Issue 64 of Nytt Rom is now out.

 
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With the usual good mix of short reviews of exhibitions; notes about new products or relaunches and photo essays of a fascinating selection of the houses and apartments - here all the homes of design professionals - there is a sub heading .... so this is the 'romkvaliteter' or room quality issue of Nytt Rom.

In his preface, the editor Hans Petter Smeby explains why there is this focus for this issue …..

“Interior magazines and articles on the topic are often dominated by furnishing and elegant styling, while the qualities of the room itself are often ignored. It is a challenge in a two-dimensional medium to describe an overall quality. If you describe the room’s own quality, as a place, as a three-dimensional whole, you may discover new qualities and inspiration. A room can have interesting building details in floors, walls and ceilings that are dominating. Reason for originality can also be colouring of surfaces, or interesting furniture, or special lighting, as well as stunning views to the horizon or out at pine trees in the wood.”

So not about what you might expect in a magazine about Scandinavian design - not simply about the high quality of Scandinavian design but, much more interesting, about the character and quality of spaces in which we set the design ... how well-designed furniture and objects are often difficult to judge objectively from a photograph taken in a carefully-styled studio set and really should not be seen in isolation because everything we buy, particularly furniture, has to function in a real space and occupy a real place ... so this is less about the object and more about context.

 

There is a brief assessment of the new DAC (Danish Architecture Centre) on the harbour in Copenhagen and photographs of their first big exhibition - Welcome Home.

Longer profiles of the homes of people working in design include this month the Oslo home of Gitte Witt and Filip Loebbert; the apartment of Marie Graunbøl in Enghave Plads in Vesterbro in Copenhagen and the homes of Jeppe Christensen of Reform and Common Seating and of Hannah Trickett in Ørestaden in Copenhagen.

What is common to all these interiors is a general feeling of clean open space, most still with white walls, with careful placing of classic design pieces along with more unusual and more personal pieces of pottery or items brought back from travels. Photographs were taken from further back so cornices and floors are shown giving at least some sense of the height and scale of the spaces and the inclusion of windows is interesting, in part because this shows how important light is and how important it is to consider how light changes through the day illuminating and then throwing into shadow parts of a room and of course it is fascinating to see that most Scandinavian homes are a curtain-free zone. What clearly is important, to make it all work, is the designers eye for choosing and mixing and placing.

The dining room in the apartment of Jeppe Christensen is great with a deep blue wall - that distinct deep blue slightly softer and greyer than French navy - is this the St Paul blue from Frama - with a bench against it with a strong orange colour for seating on one side of the white table and then arranged around the other sides a collection of classic chairs with a Thonet bentwood arm chair in black; an Arne Jacobsen Grand Prix in black; an Eames wire chair; a Workshop Chair by Cecile Manz and a Standard Chair by Jean Prouvé and again in black. Above the table is a bold but ultra-simple white pendant lamp although not the usual light from Louis Poulsen or Le Klint or even a Sinus by Piet Hein but a pendant designed by Gino Sarfatti. Clearly the skill is to imitate a good conversation … know what to quote to show you know what you are talking about, mix things up by combining very different things and then throw in something unexpected.

There is an alternative to plain walls …there are photographs of the display rooms at Skagerak - out on the north side of Kastellet in Copenhagen - with some of the rooms painted with designs by All The Way to Paris and an amazing photograph, towards the end, of furniture from Hay shown in the Palazzo Clerisi in a room lined with ornate gilded panelling and mirrors.

Along with a lot more there is a photo review of the new restaurant on the Silo building overlooking the north harbour in Copenhagen and a photograph of the recently re launched NOMA in their new home in Copenhagen.

As you begin to think that some of these ideas might be do-able, Nytt Rom throws in three buildings that are really beyond the dreams of most - a house on a Danish beach by Norm; a house in a steep-sided wooded valley by Stiv Kulig and a house by Think Architects that clings to an outcrop of rock against a mountain backdrop ... design set in the space of stunning landscapes.

Nytt Rom 64

 
 

Fang din by 2018 / Catch your City 2018

 

 

Today - 8th June - an exhibition of photographs of Copenhagen opened on the square in front of the new Danish Architecture Centre.

This is the annual show of photographs of the city that were taken for an open competition that this year had 2,600 entries. 

Run in coordination with Copenhagen Photo Festival, the theme for this year was ‘my home in the city’ so it complements the first major exhibition from DAC in their new building about housing in Denmark under the title ‘Welcome Home.

