a special edition of The Egg

my thanks to staff of Fritz Hansen in Valkendorfsgade in Copenhagen for allowing me to photograph the chair and for the time we spent discussing the work of Jacobsen and the designs and colours of the Hallingdal range

 

The Egg in suede at the Copenhagen store but showing clearly the same strong and more sculptural look seen when the chair is covered with leather

To mark the anniversary of The Egg - Arne Jacobsen designed the chair for the SAS Royal Hotel in Copenhagen in 1958 - Fritz Hansen have released a special version covered in the Kvadrat fabric called Hallingdal that was designed by Nanna Ditzel in 1965 … a textile that is not as well known or as easily recognised outside Denmark but, like the chair itself, a design classic that has been in continuous production since it was launched. 

Although I can’t know the real figures, there is a very good chance that more people have sat on a chair covered with Hallingdal - without realising what they were sitting on - than have sat in an Egg chair … in the late 60s and through the 1970s for its well-deserved reputation for being hardwearing and for the range of colours it was the go-to fabric for upholstery for commercial seating for office chairs, chairs for schools, and seating for doctors’ and hospital waiting rooms.

It was a revelation seeing the chair covered in Hallingdal in the Copenhagen showroom of Fritz Hansen. 

Now we tend to know The Egg in the version covered in leather emphasising the bold sculptural quality of the design and often making the piece in a room a sort of statement of status. However, covered in a fabric, particularly in a soft natural colour, the chair immediately looks more subtle, more discrete, more inviting and comfortable and, curiously, smaller.

Initially, Jacobsen wanted these chairs in the hotel to be covered with leather but for fairly obvious economic reasons had to agree that chairs used in hotel rooms would be covered in fabric. He designed a relatively heavy fabric in a mix of the deep blue and green shades he often used but also gave it a stronger texture with distinct wavy lines through the weave.

The Hallingdal fabric is actually a bit of a chameleon for it takes on very different characteristics depending on the combination of colours … in natural greys or browns or creams used in combination then it looks like a Harris Tweed but with contrasting colours for warp and weft it gains a sharp pin or small check pattern that is quite sassy and in strong bold single colours - for instance a strong red - then an Egg can look just as powerful and assertive as when the chair is covered with leather.

This shows that even when a form is as bold and as distinctive as The Egg, colour and texture are incredibly important in reinforcing the character of the design or modifying it and toning it down.

note:
I understand this special edition is currently available only in Denmark

Kvadrat

Republic of Fritz Hansen

 

MONO - Snedkernes Efterårsudstilling / the Cabinetmakers’ Autumn Exhibition

 

This year the venue for Snedkernes Efterårsudstilling / the Cabinetmakers’ Autumn exhibition is the Thorvaldsens Museum in Copenhagen and the theme is Mono … each work will be restricted to just one colour with the choice of colour limited to either the natural colour of the material itself or to one of the strong and distinctive colours used in the original decorative schemes of rooms in the museum.

The works are also restricted in size to a maximum foot print 90cm by 90cm although the height is limited only by the height of spaces within the museum.

Below is publicity material published earlier in the year with the call for submissions to be considered by the exhibition selection committee. 

MONO - ’furniture with a maker’s touch’ opens on 2nd November 2018

 

MONO - a piece of furniture with a craftsman’s understanding
For Mono, this year's SE exhibition, furniture will be created that demonstrates an engagement and passion for shape, colour and material. Furniture that individually and together expresses quality but also a rhythmic, narrative and simple whole.

With MONO we want to create an exhibition consisting of single-coloured / MONOchrome furniture, furniture that emphasises the individual designer's personal message / MONOlog, and this in conjunction with Thorvaldsenś MONOlithic sculptures and Bindesbøll’s beautiful building

Background:
There are two strong personalities that emerge when you say Thorvaldsens Museum. Bertel Thorvaldsen, to whom the museum was built and whose works it contains and Michael Gottlieb Bindesbøll who is the architect of the building. Both of them, through their work, represent great craft knowledge and a pursuit of the perfect. In addition, Thorvaldsen and Bindesbøll were incredibly adept at using the past in a new and modern way, Thorvaldsen through his new interpretations of ancient history and Bindesbøll through his personal way of using inspiration from Pompeii and Herculaneum.

