to combine several ideas in one relatively simple object. It is a mirror, but it is also an exploration of geometry, reflection, material, and space.

The 124° angle changes the conventional relationship between a person and a mirror. Instead of simply showing a direct reflection, it brings multiple perspectives into the experience. Its polished stainless-steel construction keeps the form visually light, while the optional wooden shelf introduces additional functionality.

Most importantly, the design reflects Rybakken’s broader interest in how light and reflection can influence our perception of interiors. That makes the 124° mirror relevant not only as furniture or home décor but also as an example of contemporary product design.

Final Thoughts

The Daniel Rybakken mirror, particularly the 124° collection for Artek, demonstrates how a familiar household object can be reconsidered through geometry and material. Its two reflective surfaces, positioned at 124 degrees, create unusual perspectives while maintaining the basic function of a mirror.

Rybakken’s background in experimental lighting and design helps explain why reflection plays such an important role in the product. The mirror does not merely reflect a person; it interacts with the surrounding architecture, furniture, daylight, and artificial light. For anyone interested in Scandinavian design, contemporary interiors, or innovative furniture concepts, the 124° mirror provides a clear example of how functionality and artistic experimentation can exist within the same object.

FAQs About Daniel Rybakken Mirror

What is the Daniel Rybakken mirror called?
The best-known Daniel Rybakken mirror is the 124° mirror, designed for Artek in 2017.

Why is it called the 124° mirror?
The name refers to the 124-degree angle between its two reflective surfaces.

What is the Daniel Rybakken mirror made from?
The primary material is mirror-polished stainless steel. The medium version is also available with a solid ash-wood shelf.

Can the 124° mirror be mounted on a wall?
Yes. The collection was designed for wall installation, while certain versions can also be used freestanding.

Who manufactures the 124° mirror?
The mirror was designed for Artek, the Finnish design company.

What makes Daniel Rybakken’s design style distinctive?
His work frequently explores daylight, artificial light, reflection, geometry, and the relationship between art and functional design.