 

winning entries can be seen on the DAC site for Fang din by

the exhibition is on Bryghuspladsen in Copenhagen through until 31 August 2018

 

Then & Now

Then & Now.jpeg
 

 

As part of the Copenhagen Photo Festival, there is a pop-up exhibition in a shop in Købmagergade. It must be between tenants but this is an appropriate location for the show as there are several photographs of this main city-centre shopping street in the exhibition.

The idea is simple but interesting: a series of street views, taken in Copenhagen by Jens Nielsen in 1968, are shown alongside photographs of exactly the same views taken by Isabel and Peter Aagaard fifty years later.

All the photographs - both those taken in 1968 and the recent photographs - are in black and white and shows that colour in photographs can be a distraction. Of course, through the 20th century, black-and-white photography was the stock choice for photo journalism and was used by photographers wanting to examine aspects of society … frequently recording aspects of day-to-day life that reflected wealth or lack of wealth in a society.

Most of the photographs shown were taken within the central historic core of the city and it is actually heartening to see just how little has changed over fifty years. A few of the buildings have had inappropriate frontages added for new shop windows or for corporate logos and signage but many many more have been improved because cheap and crude shop fronts dating from the mid 20th century have been removed and more appropriate shop fronts and signs put up. It shows a broad and growing respect for the quality of the architectural details of the old buildings although some would argue that this is creeping gentrification or conservation pandering to the middle classes and the tourists who want pretty pretty rather than anything that is rationally commercial.

Of course that period around 1968 was one of significant political protests and contention across Europe but that is not reflected in the earlier views here. 

It is the small and odd details recorded in the photos that is interesting.

Some streets were already being pedestrianised but most had narrow pavements with people restricted to walking along hard against the shop fronts and there was relatively heavy traffic that was dealing with narrow streets and cars parked on either side. There are even photographs that show tram tracks surviving in some of the streets. 

Just how close did the city get to planners sweeping all this away for bright new shopping malls and multi-storey car parks? 

In fact only one pair of photographs - taken looking along Landenmærket and looking towards the Round Tower - show that a complete block of historic, timber-framed buildings here was demolished sometime after 1968.

This is an important exhibition that shows how much more prosperous Copenhagen is now, fifty years on, and how pleasant the main streets are without vehicles but also without the major city-centre redevelopment that afflicted so many historic towns and cities. Developers would argue that conservation stifles prosperity (by which they mean generally profit) and inhibits or restricts giving people the modern services and facilities they ‘want’ but looking at these photographs, that would be a difficult argument to win in Copenhagen.

the exhibition is at Købmagergade 7 and is open every day until 14th June

an addition to the Red Cross Headquarters in Copenhagen by COBE 

 

November 2016 - the main structure of the addition in concrete was in place and you could see how the new entrance would work but this was before the brickwork across the terrace had been laid so it was difficult to gain an overall impression

 

A trip out to Trianglen - to see the new Biomega shop - was the chance to have a look at the new entrance building for the Red Cross Headquarters not far away on Blegdamsvej.

Designed by the Copenhagen architectural practice COBE, models of the building were shown in the exhibition Our Urban Living Room at the Danish Architecture Centre at the end of 2016 and I had seen the work in progress several times through 2017 but this was the first time I had been to that part of the city since the work was completed.

A three-storey office building here dates from the 1950s and is on an unusual plot - very wide but quite shallow with the main road across the front but with the building set back from the pavement with open public space at the front and with the back of the building hard against the boundary of Fælledparken which is the largest and perhaps the most important public open space in the city … so there was no possibility to extend the building back.

The solution was to build a new range out across the front that fans out from the original entrance and with its highest point against the building but sloping or rather stepping down to the pavement. In a way it is like one quarter of a pyramid if it was cut down the corner angles.

This new structure leaves triangular courtyards or green areas to each side to let light into the original office windows on the existing frontage but also reconfigures these as more enclosed and private spaces with the new building shielding them from the street and the noise of passing traffic.

Rooms under the slope, with a large new foyer in the west part, are lit by full height windows at the back that look into these green areas and look towards the existing range. 

Perhaps a better way of thinking about this is not as a new addition across the front but as a scheme that retains all the original open and public space across the front but tips part of it up at an angle and slips new rooms and new facilities underneath. This idea is, of course, close to what COBE did at Israels Plads where there are triangles of steps across two angles of the square which provide elevated areas where people sit to enjoy the sun or sit to eat a snack from the nearby food halls or just sit to watch other people but here, at the Red Cross building, on a larger scale. It is hoped that at Blegdamsvej this stepped slope will become an equally popular public space.