This year's theme invites:
That the craftsmanship is challenged, perhaps through a new interpretation of the Danish furniture tradition.

That the inner "furniture thread" comes into play, preferably by combining new and old technology. Like Thorvaldsen and Bindesbøll, we strive for the perfect.

That through the materials, the form and the colour, the aesthetic and ethical presence of the furniture is reconsidered.

The goal is for newly thought-out furniture that expresses craftsmanship but also creates a narrative and simple exhibition in interaction with the two great masters.

Requirements for dimensions, materials and colours:
The furniture must have a maximum of 90x90 cm in the floor. The height is free but the furniture must be able to stand everywhere in the museum.

The furniture must be monochrome (one colour) and this can be either the wood's own colour or one of the colours from Thorvaldsen’s museum:

 
 

Louisiana Jubilæum 1958 / 2018 - the chair and the lamp designed by Vilhelm Wohlert

To mark the sixty years since the Modern Art Museum at Louisiana opened, the Louisiana Chair and the Louisiana Lamp have been re-released.

Both were designed by Vilhelm Wohlert who, with Jørgen Bo, was the architect for the museum and the chair and the pendant lamp can be seen in the museum restaurant that has been refurnished for the anniversary.

Louisiana Butik

 
  1. the Louisiana Chair displayed with the tall bar stools in the Butik at Louisiana

  2. the Louisiana Lamp in the Butik

  3. the chairs designed by Vilhelm Wohlert in the museum restaurant

  4. the taller stools with back rest in the museum restaurant

 

Sustainable Chairs - Nordic Design Competition

hjemmeside_nordic_chair.jpg
 


Organised through The Nordic Council of Ministers, there is a competion to design a sustainable chair that takes into account sourcing of materials and production and distribution but also considers use and disposal … a complex and demanding design brief.

The closing date for submissions is the 3rd October 2018. A short list will be drawn up with a maximum of ten designs from each of the Nordic countries. The winner from each country will be shown in the Nordic Pavilion at COP24 - the 24th Conference of the Parties to the United Nations Framework Convention on Climate Change in Katowice in Poland in December 2018.  

There are details on the web site of Danske Kunsthåndværkere and Designere

 

Dansk Møbelkunst at CHART DESIGN FAIR

 

Dansk Møbelkunst are one of twelve galleries exhibiting at Den Frie in Copenhagen for CHART DESIGN FAIR. They showed some superb and unusual or rare modern furniture and, as always, of the very highest quality. There was a pair of chairs designed by Kaare Klint in 1931 and called Mix. Edvard Kindt- Larsen may have collaborated in the design of these leather-covered arm chairs that were produced first by the cabinetmaker N C Jensen Kjær and then by Rud. Rasmussen.

Also shown was one of the high-backed chairs designed by Arne Jacobsen for the top table in the hall of St Katherine’s College in Oxford and a set of three of the bed-side drawer units originally in the Royal SAS Hotel in Copenhagen.

Den Frie

Dansk Møbelkunst

 
 
L1290431.jpg
 

LOKAL at CHART DESIGN

 

The Finnish gallery LOKAL were at CHART DESIGN at Den Frie. They showed several pieces by the company Nikari who have their workshops in the historic settlement of Fiskars to the west of Helsinki.

Edi Table by the Norwegian design studio Claesson Koivisto Rune was designed in 2015; the Café Skandi stool by Kari Virtanen is from the same year and from 2009 the Nikari Linea Chair is by the Swiss-born designer, carpenter and teacher Rudi Merz.

Nikari were established in the 1960s and have built up a reputation for making furniture of the very highest quality. They follow the well-established practice of cabinetmakers in Copenhagen in that they work closely in partnership with a number of the best designers on specific projects and these will certainly be the collectors’ pieces of the coming decades. However, furniture should be chosen because you really like it and it fits with what you want for your home … good furniture used everyday enhances our lives. If furniture holds its value or even appreciates then that is surely just a bonus?

