Looking through recent posts on this site about Danish chairs from the 20th century a major and obvious omission from the list are the shell chairs in laminated wood that were designed by Arne Jacobsen in the 1950s.

It was an amazing and productive decade for the architect when he was working on major buildings but still designing housing. Work on Munkegård Elementary School in Copenhagen started in 1951 and was completed in 1956; the Town Hall in Rødovre was completed in 1956 and the Town Hall in Glostrup was completed in 1959. Jacobsen designed major commercial and industrial buildings in this period - including an office building for A Jespersen & Son in the centre of Copenhagen - where work started in 1952 and finished in 1955 - the Christensen factory in Aalborg and a pharmaceutical factories for Novo Industri A/S in Copenhagen and for a new site at Bagsværd to the north of the city centre and from 1955 through to 1960, Jacobsen was working on the SAS Royal Hotel in Copenhagen.

He designed several major housing schemes in that same period with both the Alléhusene housing complex and the Jespersen row houses built in the area close to the railway station at Jægersborg - a growing suburb in the north part of Copenhagen where Jacobsen had designed housing in the 1940s - and there was a second phase of building on the coast at Klampenborg - with the Søholm houses built just south of the Bellevue theatre and the Bellavista apartments that Jacobsen had designed in the 1930s.

For prestigious public buildings Jacobsen designed specific, custom-made, furniture but he also worked on more commercial designs with a growing demand for modern, well-designed furniture for the home. Jacobsen designed a series of shell chairs in laminated wood in collaboration with Fritz Hansen - the well-established Danish furniture manufacturer - that could be used in commercial and public buildings but were also increasingly popular for use in ordinary homes.

These chairs included model FH3100 known as the Ant Chair that was designed in 1952; model FH3102 or The Tongue - a small chair for children designed originally for Munkegård School in Copenhagen but later made in a larger version; from 1955 model FH3105 - another chair produced for Munkegård - and from that same year model FH3103 with a more pronounced curve between the seat and the back with a broader and deeper and squarer upper part to provide better support for the lower back and the shoulder blades.

The Series 7 - model FH3107 - the most famous of these laminated chairs - also dates from 1955 and is still the best-selling chair produced by Fritz Hansen.

Then, last in this series of shell chairs, the Grand Prix - model FH4130 - designed in 1957 and made in several versions.

The form of these chairs - with a moulded shell in laminated wood - divides them - visually and, in terms of construction and manufacture, into two distinct parts with a seat and back to the chair in one material - the shell in laminated and moulded wood - and a base or support that was made separately in another material.

This clear division of the production process could be exploited because it allowed the manufacturer to make different versions of a chair by providing options for distinctly different bases that changed not just the character of the chair but often also the way that the chair was used and where it was used …

most of the chairs could be purchased with thin metal legs that were bent under the shell and held in place on a fixing plate. These legs were compact and light in weight so the chairs could be used in a house or in a small apartment as a dining chair or a general chair
for several of the designs, there was an option for a support of legs in bentwood if a customer preffered a chair that looked more traditional
nearly all the chairs could be stacked and, although they were light, they were surprisingly robust, and came to be used in offices and canteens and meeting rooms
for several of the shaped and moulded chairs, there were options for a single vertical metal column that could be fixed in tiered rows for seating in a lecture theatre
most of the chairs had an option for a cross-shaped metal base, usually light-weight aluminium, that could be fitted with a swivel mechanism and/or castors for use at a desk so they could be used as an office chair
and - most unlikely of all - the simple and compact shell of the Tongue chair, designed initially as a chair for a child, was upholstered in leather and set on a high fixed metal column with a swivel mechanism for a bar stool at the SAS Royal Hotel.

These chairs are deceptively simple but, in production, the moulding process presented challenges.

The chairs that were designed by Alvar Alto and manufactured in Finland from the 1930s were the first Nordic designs to exploit the properties of laminated and moulded wood in the commercial production of furniture. The layers of wood veneer were curved into different forms under pressure so the shape was 'remembered' when the wood was taken from the press but although those chairs by Alto had the seat and back from a single piece of laminated wood, the curve was in one plane so that it formed, in effect, a scroll.

Trying to mould the laminated wood into more complex curves, either hollow or convex and in both directions across the shell, Fritz Hansen put the material under considerably more stress.

