KÄLLEMO REFERENS by Susanne Wahlqvist

Agents for Källemo DENMARK – Agneta Olmås, Tel +45 20 46 61 15, e-mail: agneta@thorsen.dk FINLAND – AERO, Helsinki, Tel +358 9 680 2185, e-mail: info@aerodesignfurniture.fi FRANCE – Nordic Design, Paris, Tel +33 1 44 88 58 00, e-mail: info@nordicdesign.fr GERMANY Northern part – Bella Form, Berlin, Tel +49 30 4400 9262, e-mail: info@bellaform.de GREECE – Myran, Athens, Tel +30 210 3824744, e-mail: info@myran.gr ITALY – Birgit Reichenberg, Roma, Tel + 39 06 70 45 29 25, e-mail: bi.reichenberg@alice.it JAPAN – Coad co, Ltd.Tokyo, Tel +81 35722 0657, e-mail: info@coad-pg.co.jp KOREA – Innen Design Works, Seoul, Tel + 82 2 3446 5103, e-mail: innen21@hotmail.com NORWAY – Scandinavisk Design A.S, Skjetten, Tel + 47 22 55 1918, Mobil. +47 909 69 851, e-mail: lars@scandinavisk-design.no SWITZERLAND – Eleanor Kinloch-Stegemann, Solothurn, Tel +41 32 622 1063, e-mail: eleanor.kinloch@bluewin.ch

KÄLLEMO

THE CARRIB TERRIRORY – www.swedishdesigncentre.com, e-mail: info@swedishdesigncentre.com THE NETHERLANDS – Blaauw, Leeuwarden, Tel +31 58 213 8405, e-mail: janblaauw2009@hotmail.com UK – Gill King Associates, London, Tel +44 20 8960 1275, e-mail: gill@gill-king.com

editeur de design

KÄLLEMO AB BOX 605 SE-331 26 VÄRNAMO SWEDEN Tel +46 370 15000 Fax +46 370 15060 e-mail. info@kallemo.se www.kallemo.se Showroom: Källemo AB Växjövägen 30 SE-331 42 Värnamo Sweden Källemo AB Nytorgsgatan 11 SE-116 22 Stockholm Sweden Tel +46 370 15000 Studio L6 Lasarettsgatan 6 SE-411 19 Göteborg Sweden Tel +46 31 13 83 90 MADE IN SWEDEN

collection autumn 2010

CONCRETE

CONCRETE Jonas Bohlin 1980 Concrete marked a turning point in the history of Swedish furniture. It forced new questions to be asked. Questions whose answers turned conventional assumptions of what furniture was – or rather, what it ought to be – on their head. Text Cilla Robach, from a book about Sven Lundh and Källemo. KÄLLEMO HQ Värnamo, Sweden

CONCRETE 1980, Jonas Bohlin h 87 w 49 d 53 sh 45 solid ash, natural or stained, steel frame

â&#x20AC;? It shall stand the wear of the eyeâ&#x20AC;? Sven Lundh

WHAT IS QUALITY? Furniture is a concept, with a will of its own, conveying an expression. It is no doubt difficult to choose when clever operators with glossy catalogues tell you about the most recent trends. You do not have to be particularly intelligent to realize that the latest is succeeded by something else in the next catalogue. Our ambition is to work with designers and artists who are aware of what quality stands for - accomplishment unaffected by trends. On reflection, it is obvious that quality is just not measured in term of such things as strength of glued joints, etc. The measurable aspect is quantity, whereas quality is a broader concept and can not be measured in the traditional sense. The most important aspect is the visual quality. Good quality means long-term validity.

THESELIUS ALUMINIUM

easy chair ALUMINIUM 1990, Mats Theselius h 73 w 59 d 61 sh 45 polished aluminium / leather, matt polished aluminium / suĂ¨de

Easy chair ALUMINIUM, Carolinasalen / Kungshuset, University of Lund, Sweden

sofa ALUMINIUM 2010, Mats Theselius h 73 w 140 d 61 sh 45 polished aluminium / leather, matt polished aluminium / suĂ¨de

Sofa ALUMINIUM, Skandia headoffice, Stockholm, Sweden. Arch. Bo Andersson

THESELIUS WOOD

easy chair WOOD 2007, Mats Theselius h 75 w 60 d 61 sh 45 wood / leather / suĂŠde / cowhide