Looking at the Linea chair carefully you can see features and details of the techniques of the carpenter that are distinct from Danish designs and these differences are important … marketing furniture from the Nordic countries in a co-ordinated campaign, where possible, does make sense, but only if it does not erode the distinctions that give the different designers and the different companies their personalities and clearly discernible styles. To produce a generic ‘Nordic style’ could, in essence, be done by any designer anywhere but nurturing distinct national talent gives the ‘brand’ - if that is what you want - a stronger and a much more dynamic future.  

Nikari

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

 

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

 

Nyt i bo for 3daysofdesign

 

 

This independent furniture shop on Store Kongensgade actually shares a courtyard with Frederiksgade 1 - see below.

They sell a good and carefully-chosen range of modern furniture and rugs and lamps and so on. For 3daysofdesign they clear much of the ground-floor showroom for companies to show specific ranges or specific pieces.

This year there were two companies in particular that stood out for highlighting two very important ideas that have to be considered now if Danish design and Danish furniture production are to thrive actually in the country together … not about Danish design as a concept or as a style but Danish design and Danish manufacture thriving and moving forward together in Denmark.

Anton Assaad was there to represent the company Great Dane that he established in Melbourne in Australia in 2002. His store sells top of the range Danish furniture including cabinets by Kai Kristiansen and the large leather-covered armchair V11 by Illum Wikkelsø that are made in Denmark. The key to his business formulae seems to be identifying and appreciating major designs that are no longer in production and then, working with the families or the old companies, he gains licences to restart production to a very very high standard with quality being the paramount consideration.

 

 

At almost the opposite end of the commercial spectrum were two cabinetmakers who are together Risskov Møbelsnedkeri. They showed furniture designed and made by them but the main design for 3daysofdesign was their arm chair also designed by Kai Kristiansen in the 1960s so again a classic chair. This is a typical form of chair that was relatively common in the catalogues of several manufacturers through the 60s with a simple frame of wood with wooden arms and with simple square cushions for the seat and back. France & Son produced several variations by Ole Wanscher and Illum Wikkeslsø designed Lænestol Nr 4 in 1959 and Poul Volther designed Model 390 in 1961.

This particular design by Kai Kristiansen is very close to what we had at home when I was a kid and my parents called 'contemporary' design.

 

 

the original form for the seat with loops of wire and the new support for the seat cushion

 

The important thing here is the quality of the work and the appropriate technical changes that have been made by Risskov Møbelsnedkeri to bring the chair up to date … so the thin coated wire springs under tension that formed the support of the seat cushion in the original chairs have been replaced with taut material that does not stretch and where the original chair was shipped as a flatpack that, to some extent, compromised the strength of the frame, these chairs are completely assembled and finished in the workshop.

The materials for the upholstery is quite-rightly from Kvadrat.

nyt i bo

House of Finn Juhl at Frederiksgade 1

 

3daysofdesign is when design companies and manufacturers and studios in Copenhagen open their doors to show everyone their designs and products and take that opportunity to explain the why and the how and the what of the design world in the city.

House of Finn Juhl have showrooms in Frederiksgade and they showed some of their best furniture so this was the opportunity to not only look at furniture up close but to sit on chairs or ask questions.

In one of the rooms, as the centre piece, was a Silver Table, designed by Juhl in 1948 with 30 inset discs that give the design its nickname of the Judas Table.

It was set for a grand meal but between the plates and glasses were parts of some of the classic Juhl chairs so for instance an arm of a Chair 45 or chair FJ45.

This was the first time I had seen the sections of a chair by Juhl before they had been assembled and so, of course, took photographs.

With so many things - like magic tricks or great culinary dishes - to have the trick explained often spoils the illusion. Curiously, here it was exactly the opposite.

Discussions about designs by Juhl inevitably point out a contrast between Finn Juhl and his contemporary Hans Wegner in that designs by Wegner seem to have evolved as designer and cabinetmaker resolved how to realise a design by working through what could be done and how whereas Juhl appears to have had a very clear idea of what he required and it was up to the craftsman to work out just how to make that happen.

Seeing the parts of a Juhl chair laid out did not spoil the trick … rather it was the opposite because, looking at the smooth, complex and almost organic shapes and the precision and cutting of the joins for fixing together the parts, the workmanship seemed even more amazing and it was possible to understand exactly why modern machinery for cutting and shaping wood makes the production of these chairs possible.

