The golden generation of Danish design

wp:paragraph {"align": "left"} The Danish art of living is celebrated the world over. The term "Hygge", which belongs only to the Danes, defines a lifestyle in which the interior is warm and cosy. A generation of Danish architects and designers embodied this concept, bringing Danish design to the international stage in the aftermath of the Second World War. Their names include Hans WEGNER, Arne JACOBSEN, Borge MOGENSEN and Verner PANTON. Focus on these exceptional designers who shaped the golden age of Danish design in the 50s and 60s. The Danish art of living is celebrated the world over. The term "Hygge", which belongs only to the Danes, defines a lifestyle in which the interior is warm and cosy. A generation of Danish architects and designers embodied this concept, bringing Danish design to the international stage in the aftermath of the Second World War. Their names include Hans WEGNER, Arne JACOBSEN, Borge MOGENSEN and Verner PANTON. Focus on these exceptional designers who shaped the golden age of Danish design in the 50s and 60s. /wp:paragraph wp:paragraph Architect and furniture designer Kaare KLINT (1888-1954) is regarded as the father of modern Scandinavian design. He was responsible for the transition from Danish decorative arts to the world-famous design that exploded in the 1950s. Rather than turning to the cold aesthetics of the Bauhaus, KLINT continued the Scandinavian tradition of very high quality cabinet-making combined with simple, functional forms: a return to craftsmanship, but with the desire to create practical, correctly sized and therefore comfortable furniture! Kaare KLINT (1888-1954), an architect and furniture designer, is considered to be the father of modern Scandinavian design. We owe him the transition from Danish decorative arts to the world-famous design that exploded in the 1950s. Rather than turning to the cold aesthetics of the Bauhaus, KLINT continues the Scandinavian tradition of very high quality cabinet-making combined with simple, functional forms: a return to craftsmanship, but with the desire to create furniture that is practical, correctly sized and therefore comfortable! /wp:paragraph wp:image {"align": "center", "id":17719, "width":779, "height":644, "sizeSlug": "large", "linkDestination": "none"} Faaborg chair, Kaare KLINT design, 1915. A chair designed for the Faaborg Museum in Denmark. A perfect marriage between a functional object (the seat is very light and can be moved) and a modern design. Faaborg chair, designed by Kaare KLINT, 1915. A chair designed for the Faaborg Museum in Denmark. A perfect marriage between a functional object (the seat is very light and can be moved) and a modern design. /wp:image wp:image {"align": "centre", "id":17720, "sizeSlug": "full", "linkDestination": "none"} Faaborg chair, design Kaare KLINT, 1915. A chair designed for the Faaborg Museum in Denmark. A perfect marriage between a functional object (the seat is very light and can be moved) and a modern design. Faaborg chair, designed by Kaare KLINT, 1915. A chair designed for the Faaborg Museum in Denmark. A perfect marriage between a functional object (the seat is very light and can be moved) and a modern design. /wp:image wp:image {"align": "centre", "id":17721, "sizeSlug": "full", "linkDestination": "none"} Safari armchair, design Kaare KLINT, 1933. Solid wood with natural leather straps and armrests. Klint reinterprets a light, removable chair used by British officers during their expeditions to the African colonies. Safari armchair, designed by Kaare KLINT, 1933. Solid wood with natural leather straps and armrests. In 1924, Kaare KLINT was appointed director of the new School of Furniture Design in Copenhagen, within the architecture section of the Copenhagen Academy of Fine Arts. In 1924, Kaare KLINT was appointed director of the new School of Furniture Design in Copenhagen, within the architecture section of the Copenhagen Academy of Fine Arts. He trained many of the golden generation of Danish designers in these avant-garde ideas... /wp:paragraph wp:paragraph The most gifted of these was undoubtedly Hans WEGNER (1914-2007). Trained by the master cabinet-maker Stahlberg without a degree, since he did not finish his course at the Copenhagen School of Arts and Crafts, WEGNER worked directly with the architects Erik Møller and Arne Jacobsen, before founding his own design studio. His breakthrough came with the design of the Round Chair, which appeared on the cover of American Interiors magazine in 1950 and was named "the most beautiful chair in the world". The whole world then discovered the genius of Danish design, which ushered in 2 exceptional decades that marked its golden age. Its most gifted representative was undoubtedly Hans WEGNER (1914-2007). Trained by the master cabinet-maker Stahlberg, without a diploma as he did not finish his course at the Copenhagen School of Arts and Crafts, WEGNER worked directly with the architects Erik Møller and Arne Jacobsen, before founding his own design studio. His breakthrough came with the design of the Round Chair, which appeared on the cover of American Interiors magazine in 1950 and was named "the most beautiful chair in the world". The whole world then discovered the genius of Danish design, which ushered in 2 exceptional decades that marked its golden age. /wp:paragraph wp:paragraph /wp:paragraph wp:image {"align": "center", "id":17722, "width":451, "height":598, "sizeSlug": "large", "linkDestination": "none"} The Round Chair, design Hans WEGNER, 1949. The Round Chair, also known as "The Chair", embodies the DNA of Danish design: supple, organic forms, pure style and ergonomics. The Round Chair, designed by Hans WEGNER, 1949. The Round Chair, also known as "The Chair", embodies the DNA of Danish design: organic soft shapes, pure style and ergonomics. A cult seat in modern design /wp:image wp:image {"align": "center", "id":17723, "width":685, "height":341, "sizeSlug": "large", "linkDestination": "none"} The Round Chair, design Hans WEGNER, 1949. Praised for its ergonomic design, the Round Chair was used by presidential candidate John F. Kennedy, who suffered from back pain during his televised interview with Richard Nixon in September 1960. The Round Chair, designed by Hans WEGNER, 1949. Praised for its ergonomic design, the Round Chair was used by presidential candidate John F. Kennedy, who suffered from back pain during his televised interview with Richard Nixon in September 1960. /wp:image wp:paragraph /wp:paragraph wp:image {"align": "center", "id":17724, "width":470, "height":415, "sizeSlug": "full", "linkDestination": "none"} CH07 armchair, design Hans WEGNER, 1963. A seat that symbolises the genius of WEGNER: purity of form and line, lightness and comfort. It has been manufactured since 1998 by the Danish publisher Carl Hansen et Søn; CH07 armchair, design Hans WEGNER, 1963. A seat that symbolises WEGNER's genius: purity of form and line, lightness and comfort. It has been manufactured since 1998 by the Danish publisher Carl Hansen et Søn; /wp:image wp:paragraph The Danish designer's preference for functional, well-proportioned furniture - Kaare KLINT's obsession with measurements - and comfort, goes hand in hand with curved, enveloping lines. The architect and designer Arne Jacobsen (1902-1971) was the one who took his research into organic design furthest, in opposition to the geometric aesthetics of the Bauhaus theories. At the end of the 1950s, to furnish the lobby and reception areas of the Royal Hotel in Copenhagen, Arne Jacobsen created 2 iconic chairs that would become famous for an organic style that radiated a warm, cosy atmosphere: the Cygne armchair and the Œuf armchair. The Danish designers' preference for functional, well-proportioned - Kaare KLINT's obsession with measurements - and comfortable furniture goes hand in hand with curved, enveloping lines. The architect and designer Arne Jacobsen (1902-1971) was the one who took his research into organic design furthest, in opposition to the geometric aesthetics of the Bauhaus theories. At the end of the 1950s, to furnish the lobby and reception areas of the Royal Hotel in Copenhagen, Arne Jacobsen created 2 iconic chairs that would become famous for an organic style that radiated a warm, cosy atmosphere: the Cygne armchair and the Œuf armchair. /wp:paragraph wp:paragraph /wp:paragraph wp:image {"align": "center", "id":17725, "width":660, "height":419, "sizeSlug": "full", "linkDestination": "none"} Furnishings for the Royal Hotel in Copenhagen. In the foreground, from left to right, the Egg armchair and the Swan armchair designed by Arne JACOBSEN. 2 seats that have become cult favourites, with enveloping shapes that are still incredibly modern! Furnishings for the Royal Hotel in Copenhagen. In the foreground, from left to right, the Egg armchair and the Cygne armchair designed by Arne JACOBSEN. 