Easy chair WOOD, Hotel Plesner, Skagen, Denmark

STAR Mats Theselius models are always an expression of something that deeply interests him. His knowledge and fascination about different countries and their specific handicraft, has resulted in some of the most diverse and stimulating contemporary pieces of furniture. Elk skin, aluminium, brass and beech bark easy chairs, the National Geographic bookcase etc. Collecting and travelling is a great inspiration for Mats Theselius. A journey to Japan inspired him to create the Bamboo King, Texas to the El Ray, and collecting Dieter RahmÂ´s design for Braun, resulted in the desk Herbarium. The easy chair "STAR" has it's background in Mats Theselius passion in, and life with music. An instrument is built in a way to obtain an ultimate sound, grip and joy of playing. And it is always beautiful. In "STAR" , the drum set with itÂ´s leg construction, drumskin and choice of materials was transformed into a piece of furniture. The aesthetic as well as the demand for a long life is recognisable. "STAR" with the pearl backrest, leather seat and chrome frame is produced in a limited edition of 360 pieces. Availability is unlimited in the version with fabric or leather.

STAR 2009, Mats Theselius h 82 w 59 d 62 sh 44 pearl, chromed steel frame, leather Limited edition of 360 pcs.

STAR

STAR 2009, Mats Theselius h 82 w 59 d 62 sh 44 chromed steel frame, leather or fabric

BRUNO

BRUNO 1997, Mats Theselius h 70 w 56 d 69 sh 40 Steel frame, rivet prime leather

white

brown

natural

red

AMBASSAD

AMBASSAD 1999, Mats Theselius h 75 w 54 d 53 sh 45 steel frame, in chrome or coppered rivet prime leather

Armchair AMBASSAD, Swedish Embassy, Berlin, Germany

BIRDLAND DESIGN

SER. NO.

Mats Theselius

KĂ&#x201E;LLEMO SWEDEN 2009 BIRDLAND 2009, Mats Theselius h 69 w 59 d 74 sh 37 compression moulded shell in birch, chromed frame and milled fittings, Corian armrests, leather Limited edition of 360 pcs.

SHERIFF

SHERIFF 2004, Mats Theselius h 78-88 sh 42-52 w 53 d 50 adjustable height and tilt function, rivet prime leather, steel substructure

MAMA LOOK

Everyday life inspires me. I want my things to tell stories. Sometimes trivial observations that I want to share. Other times the topics seem more existential. But mostly, the simple, small and everyday matters the most.

sofa MAMA LOOK 2010, Anna Kraitz h 78 w 182 d 69 sh 42 fabric or leather, steel legs with turned wood parts, legs in matt chrome or coppered, leatherbelt

natural

brown

black

red

Leather samples for the Mama Look belt.

BEATRIX

â&#x20AC;&#x153; As designer You are often asked from where You get your ideas. My answer is simple: I get inspiration from my daily life. In the daily life fantasy is born. Lamps get pigtails, vases get buttons, benches tripping away on short legs, and around the sofa table a belt is drawn tight to stop it from growing. Fairy tails and fantasy. Small and big thoughts. Rituals and habits. All this crossed with the practical life, with thoughts about shape, material and function. The easy chair Beatrix is named after my daughter, born the same year I designed the chair. It has a hardly noticeable asymmetric form. The buttons in the back are moving from a traditional order to a wonderful and lovely chaos.â&#x20AC;? Anna Kraitz

sofa BEATRIX 2008, Anna Kraitz h 78 w 150 d 62 sh 43 steel legs in matt chrome, fabric or leather

easy chair BEATRIX 2007, Anna Kraitz h 78 w 80 d 62 sh 43 steel legs in matt chrome, fabric or leather

Easy chair BEATRIX, Fenixhuset, Ă&#x2013;rebro Sweden. Arch Gaida Inredningsprojektering.

ANNA

sofa ANNA 1999, Anna Kraitz h 97 w 109 / 159 d 73 sh 45 left or right mounted, steel legs in chrome, fabric or leather

ANNA

sofa ANNA, Hornsgatan Stockholm, Sweden

GUNNAR ASPLUND

Gunnar Asplund 1885-1940 "His name has summoned architects from all over the world to the Woodland Crematorium near Stockholm. They are impressed by the atmosphere of consummate architecture - of singular space. The Crematorium with the Faith, Hope and Charity Chapel was Gunnar Asplund´s last work. The Chapel of Hope was consecrated with his funeral in 1940. With his shining, vital and light pavilion architecture he transformed the 1930 Stockholm Exhibition into a festival site for four million visitors and established functionalism in Sweden. His three-dimensional visions emboided the hope of new era. Today the postmodernist jet-set are inspired by Asplund´s classical 20´s, his ability to unite space and clarity, simplicity and elegance. He was apperently able to add his personal tone to every style. The chair for the (Swedish) Societey for Industrial Design is a contemporary evocation of a Biedermeiner armchair. A brilliant demonstration of a timeless formula for comfort." Gunilla Lundahl