What I still don't understand is how a craftsman can see in a piece of timber the line of the finished piece where the grain, that reflects natural growth of an individual tree, is used to enhance the finished piece rather than being a perverse and difficult part of the natural material that can and will form a line of weakness.

House of Finn Juhl

 

Jasper Overgaard and Christian Dyrman at Frederiksgade 1

L1270303.jpg
 

Jasper Overgaard and Christian Dyrman have a studio and showroom space on the fourth floor at Frederiksgade 1.

For 3daysofdesign they had a long table with a dark top down the centre of the main room with all the parts from one of their chairs set out … so there were separate slots in the top that took each of the different wires and parts of the steel frame and cut outs for all the pieces of leather for the seat and back and all the straps and rivets that go to make up a finished chair.

 

 

Most people, if they think about the design process, will assume that to design furniture then all that is needed is a nice sketch, maybe with colour wash or probably an impressive CAD drawing in 3D with rendering and then maybe a swatch or two of colours or materials … and that's it.

In reality, of course, that at most describes the initial concept phase and usually a huge amount of thought and research and experience and training will have been needed to come up with that concept.

Here, with the chair from Overgaard & Dyrman you see how many parts there are and that the form, and precise details of each part has to be meticulously determined and then you see, with the tools on show, just how much skill is required to make those parts and then assemble a chair.

 

 

Overgaard & Dyrman illustrate so well that core strength of Danish design where design and manufacture are in partnership - both disciplines contributing to the creation of the finished work.

Here, of course, the designers are the makers and the makers are the designers so it proves that other maxim that actually the best designs so often come from a complete understanding of the materials and techniques being used and that understanding can never be as thorough or as complete as when it is worked out at the work bench.

OVERGAARD & DYRMAN

Skud på Stammen

 

An exhibition of furniture where newly-trained cabinetmakers have worked in collaboration with established designers to produce trial designs for furniture that would be appropriate for smaller homes. 

The exhibition showcases the work by students from NEXT– Uddannelse København who coordinate the training of both school students and vocational training for adults over the age of 25 in a wide range of work disciplines but also involved are DI - the association of Danish Industry - who have hosted the exhibition and, appropriately given this year’s theme, FDB Møbler - the furniture company of the Danish Cooperative movement who when they were first established in the late 1940s focused first on producing a range of well-designed and well-made furniture for young families setting up home and often within the limited space of a small apartment.

The other interesting aspect of the exhibition is that all the pieces had to be made in elm … a wood that in the past was used for making furniture but is a tree that in northern Europe in the late 20th century was almost-totally lost through first disease and then climate change. It is not as well known now as oak or beech for furniture making but has a distinct grain and it is good to see how the cabinetmakers have used a single type of timber to produce very different forms of joinery that exploit the unique character of the timber.

 

the exhibition continues until 6 April 2018

at DI (Dansk Industri) H C Andersens Boulevard 18, Copenhagen

AIR CHAIR

Designer: Troels Grum Schwensen

Pupils: Christoffer Andreas Rudolph and Kristina Nielsen

LÆNESTOL

Designer: Emil Reimert

Pupils: Laura Klakk, Pim van Vliet and Pernille Falsberg

TO BORDE

Designer: Åsa Alm

Pupil:  Lulu Jacobsen

EN STOL

Designer: Aske Foersom and Jesper Rosenmeier

Pupil:  Kris Vejnø

The Cabinetmakers’ Autumn Exhibition 2018

It has been announced that the venue this year for the Cabinetmakers’ Autumn Exhibition will be the Thorvaldsen Museum in Copenhagen.

Each year the committee choses a theme for the works and this year it will be MONO with works to explore the ideas of monochrome; monologue or monolithic to create furniture that “individually and collectively express a rhythmic narrative and simple whole.”

Thorvaldsen’s Museum, on the north side of Christiansborg, was designed by the architect Michael Gottlieb Bindesbøll and completed in 1848 to provide an appropriate building to house and display the work of the sculptor Bertel Thorvaldsen. With the galleries arranged around a central courtyard, the rooms have a striking and rich colour scheme that formed a background to the neo-classical figures in the collection.

The furniture in the Autumn Exhibition will use one of the eight colours used in the decoration of the building or will be in the natural colour of the wood used.

Snedkernes Efterårsudstilling