The brick steps are broken by the entrance to the building that creates what is, in effect, a small entrance court … a device used by COBE at, for instance Forfatterhuset, to form an interim public space where people arriving and leaving can stand and talk … not actually on the public pavement but directly off it … so it's the idea of a transitional space from public to private and from outside to inside. Also, it clearly signals to someone new to the building where they should enter … so this is COBE’s modern version of a portico but more about circulation and drawing the visitor in rather than being more overtly about status.

COBE

May 2018

 

a new store for Biomega

 

 

 

Biomega - the Danish bike company - have moved their store out of the city centre and they are now at Østerbrogade 78 so out north of the north end of the lakes and just beyond Trianglen.

Biomega

annual market for craft and design on Frue Plads

 

Danske Kunsthåndværke og Designere - the Danish association for Crafts & Design - have just released the poster for their annual craft market on Frue Plads in Copenhagen in August.

Generally, notes on this site about imminent events are often too close to the imminent for readers to make sensible plans to visit the city so this has been posted to give you a little more time to plan that trip.

This market is a great opportunity to see and to buy from a huge range of craft works from Denmark ... so not just from the city.

This year the market will be on Frue Plads in the centre of Copenhagen on the 9th, 10th and 11th of August

Danske Kunsthåndværke og Designere

 

Lives & Works in Fiskars ..... an event for June at Design Werck in Copenhagen

 

 

On Thursday evening there was the launch of a special event at Design Werck.

In partnership with ONOMA - the Cooperative of Artisans, Designers and Artists in Fiskars - Design Werck will show furniture, art, textiles, graphics; ceramic works and glass made in the historic village that is 80 kilometres west of Helsinki in Finland.

Founded in 1996, the association now represents 117 members. Twenty members of the cooperative will be showing their work here in Copenhagen and the exhibition, with works for sale, will continue through until 30th June.

Design Werck, Krudtløbsvej 12, Copenhagen K

 

 
 

Artists, designers and makers showing their work:

  • Heikki Aska, cabinet maker
  • Marko Escartin, wood worker
  • Antrei Hartikainen, cabinet maker
  • Lulu Halme, graphic designer
  • Sonja Tuulia Halttunen, graphic designer
  • Elina Makkonen, goldsmith
  • Olli Kari, muscician
  • Petri Koivusipilä, cabinet maker
  • Minja Kolehainenen, cabinet maker
  • Ivan Kulvik, cabinet maker
  • Camilla Moberg, industrial and glass designer
  • Piitu Nykopp, visual artist
  • Deepa Panchamia, textile artist
  • Katja Öhrnberg, visual artist
  • Ari Turunen, jewellery smith
  • Arto Vuohelainen, photographer
  • Karin Widnäs, ceramist
  • Tuulia Penttilä, cabinet maker
  • Matti Söderkultalahti, cabinet maker
 

food for the opening event was by Restaurant Kuparipaja in Fiskars and iced cider, gin and akvavit was from the Ägräs Distillery in Fiskars

 

Dinesen

 

 

Dinesen, the Danish floorboard company, did not have a major exhibition in their showrooms in Copenhagen this year for 3daysofdesgn but I called in there on the way to look at the new showrooms for by Lassen that are on the third floor of the same building Søtorvet.

They have an amazing display that runs down the centre of the showroom with the base of a Douglas fir with the bark still attached but sawn through into enormous planks. A visitor had counted the tree rings and the fir, from a forest in South Germany, is thought to have been 117 years old when it was felled.

 

 

 

In from the base, more bark has been removed and the sawn planks are more obvious and then from there, running on down the showroom, is a table made from planks from the tree that are 50 metres long. FIFTY METRES.

It's truly astounding and it shows, in perhaps the most tangible way possible, that the Danish love of wood for furniture is not just about style or taste but about a deep understanding of timber and an appreciation of it's importance and a deep knowledge that comes from experience and decades … no not decades but actually centuries of working with wood in this country.

Dinesen

Just a few days earlier I had taken family, who were visiting, to the Viking Museum in Roskilde. The ships there - dating from the 11th century and excavated from the fiord in the 1960s - are stunningly beautiful and amazing for their size; for their striking design and for their engineering and above all because they show that shipbuilders in Roskilde a thousand years ago were masters of the skills needed to work with the timber and understood how to realise designs that were strong and did service for decades.