armchair GA-1 1930, Gunnar Asplund h 78 w 62 d 56 sh 45 steel frame in chrome or powder paint, leather

easy chair GA-2 1930, Gunnar Asplund h 67 w 75 d 78 sh 40 steel frame in chrome or powder paint, leather or fabric

stool ASPLUND 1930, Gunnar Asplund h 55-75 w 29 d 35 steel frame in chrome or powder paint, leather

Easy chair GA-2, Photo Nette Johansson.

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chair PINOCCHIO 2009, Mats Theselius h 75 w 37 d 44 sh 45 birch, linoleum

This rib-back chair does nothing to conceal its design, which consists of some round and square pieces of wood that still makes the chair, like Pinocchio 'comes to life ". Mats Theselius

PINOCCHIO, Naturum, Store Mosse National Park, Sweden

chair GUTE 1998, Mattias Ljunggren h 80 w 47 d 48 sh 45 beech, natural or stained, seat available in fabric or leather, with or without leather wrapped arms

Gute, Furillen, Sweden. Photo Johan Hellstrรถm

CAMILLA

CAMILLA 1982, John Kandell h 83 w 25 d 35 sh 45 beech, natural or stained

SOLITÄR

VICTORY

”if you don't have red - take blue” John Kandell

sofa VICTORY 1991, John Kandell h 109 w 65 d 66 sh40 beech, natural seat webbing in hemp, seat in leather or fabric

armchair SOLITÄR 1985, John Kandell h 89 w 60 d 50 sh 45 beech, leather

bookcase SOLITÄR 1981, John Kandell h 200 w 20 d 29 Solid unwrought mahogany wood.

NON RUBBER

rubberchair NON 2000, Komplot Design h 77 w 44 d 39 sh 45 PUR-rubber in black, grey, red

rubbertable NON 2002, Komplot Design h 72, 112 w 64Ă&#x2DC; or 68x68 PUR-rubber in black, grey, red

rubberbench NON 2006, Komplot Design h 45 w 120 d 43 cm sh 45 PUR-rubber in black, grey, red

NON, The Garden Society of Gothenburg, Sweden

COBRA

oak

lacquered white

stained

COBRA chair / armchair 1990, Mattias Ljunggren chair h 89 w 42 d 52 / armchair h 89 w 59 d 52 sh 45 steel frame, natural or stained birch/oak, upholstered in fabric or leather, stackable and linkable

with fabric or leather

seat in leather

COBRA office chair with castors 2003, Mattias Ljunggren h 89-101 w 60 d 60 adjustable height and tilt function, steel frame, upholstered in fabric or leather

Chair COBRA, Kalmar Castle, Kalmar, Sweden

COBRA

COBRA stool 1990, Mattias Ljunggren h 45/65/85 w 32 d 32 steel frame, natural or stained birch/oak

COBRA

COBRA conference chair 2002, Mattias Ljunggren chair h 88 w 49 d 59 / chair with armrests h 88 w 66 d 59 sh 45 steel frame, upholstered in fabric or leather, stackable and linkable

CCC Norra Latin, Stockholm, Sweden. Photo Jonas S채llberg

SVEN

table SVEN 2004, Mats Theselius h 52 w 80 , 110 Ă&#x2DC; white laminate, legs in chrome

Swedbank, Stockholm. Arch Sweco.

HERBARIUM

HERBARIUM 2003, Mats Theselius h 73 w 150 d 73 glass desktop, steel frame, extension drawer

PILASTER

I suppose that most of the value judgements I make are based on the usual lessons you learn in life. It’s the unusual lessons that are the important ones. But who can I ask in cases like that? There isn’t anyone. I can get a long way with the usual ingrained value judgements. Most of them will successfully see me through an entire lifetime. The unusual ones, if we can call them such, both irritate and stimulate. They’re like holes in a boat. It’s just a question of how many holes a boat can cope with before it sinks. John Kandell

PILASTER 1989, John Kandell h 205 w 20 d 22 solid birch; natural or stained, solid oak