The challenges might seem to be relatively simple …

to use the thinnest possible gauge of plywood to stop the piece from looking crude or being heavy
to source high quality, unblemished and even or consistent veneer … plywood for construction can have patches or uneven colour but for these chairs the shell was just sanded and finished to maintain the natural qualities of the timber so a good or an interesting grain pattern can also be important
to bend as sharp a curve as possible between the seat and the back without the facing layers of the finished shell delaminating - so folding on the inner face of a curve or splitting on the outer face
to create complex curves that were hollow or concave front to back - so it was not like sitting on a plank - but also curved across the width, so from side to side which, in effect, anticipates the curve under the weight of a person sitting down - to avoid that feeling of it sinking in like sitting down on, or rather, in a canvas chair
to create those complex curves without cutting into and overlapping sections of the shell
to develop ways of fixing the thin shell to any form of leg or support … you cannot fix a leg unit with screws through the leg and straight into the shell from below, because the shell is too thin, but if you fix screws or bolts from above, driven down into the leg or base, then those are exposed and you would be sitting on the screw or bolt heads

On that last point, the first version of the Grand Prix had four L-shaped and moulded leg pieces stuck to the underside of the shell with a glue developed for that purpose but, I presume, under stress, the glue delaminated the facing layer of the shell so in later versions the design was changed to a cross-shaped and self-supporting framework of legs that was fixed to a plywood plate at the centre of the underside of the seat in a similar way to the fixing of the metal legs.

For comfort, there must have been extensive trials to adjust the flexibility of the shell and the strength, weight and flexibility of the legs or base - particular where the chair has legs in thin bent tube metal. Too flexible and the chair would feel unstable but too rigid and it would be like plonking down on a park bench. The chairs also use rubber spacers or buffers set further out from the centre fixing plate to hold the legs free of the shell; provide some control to the flexibility of the shell and also stop the legs torqueing or twisting or shifting round.

The view of the underside of a Series 7 Chair shows just how complex and how subtle the design of the shaping of the metal legs is with the cross pieces of the legs under the seat protruding beyond the edge of the seat - so that the chairs could be stacked - and with the metal curved downwards towards the centre to follow the shape of the moulded seat rather than sitting against it. The legs are also angled outwards - rather than being set vertical - which in part makes the chair appear lighter and more elegant - strictly vertical legs can look basic or stolid - but also provides extra stability for a light chair.

There is an interesting but more general point about the shell chairs designed by Jacobsen and made by Fritz Hansen. We are now so familiar with major Scandinavian design companies like Muuto or Normann producing chairs with a range of bases and a range of colours and covers along with options for plain shells or upholstered versions, that we no longer see that as unusual - or, actually, we take that for granted because we expect a number of options when choosing a design. Before these chairs were produced by Fritz Hansen in the 1950s, chairs were designed as a complete or self-contained entity with production in relatively small numbers but, if there were options or variations, it might be that a different material could be used for the frame - so asking for a chair to be made in mahogany rather than oak for instance - or would be limited to selecting leather rather than textile for an upholstered chair.

At most, the scale of a chair might be adapted for a later version so Rud Rasmussen produced the Red Chair designed by Kaare Klint in a smaller size as a dining chair where the original, was wider with more generous proportions, designed for the meeting room at the Design Museum. Chairs like the Thonet Chair from Austria, produced through the second half of the 19th century, was made in large numbers and was made to be transported in parts and assembled on delivery but that was unusual and there were different models or different styles but no options within each type of chair. Several of the chairs designed at the Bauhaus were conceived as relatively cheap furniture of a high quality of design for a large market but politics and events overtook their wider marketing and Alto, through the company Artek, certainly understood the commercial potential of marketing and international sales but it was the American company Herman Miller, marketing the designs of Charles and Ray Eames, and Fritz Hansen marketing the designs of Arne Jacobsen who really established the potential for large-scale production of well-designed furniture in the years through the late 1940s and the 1950s.

Republic of Fritz Hansen

note:

Shell chairs for the SAS Royal Hotel in Copenhagen - including the Egg and the Swan - were designed in this same period - in the mid 1950s - but were made in foam and upholstered so presented different problems and resulted in a very different aesthetic so they will be the subject of a separate set of posts.