Outside, in the area between the museum building and the water of the fiord, there was a demonstration of various shipbuilding skills, using traditional techniques, and one craftsman was dressing the surface of a split timber plank with an axe. A tree trunk had been split with wedges then than being sawn … aa ancient technique that meant thin planks could be formed that took into account the twists and natural faults in the wood. With a few swings with the axe, the surface of the plank was taken back from rough fibres and splinters to a surface that was smooth and almost unblemished.

If anyone wants to know just why Danish furniture in wood is so good then the answer is simple … all it takes is a 1,000 years of experience.

Vikingeskibs Museet, Roskild

Lille Langebro …. news

 

 

A newsletter has just come through from the BLOX website to say that there has been an accident in Hamburg where a crane failed as it was lifting the sections of the new bridge onto a barge for them to be transported to Copenhagen.

Two of the four massive sections of the bridge have been damaged beyond repair and will have to be remade. No one was hurt in the accident but these sections took a whole year to fabricate so there will be a long delay to the completion and opening of the bridge that will form a bike and pedestrian link between Christianshavn and the quay alongside the newly opened BLOX building.

3daysofdesign

 

 

3daysofdesign in Copenhagen is now a massive event where design companies, design stores and many of the manufacturers open their doors to show what the city does in the world of design. It's an opportunity to launch new designs or new versions of classic designs or to launch new companies or celebrate significant anniversaries.

There are events at Designmuseum Danmark and at other galleries and museums through the city and workshops and demonstrations are common but it is also a major chance for designers and makers and companies to socialise … it comes after the pressure of the big furniture fairs of Stockholm and Milan and really is a key point on the calendar to mark the start of summer.

This year there were some 90 venues across the whole city and even a cyclists, powering around the streets, would be hard-pressed to get to everything at the right time in the right sequence.

So the following posts are not the highlights but my highlights from the three days.

&Tradition for 3daysofdesign

 

 

Until recently, &Tradition had their showrooms and studio on Paper Island, right in the centre of the city, but those former warehouses, where the newspaper industry had stored paper for printing - so hence the name - are being demolished to make way for a major redevelopment of apartments and a new inner-city swimming pool.

So &Tradition have moved across the city and are now established in a fine 18th-century town house that overlooks the King's Garden.

 

The change could hardly be more dramatic. Visiting the new showrooms and new studio and offices of the design company for the first time was one of the most interesting revelations of 3daysofdesign … or rather one of the most amazing and, to be honest, one of the most appropriate and clever transformations for a design company I have seen.

Don't get me wrong …. the old showroom, designed by the Copenhagen architects Norm, was dramatic with impressive space but the collection always looked slightly lost and, to be honest, it was difficult to make that step to imagining how that furniture might look in the sort of spaces we actually occupy.

the old studio on Paper Island

Furniture and lighting from &Tradition has been the usual mix of most Danish design companies ... so good classic designs - like the Mayor Sofa designed by Arne Jacobsen and Flemming Larsen in 1939 or the Flower Pot light by Verner Panton from 1969 - alongside new furniture commissioned from designers like Jaime Hayon.

With the move of location comes a new tag line … &Tradition Home of a Collector. It takes the furniture up a notch or three to break away from the crowded middle ground of Danish design companies and puts the furniture into a clearly domestic but very comfortable setting. This is Copenhagen interiors at their most stylish.

 

The house has a very grand entrance from the archway from the street but beyond is an incredibly pleasant courtyard and there is a new café.

If there were clear new trends from 3daysofdesign this year it was the use of named and well-known independent stylists - rather than in-house designers - and a growing number of design stores that have a café. This is furniture buying as a destination trip. And no ... that's not snide sarcasm … I only get round these events with in-flight refuelling of caffeine.

It is not all room settings here, for there are good displays of lighting and a couple of exhibition areas with a good small show about the background to the Little Petra Chair that was designed by Viggo Boesen in 1938 - after a trip to New York - and this chair is the latest addition to the &Tradition collection.

&Tradition, Kronprinsessegade 4, Copenhagen

 

 

Frama for 3daysofdesign

 

 

FRAMA studio and store in St. Pauls Apotek in Fredericiagade was open on the first evening of 3daysofdesign with people moving out onto the pavement to enjoy the warm weather.

This was an opportunity to show new additions to the collection - so a selection of cutlery in the ICHI range from Ole Palsby, now sold in the store, and a new tie in with home goods from the Japanese brand Ouur.

FRAMA

 

 
 

FRAMA - the apartment

 

 

For 3daysofdesign Niels Strøyer Christophersen of FRAMA opened his apartment on Strandboulevarden in Østerbro.