2 seats that have become a cult, with enveloping shapes that are still incredibly modern! /wp:image wp:image {"align": "center", "id":17726, "width":668, "height":488, "sizeSlug": "full", "linkDestination": "none"} Set of Ant chairs, designed by Arne Jacobsen for Fritz Hansen, 1952. The Ant Chair is representative of Jacobsen's creativity in organic design. Here it evokes the shape of an ant. Minimalism, durability and comfort... Ant Chair set, designed by Arne Jacobsen for Fritz Hansen, 1952. The Ant Chair is representative of Jacobsen's creativity in organic design. Here it evokes the shape of an ant. Minimalism, durability and comfort... /wp:image wp:paragraph Borge MOGENSEN (1914-1972), a close friend of Hans WEGNER and born in the same year as the latter, designed simple, elegant and functional pieces of furniture, in line with the design taught by Kaare KLINT. His career was marked by his collaboration with the Danish publisher Fredericia Stolefabrik, which began in 1955. If Danish design took off in the 1950s, it was also thanks to some particularly inspired publishers and manufacturers. Some of the best known are: Fritz Hansen - 1872, Louis Poulsen - 1874, Søborg Møbelfabrik - 1890, Carl Hansen et Søn - 1908, FDB Møbler - 1942, PP Mobler - 1953. All have worked closely with the country's top designers. Along with WEGNER and JACOBSEN, MOGENSEN raised Danish design to an international level. Borge MOGENSEN (1914-1972), a close friend of Hans WEGNER and born in the same year as the latter, designed simple, elegant and functional pieces of furniture, in line with the design taught by Kaare KLINT. His career was marked by his collaboration with the Danish publisher Fredericia Stolefabrik, which began in 1955. If Danish design took off in the 1950s, it was also thanks to some particularly inspired publishers and manufacturers. Some of the best known are: Fritz Hansen - 1872, Louis Poulsen - 1874, Søborg Møbelfabrik - 1890, Carl Hansen et Søn - 1908, FDB Møbler - 1942, PP Mobler - 1953. All have worked closely with the country's top designers. With WEGNER and JACOBSEN, MOGENSEN raised Danish design to an international level. /wp:paragraph wp:paragraph /wp:paragraph wp:image {"align": "center", "id":17728, "width":442, "height":688, "sizeSlug": "large", "linkDestination": "none"} Andreas GRAVERSEN (left) and Borge MOGENSEN. The buyer and boss of the Danish publisher Fredericia would forge a very strong relationship and fruitful collaboration with the Danish designer until the latter's death. Andreas GRAVERSEN (left) and Borge MOGENSEN. Andreas Graversen (left) and Borge Mogensen, the owner of the Danish publisher Fredericia, forged a very strong relationship and a fruitful collaboration with the Danish designer until the latter's death. /wp:image wp:image {"align": "center", "id":17729, "width":688, "height":688, "sizeSlug": "full", "linkDestination": "none"} Hunting 2229 armchair, designed by Borge Mogensen for Fredericia, 1950. Certainly the designer's most original and best-known piece: an armchair designed for the autumn exhibition of the Cabinet Makers' Guild, the theme of which was "The Hunting Lodge" Hunting Armchair 2229, designed by Borge MOGENSEN for Fredericia, 1950. Certainly the designer's most original and best-known piece: an armchair designed for the autumn exhibition of the Cabinetmakers' Guild, the theme of which was "The Hunting Lodge" /wp:image wp:image {"align": "centre", "id":17730, "sizeSlug": "full", "linkDestination": "none"} Sleighchair 2254 in oak and orange fabric, designed by Borge MOGENSEN, 1950s. Sleighchair 2254 in oak and orange fabric, design Borge MOGENSEN, 1950s. /wp:image wp:image {"align": "center", "id":17732, "width":775, "height":583, "sizeSlug": "large", "linkDestination": "none"} Pair of 2207 Lounge Chairs, design Borge MOGENSEN for Fredericia, 1963. A distinguished silhouette. Pair of 2207 Lounge Chairs, designed by Borge MOGENSEN for Fredericia, 1963. A distinguished silhouette... /wp:image wp:paragraph Another renowned Danish designer, Finn JUHL (1912-1989) is known for his furniture pieces with an extreme purity of design, which makes him less popular than his peers WEGNER and MOGENSEN. Yet his seating is of a rare elegance... He is credited with introducing and popularising Danish design in the United States, where he taught. Another renowned Danish designer, Finn JUHL (1912-1989) is known for his furniture pieces with an extreme purity of design, which makes him less popular than his peers WEGNER and MOGENSEN. And yet his chairs are of a rare elegance... He is credited with introducing and popularising Danish design in the United States, where he taught. /wp:paragraph wp:image {"align": "center", "id":17733, "width":555, "height":673, "sizeSlug": "large", "linkDestination": "none"} Chair 45, design Finn JUHL. Made from oak or walnut and upholstered in fabric or leather, the 45 is exceptionally graceful... Chair 45, design Finn JUHL. Made from oak or walnut and upholstered in fabric or leather, the 45 is exceptionally graceful... /wp:image wp:image {"align": "center", "id":17734, "sizeSlug": "full", "linkDestination": "none"} Chair 45, design Finn JUHL, view from the back. 45 chair, Finn JUHL design, back view /wp:image wp:paragraph Finally, we can't talk about the golden age of Danish design without mentioning 2 singular figures: Poul HENNINGSEN (1894-1967), a contemporary of Kaare KLINT, and Verner PANTON (1926-1998), the