the everyday chair
/These chairs were designed about 1930 by the Copenhagen City Architect's Office for use in school offices.
They are not precisely what would have been found in a kitchen in Vesterbro or at a table in an apartment in Islands Brygge - they had to be more robust so were more expensive that chairs for the home - but they are pine and they are painted and the designs are straightforward with a simple arrangement of stretchers to strengthen the framework of the legs and they have simple plain wood back rests that are either fixed across or fixed between the uprights of the back.
Dining table and chairs in birch designed by Viggo Sten Møller and made by Adolf Jørgensen for the Cabinetmakers' Exhibition in 1929. Note, the setting had a P.H. lamp over the table.
Through the late Autumn of 2017, posts here focused on a number of chairs from the 20th century that are design classics and all, in different ways, examples of new styles or examples of experiments with new forms and new manufacturing techniques. However, the problem is, this gives an impression that every Danish chair represents a point in time on a rapid, inevitable and ongoing progression of design innovations.
But if you look at photographs of homes from the 20th century or even photographs from the annual exhibition of the Cabinetmakers' Guild Furniture exhibitions that were held from 1927 through to 1966 - where craftsmen were actually competing to produce the latest and the best - you see a good number of distinctly old-fashioned chairs and much of the best modern furniture was produced in small quantities or even, in some cases, made only when commissioned. Many of the designs would have been considered expensive, even at the time, and well beyond the budget of an ordinary working family.
Of course, for offices and schools and for factories and work places - let alone for ordinary families in ordinary homes in new apartments in the city in the 1920s and 1930s and 1940s - Danish manufacturers actually had to produce ordinary chairs or, at least, chairs that were designed and made to be robust and affordable rather than being primarily award winning, memorable or collectable.
So part of the story of the development of modern design in Denmark is the story of designers trying to produce ordinary chairs that were reasonably priced but well designed and well made.
One reason - perhaps the main reason - for the annual exhibition of the work of cabinetmakers was so that these craftsmen could show they could compete with the emerging furniture factories, so proposals from cabinetmakers were "submitted for both cheap and somewhat more expensive furniture" for the exhibition.
For the Cabinetmakers' Exhibition in 1929 Viggo Sten Møller and Hans Hansen designed furniture for a two-room apartment with a compact dining table and chairs made by Adolf Jørgensen.
In 1932 Møller became the editor of the trade journal Nyt Tidsskrift for Kunstindustri and alongside technical articles he introduced pieces on colour schemes, lighting and textiles and from the architect Marinus Andersen he commissioned an article about furnishing a small apartment for a couple about to get married.
The cabinetmakers began to introduce a broader range of furniture so pieces specifically for children or in 1939 there were designs for a study for a student by Børge Mogensen and Aage Windeleff. In the exhibition in 1962 there was even a large kitchen designed by Henning Jensen and Hanne and Torben Valeur that was made by the cabinetmakers Christensen & Larsen although it was clear that this would have been an exceptional and expensive project … so hardly a flat-pack job.
Around 1930, Magnus L Stephensen was asked to furnish two test apartments for a public housing scheme at Ryparken - apartment buildings designed by Povl Baumann - that was based on a budget that was realistic for a young working family but he found only one factory and one traditional workshop in the city who could provide furniture he considered good enough within that budget.
Dan-stol from 1930 designed by Søren Hansen the grandson of the founder of Fritz Hansen
Bentwood chair model 234 (above) from Fritz Hansen by Magnus Stephensen (1903-1984)
Magnus Stephensen produced designs for the furniture makers Fritz Hansen.
The Café Chair in bent wood from the Viennese manufacturer Thonet - designed in the middle of the 19th century - is acknowledged by many historians to be the first factory-made chair and it was certainly a very popular everyday chair that was exported widely and in large numbers … my grandparents in England bought a Thonet chair, the version with arms, in the 1930s.
Steam bending wood and the use of plywood, was not common in Denmark until the 1920s when the manufacturer Fritz Hansen realised the potential of both and Søren Hansen, grandson of the founder of the company, designed what was called a Dan-stole for the company in 1930 - a rationalisation and simplification of the Thonet Café Chair - and Magnus Stephensen designed chair Model 234 that combined a bent-wood frame with a more comfortable shaped and curved back rest in thin wood. DAN was a general term used for these chairs in steam-bent beech.
Co-op Denmark started to design high-quality but inexpensive furniture in 1940 with the architect and planner Steen Eiler Rasmussen providing advice as a consultant. He had curated an exhibition of applied art in 1932 to look at well-designed everyday objects.
Chairs and a dining table designed by Børge Mogensen and made by the cabinetmaker Erhard Rasmussen in pear wood for the Cabinetmakers' Exhibition in 1944. Very simple square frame with upholstered pad for a seat and simple curve of thin wood for back support presumably screwed to back uprights with plugs over the fixing in contrasting wood. But note that the back supports are curved in section so not actually that basic and because the legs are relatively thin in section then there are stretchers to strengthen the frame but, rather unusual, to front and back but not to the sides between the front and back legs.
Børge Mogensen was appointed to be head of the design department at FDB Møbler (Fællesforeningen for Danmarks Brugsforeninger or Commonwealth of Danish Confederations of Users … part of the Danish COOP) and in 1944 the designs were shown to the public when he furnished a test apartment in the Coop store on Frederiksborggade in Copenhagen.
In the sitting room there was a pine table, an Ercol-style chair and a version of an English Windsor chair at a desk that was a wall-hung unit with a front flap that dropped down as a surface for writing at and on the floor the room had simple rush matting.
Rasmussen published an article in the magazine Andelsbladet to set out the work of his better furniture campaign and he explained that the apartment in the store had "realistic rooms and floors, walls, ceilings, doors and windows - all with the dimensions that are found in ordinary little homes." … and went on to describe it as a 'housing laboratory.'
"The new furniture is so ordinary and direct that one would almost believe it had made itself. But this is a virtue. It is not seductive and overwhelming like the pieces we see in advertisements, but then there is also hope that people will not grow tired of them in the long run."
Several well-known and established designers in that classic period through the 1950s and 1960s produced chairs that were priced for an ordinary buyer … so Hans Wegner, Poul Volther, Mogens Koch, Jørgen Bækmark and Børge Mogensen all designed chairs for FDB Møbler.
J39 / Folkestolen / People's Chair designed in 1947 for FDB by Børge Mogensen
Now all major design and furniture companies have a range of basic or straightforward and well-made chairs but the launch of a new chair can still be a major event.
Some companies produce classics designed in the 1950s and 1960s where the price can be kept as low as possible by the rationalisation of manufacturing methods or simply by the scale of production and make it possible now to have a choice from dozens and dozens of different well-designed chairs that are well made and reasonably priced.