It's on the ground floor and at the corner of an apartment building that dates from around 1900 and, from the start, it was a shop with a small apartment behind as accommodation for the shopkeeper. This was a common arrangement in the city where many of the apartment buildings - from the late 19th century and then on through the 1920s and 1930s and 1940s - have commercial and shop space on the street level and particularly at the corners of the buildings.

The entrance into the shop from the street - with the doorway set across the angle of the cut-off corner - is typical of the period as are the high ceiling heights. The main FRAMA store in Fredericiagade is another if an up-market version of the same building type …. there a former apothecary shop, at the corner of an apartment building, with ornate ceilings and shelving from the late 19th century surviving.

Beyond the main front room of the shop in the Strandboulevarden building, the apartment was relatively small with the windows of its main rooms looking out to the side street and smaller rooms, including the kitchen, with windows looking into the courtyard and with a door in the corner of the kitchen for access to a 'back' staircase and access to the courtyard itself ... a practical and, again, a common arrangement.

The last occupant of this shop and apartment was a watchmaker although it had been empty for several years before Niels took over the property.

Niels has combined together the space of the shop and the apartment for his home. 

He has stripped back the walls to raw plaster but decorative mouldings of plaster cornices and moulded decoration on the ceilings, where they survived, have been kept. However, architraves and all doors have been removed so that the space flows from one area to the next.

With the high ceilings, the windows are large but, because these look out directly onto the pavements to the street to the front and the street to the side, plain white blinds and plain full-length curtains in linen and in natural silk have been used to give some privacy. This use of plain textiles also means that there is a subtle control of light and a fluid and softer definition to the spaces and again the emphasis is on natural materials and in their natural colours.

Furniture in the apartment is, of course, from the FRAMA collection, and in this setting looks, of course, absolutely right. Again, this furniture is about using natural materials, so steel plate or wood or stone, and again used to empasise natural colours and natural textures. Forms are plain and tend towards looking industrial because they keep to relatively simple shapes and emphasise or respect techniques and methods of fixing that are determined by the way the material are used when they are used honestly so used without pretension and, ostensibly, without reference to historic styles or traditional forms and shapes.

Although plain and without decoration, the furniture and the interiors are obviously far from being unsophisticated and far far from being crudely made or simply designed so this is about a distinct aesthetic that looks at interiors and at furniture in a different way.

FRAMA might appear to be a life-style design studio - particularly now with their apothecary range and with the book they have published with recipes - but it is about a serious and coherent design aesthetic that looks at materials in particular but also at texture and colour and form in a different way. It has to be significant that Niels has not had a traditional design-school training. His is not a unique but is a rare way of seeing the design world … so perhaps the most obvious comparisons should be with the work of John Pawson - particularly his photography and his publications - and with interiors by David Chipperfield or the work of Vincent Van Duysen.

This is an aesthetic that is stripped back but not strictly minimal - plain and in part close to industrial design - particularly early industrial design from the late 19th and early 20th century - but not brutal and although, ironically, about product design it is also about very careful consideration and calm reflection before acquiring anything.

From seeing the apartment, there is a strong sense that anything from anywhere might be considered for inspiration but essentially this is about materials used in a simple almost engineered way that has to respect intrinsic qualities of colour, surface and texture.

 
 

shop window Mads Norgaard for 3daysofdesign

 

 

Many of the stores around the city get involved with 3daysofdesign.

On Strøget - the great pedestrianised shopping street that runs east west through the centre of the city - the Copenhagen fashion brand Mads Norgaard, used their front shop window for "live workshops" with a tightly-packed programme of demonstrations by craftsmen making products from many of the best-known design companies and design workshops.

Here, in one of the sessions in the programme on the first day, a cabinet maker from PP Møbler was working on shaping and finishing the seat of their new three-legged Sela Stool designed by the Brazilian artist Ricardo Graham Ferreira. The stools are made in oak, ash, cherry or beech and the wave profile of the shape means that the craftsmen can bring out the character of the pattern of the grain in each block of timber.

PP Møbler

Dine, Drink, Daze & Dream - at Moltkes Palæ for 3daysofdesign

 

Elephant Chair designed for NORR11 by Kristian Sofus Hansen and manufactured by Kvist Industries

 

For 3daysofdesign, Træ- og møbelindustrien or the Association of Danish Wood and Furniture Industries took over the main rooms on the street frontage of Moltkes Palæ on Bredgade in the centre of Copenhagen.