TA BORT

ZINK

ZINK 1984, Jonas Bohlin h 155 w 27 d 35 solid birch, concrete base

DNA

DNA 2003, Sigurdur Gustafsson h 180, 44 Ă&#x2DC; steel, 5 shelves

KONSTANT

KONSTANT 2008, Mattias Ljunggren h 207 w 15 d 19 solid ash; stained white or black, front available with mirror

NATIONAL GEOGRAPHIC

National Geographic Mats Theselius 1990 I lay on the bed trying to quit smoking and started instead to collect National Geographic magazines, loosing myself into other worlds, primeval forests or the surface of the moon, visiting craftsmen in different cultures. It soon became an obsession. In the end I was buying issues I already had. That’s when I made this cabinet. To limit my the size of my collection and put an end to the whole damned nonsense. Later, when I put the cabinet on display at the Liljewalchs Art Gallery in 1988, this sweet old lady said she wanted to buy it. But she was astonished when she realised the Magazines were included in the price – and said , she wanted another for her own Collection. So I had to measure it all up again in preparation to make a new one. But it was such a chore. I’d already made my cabinet. So I never came to anything. Mats Theselius later perfected his National Geographic cabinet for Källemo, NATIONAL GEOGRAPHIC 1990, Mats Theselius h 171 w 57 d 22 glass doors, brass details, base of solid natural beech

KIASMA Arch. Vesa Honkonen and KÄLLEMO got the task to design and develop a new chair for the Museum of Contempoary Art in Helsinki, KIASMA. Steven Holl, the architect of KIASMA gave Vesa Honkonen one advice. ”Light passing through the chairs is important”.

KIASMA, Kiasma Museum of Contemporary Art, Helsingfors, Finland

chair KIASMA 2008, Vesa Honkonen h 82, w 51, d 50 sh 45 patinated steel frame, seat in transparent polycarbonate

table KIASMA 2008, Vesa Honkonen h 72, w 60, d 72 cast base, table top in acrylate with patinated steel plate

COPY AND PASTE My ideas about form and materials are very closely related to my upbringing and background. I was born in a small village in Iceland. My father is a carpenter with his own little carpentry. It was in these surroundings that I got my first, and may be most important experience with forms and materials. This is reflected in my aesthetics which I think of as naive. Not far from my childhood home there is a wrecker Â´s yard with remains of ships and all kinds of materials, corroded by rust and etched by time. The decay reveals the essence of things: You see how parts are put together and how different materials relate to one another. As a designer you must know your own background, but also know the history, so that you can see the perspective and reflect your own time by use of the history. There is nothing new under the sun but there can always be a new understanding in well known objects. The chair for instance is a good example of this. The process of designing furniture that can be made without using screws or glue is a very good exercise in exploring the essence of the construction. You must have full control as the harmony between the form and structure must be total. As a consequence I have payed interest in the De Stijl movement and the Russian constructive movement. Both exploring the essence of the structure. In my work I tend to work in two ways that is with expressive forms and geometrical forms. It is not the purpose of this work to come up with a new style or movement, I simply try to express my own time and place. I focus on the idea; design is more than just working with forms. You must learn to see and explore. All around us there are hidden ideas and treasures waiting for revelation. I seek the essential. How material and form unites. Sigurdur Gustafsson

TANGO 1998, Sigurdur Gustafsson h 68 w 46 d 46 sh 45 Ash stained in white or black, steellegs in black, red or green. Limited edition of 49 pcs. Numbered and signed.

COPY AND PASTE 2007, Sigurdur Gustafsson h 85 w 47 d 49 sh 45 Oak, red, black, white and natural with poly carbonate plates. Limited edition of 100 pcs. Numbered and signed.

CARAVAGGIO

CARAVAGGIO Johan Linton 1998-2002 Johan Linton became acquainted with Caravaggioâ&#x20AC;&#x2122;s painting during a visit to Rome in the spring of 1997. There was something in the painting that inspired him, sparking the idea for a piece of furniture. It wasnâ&#x20AC;&#x2122;t the spiritual content that inspired him, but the works physical configuration and the impressions it left; the interaction between the figures, the depth of fields, the gestures, the monumentality and the contrast between existential darkness and human tenderness. Linton started to sketch out the lines to try to understand the effect of the painting. Caravaggio recliner is available in a limited edition.

CARAVAGGIO 1998-2002, Johan Linton h 80 w 150 d 50 steel, oak, black or natural webbing, leather, limited edition of 90 pcs x 2

CONCRETE

CONCRETE 1980, Jonas Bohlin h 87 w 49 d 53 sh 45 solid ash, natural or stained, steel frame

KÄLLEMO

editeur de design

collection autumn 2010