enfant terrible of Danish design. The former illuminated much of the previous century with his uncommon knowledge of lighting. The latter left his mark on the 60s with his whimsical, psychedelic and highly colourful universe, taking full advantage of the arrival of plastic materials in the furniture industry. Finally, we can't talk about the golden age of Danish design without mentioning 2 singular figures: Poul HENNINGSEN (1894-1967), a contemporary of Kaare KLINT, and Verner PANTON (1926-1998), the enfant terrible of Danish design. The former illuminated much of the previous century with his uncommon knowledge of lighting. The latter left his mark on the 60s with his whimsical, psychedelic and highly colourful universe, taking full advantage of the arrival of plastic materials in the furniture industry. /wp:paragraph wp:paragraph /wp:paragraph wp:image {"align": "center", "id":17735, "sizeSlug": "full", "linkDestination": "none"} In 1960, Verner PANTON completed one of his most famous projects: the design and interior layout of the ASTORIA hotel-restaurant in Trondheim (Norway). Verner PANTON used the Geometry I to IV textile design for the floors, walls and ceilings to give the room a certain uniformity. In 1960, Verner PANTON completed one of his most famous projects: the design and interior layout of the ASTORIA hotel-restaurant in Trondheim (Norway). Verner PANTON used the Geometry I to IV textile design for the floors, walls and ceilings to give the room a certain uniformity. /wp:image wp:image {"align": "center", "id":17736, "sizeSlug": "full", "linkDestination": "none"} The chairs used are different versions of the Panton Cone Chair and the Heart Cone Chair. The chairs grouped around the tables and the Topan lights work together to divide the large room into individual lounges with an intimate feel. The chairs used are different versions of the Panton Cone Chair and the Heart Cone Chair. The chairs grouped around the tables and the Topan lights work together to divide the large room into individual lounges with an intimate feel. /wp:image wp:paragraph Every Dane will tell you: lighting designer Poul HENNINGSEN is a legend in his own country. There is hardly a domestic interior without at least one lamp in the PH series designed by this architect and writer. Throughout his life, Poul HENNINGSEN remained loyal to Danish publisher Louis Poulsen, creating over a hundred lamps for the "PH" range. The designer's avant-garde idea was to design multiple shades and diffusers to provide warm, diffused light. Any Dane will tell you: lighting designer Poul HENNINGSEN is a legend in his own country. There is hardly a domestic interior without at least one lamp in the PH series designed by this architect and writer. Throughout his life, Poul HENNINGSEN remained loyal to Danish publisher Louis Poulsen, creating over a hundred lamps for the "PH" range. The designer's avant-garde idea was to use multiple shades and diffusers to provide a warm, diffused light. /wp:paragraph wp:image {"align": "center", "id":17737, "width":604, "height":604, "sizeSlug": "large", "linkDestination": "none"} PH Artichoke pendant light, designed by Poul HENNINGSEN for Louis Poulsen, 1957. Perhaps the best-known light fixture in Danish design. PH Artichoke pendant lamp, designed by Poul HENNINGSEN for Louis Poulsen, 1957. Perhaps the most famous light fixture in Danish design. /wp:image wp:image {"align": "center", "id":17738, "width":712, "height":712, "sizeSlug": "large", "linkDestination": "none"} PH Artichoke pendant light, designed by Poul HENNINGSEN for Louis Poulsen, 1957. 72 slats carefully arranged in 12 rows of 6 slats provide glare-free light. Refined and comfortable lighting... PH Artichoke suspension lamp, design Poul HENNINGSEN for Louis Poulsen, 1957. 72 louvres carefully arranged in 12 rows of 6 louvres provide glare-free light. Refined, comfortable lighting... /wp:image wp:paragraph Although Poul HENNINGSEN and Verner PANTON's designs are less conventional than those of their illustrious compatriots, their creations are all perfectly proportioned. Elegance, simplicity of form, ergonomics and functionality - these are the essential features of post-war Danish design, which continues to inspire designers the world over. Although Poul HENNINGSEN and Verner PANTON's designs are less conventional than those of their illustrious compatriots, they are all perfectly proportioned. Elegance, simplicity of form, ergonomics and functionality - these are the essential features of post-war Danish design, which continues to inspire designers the world over. /wp:paragraph wp:paragraph {"align": "right"} François BOUTARD François BOUTARD /wp:paragraph

The golden generation of Danish design

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