It was good to see the work of the serious side of the furniture industry with stands here representing the work of Cane-line; HUBE, Kvist Industries, Magnus Olesen, Møbelsnedkeri Kjeldtoft; PP Møbler; Skovby Møbler; Re Nature Beds; Republic of Fritz Hansen and WON. This was the crucial but, shall we say, the less hyped and primped up part of the industry.

As some of the style journalists or bloggers rush from venue to venue taking square pictures of the amazing plates of finger food and grab another glass of booze, they might do well to remember that these are the factories that make the furniture that sits under the label. That's not to say this was all about fork-lift trucks and export paperwork … it was styled by the design studio All the Way to Paris and certainly did not look like a trade show … but what was shown very clearly was exactly the same passion and enthusiasm for design and for high-quality production that is the hall mark of the Danish furniture industry as it developed through the 1950s.

NO1 - new chair from Fritz Hansen designed by Nendo

 

Fritz Hansen were here but with a simple stand that just showed the chair they have just launched - Chair NO1 by the designer Nendo. This is an interesting chair that has a beautiful and very elegant curved seat and plain curved back in laminated wood on a relatively traditional frame in turned and joined wood that, in terms of style, is a hybrid of traditional Japanese and Danish forms. This was not a display for the glamour life-style magazines but appropriately something to show to fellow manufacturers.

PP Møbler showed a desk by Wegner and an office chair - the 502 - designed by Hans Wegner. They did not need to show more … every manufacturer here would know the catalogue of PP Møbler … but again it was all about meeting fellow professionals for what is in part a social event and in part a way of entertaining established clients and a venue for making new business contacts. Even if you are only slightly interested in the workings of what is behind the branded stores this is fascinating.

PP Møbler is not a furniture factory but are still a major workshop of cabinetmakers. They have to be commercially astute to survive but, for them, a core element is  maintaining the system of training and apprenticeships … after all, the life-blood of the Danish industry.

That's not to suggest that the other companies are production-line factories and there is a fascinating symbiotic relationship between these manufacturers, the design companies they serve; established designers, working either in house or working independently; and the young designers and the young furniture makers coming up through the system.

Talking to the representative from Kvist, I was asking about the Elephant chair that they manufacture for the design company NORR11, when the team from NORR11 arrived and there was a brief opportunity to talk to Kristian Sofus Hansen who designed the chair. I hope to be able to do a longer profile on this chair which could be a place to discuss how a design evolves and to explore that crucial relationship between designer, design company and manufacturer.

 

Træ- og møbelindustrien for 3daysofdesign

 

As a trade association, a crucial part of the role of Træ- og møbelindustrien covers standards for training and apprenticeships.

Three pieces of furniture were shown at Moltkes Palæ that were a final selection from the graduation works of this years apprentices … and they were contending for the major annual Apprenticeship Prize for woodwork machinists.

The winner was announced on Saturday with Peter Pagh from Bernstorffsminde Møbelfabrik awarded first prize for his upholstered chair and foot stool with Silas John Esheim from Norisol in Frederikshavn awarded second place for his TV stand and the third place was awarded to Aksel Giovanni Larsen from HTH Køkkener/Nobia for his desk.

Dux at the Swedish Embassy for 3daysofdesign

 

For 3daysofdesign, first-floor rooms of the Swedish Embassy - in a grand town house on Sankt Annæ Plads - were taken over by the Swedish furniture manufacturer DUX who are perhaps best known for beds but they also for manufacture classic furniture by designers including Bruno Mathsson and Folke Olsson.

The space was styled by the well-established Swedish designer and blogger Lotta Agaton.

DUX

Lotta Agaton

 

Pernilla 69 at the Swedish Embassy

 

 

One of the main rooms at the embassy was set out as a bedroom - a rather luxurious bedroom - with furniture from Dux with their version of the Pernille chair and foot stool that is based on a chair designed in 1944 by Bruno Mathsson but then developed with DUX as a new version in 1969 and still made by the company.

Recently, the posts on the review side of this blog have focused on Danish chair design and looked particularly at the development of plywood or laminated wood and the related techniques of laminating and steam bending so coming across this chair was a good opportunity to look carefully at the Mathsson design and to take photographs.

Here the curving of the laminated wood takes on an almost baroque exaggeration that  revels in the technique and the craftsmanship. Specifically, this chair puts paid to any suggestion that steam bending is for cheap everyday furniture or mass production and this version also shows how high-quality upholstery and the very very careful choice of fabric and colour creates the distinct style and takes the finished chair to a much higher level of luxury.

DUX