C l ae s son Ko i v i s t o Run e Jackson Design
A i no Aa lt o A l va r Aal t o C l ae s son Ko i v i s t o Run e P i e r r e Ca r d i n
C l ae s son Ko i v i s t o Run
Nanna D it ze l B e r nd t F r ibe r g Poul Henningse n A xel Einar Hjort h
Erik Höglund Jackson Design Philip Johnson Arne Jacobsen
Jackson Design
Finn J uh l Ri c ha rd Kel l y Kaa re K l in t Mogens Koch Poul Kjærholm
Bruno Mathsson George Nakashima Barbro Nilsson Giò Ponti Stig Lindberg Dom Hans van der Laan Yrjö Kukkapuro John Lautner John Selbing
Astrid Sampe Gino Sarfatti Timo Sarpaneva
Il m ari Tapiovaar a Paa v o Ty nel l Hans J . W egne r Tapio W irk k al a
Introduction
Gustaf Kjell in
30 years have passed since the partnership between Mårten Claesson (1970), Eero Koivisto (1958) and Ola Rune (1963) was formed. Their first office after graduating from Konstfack - University of Arts, Crafts and Design in 1995 was at Storgatan 20 on Östermalm in Stockholm. It was their teacher, the architect Love Arbén who had offered them to rent a table each at his studio. Arbén must have been surprised when they showed up and gathered around one table instead of three, but that is how they had gotten used to working after years of sitting around each other’s kitchen tables. Soon after they had moved in, there was a knock on the door and in walked the textile designer Astrid Sampe (1909–2002), who parked her handbag on their table, herself in a chair, and immediately engaged in conversation. It was unscheduled, but halfway through their coffee it was clear that Sampe had just wanted to pop in to get a closer look at them. Claesson Koivisto Rune had recently made their first international assignment, the showroom for Assidomän Iberica S.A (1994), in Barcelona, Spain, and made both Swedish and international headlines with their graduation project, the single-family wooden house Villa Wabi (1994).
Sampe’s visit was not unusual considering she had worked closely with architects most of her life, and Claesson Koivisto Rune met her when she was at the end of an extraordinary career, spanning over five decades while theirs were just at the beginning. They would have more in common than either of them knew then, and to compare the two makes for an interesting way to describe Claesson Koivisto Rune. To begin with, both connect to the
functionalism introduced at Stockholmsutställningen 1930, Sampe as a direct student of it, and Claesson Koivisto Rune later using it as a clear point of reference in their work. Add to that their shared attitude towards free orientation between art, design and industry – embracing experimentation, new technologies and materials with maintained respect for tradition. Sampe, who graduated from Konstfack in 1932, learned how to master the craft of block printing patterns on textiles. Later as director for NK:s Textilkammare (1937-71) she modernised the Swedish textile industry, championed the use of new fibreglass textiles in the 1940s and made computer generated patterns together with IBM in the 1970s. While fine tuning the radii on hand carved wooden furniture, Claesson Koivisto Rune have taken every opportunity to explore industrial innovations, such as using a new biodegradable pulp to create the LED task light w101 for Wästberg (2008), or using new digital software to make CNC cut tabletops on Snowflakes for Offecct (2010).
Sampe’s work was described as “dry” in the 1950s in the same sense that Claesson Koivisto Rune’s work was referred to as “minimal” in the 1990s. Among many things, this relates to their shared ability to create fine grids as patterns for us to look at, walk on, or wipe our mouths with. Just put Claesson Koivisto Rune’s cabinet Kilt for Asplund (2010), or any number of their carpets for various producers, next to Sampe’s carpet Kungsträdgården for Kasthall (1952) or her designs for Linnelinjen (1955) for Almedhals (both companies that Claesson Koivisto Rune later also worked with).
The most significant common feature is their international approach to the profession. In her time, Sampe was described as an “ambassador without a portfolio”. She left her mark on several official Swedish interiors abroad, working with architect Nils Ahrbom on the embassy in Tokyo, Japan (1959), and with architect Helge Zimdal on the embassy in Brasilia, Brazil (1975), to name a few. Sampe established friendships with international architects like Eero Saarinen and worked with companies such as Knoll International, Bigelow Carpets in USA, and Donald Brothers in the UK.
With architecture and design projects in over 26 countries on five different continents, Claesson Koivisto Rune has without a doubt become Sweden’s most international architecture and design firm, one of their latest accomplishments being the award winning Hotel K5 in Tokyo, Japan (2020). In their role as creative directors for companies like Swedese, Offecct and David Design, and advisors to the Stockholm Furniture Fair, they have also over the years introduced many significant international designers to a Swedish audience.
Against this background it is not hard to understand that Mårten, Eero, and Ola – unaware of the name of its designer – stopped to admire a carpet designed by Astrid Sampe that lay on the floor at Jackson Design. And it was this chance discovery that became the starting point and method for this exhibition. Based on appearance only – granted with one or two exceptions – Claesson Koivisto Rune has selected objects that they find intriguing and beautiful in shape, material or colour, and only afterwards found out who the originator is – which in most cases have been names they are very familiar with. Thus giving them and us as visitors and potential buyers, an opportunity to expand our knowledge on the work of well-known architects and designers. These objects are all found at Jackson Design which has traded in 20th century Scandinavian and international vintage furniture since its founding in 1981. This is a business, yes, but also a passion for craft, stories and beauty. They find furniture from the past, assert its provenance, and if needed make delicate restoration work like peeling off a coat of paint to reveal an original surface. For Sweden in particular, galleries like Jackson Design have become increasingly important because they do the work that we trust the large cultural institutions to do, but as it has turned out, do not have the resources for. It was thanks to Jackson Design that a rare screen and table designed by architect Uno Åhrén, made by Svenskt Tenn in 1928 for a private residence in Illinois, USA, found its way back to Sweden – and which
since 2021 can be enjoyed by the public at Nationalmuseum, Stockholm. And without the themed sales at Jackson Design, and in tandem with work by independent researchers and publishers, names like Anna Petrus and Axel Einar Hjorth would hardly be as known as they are today. It is altogether work which contributes to strengthening the value and perception of Swedish design in general, not only in Sweden, but also internationally.
The double-sided carpet by Astrid Sampe at Jackson Design is composed of six different blue squares and these have been a guiding parameter for Claesson Koivisto’s representation of the objects in this exhibition, as well as an influence on their selection of the actual objects. Hence, the blue colour sometimes frames the object, and sometimes the object frames the colour blue. In the novel The North Light (2019) by Japan’s master of suspense Hideo Yokoyama, its protagonist, the architect Minoru Aose visits his newly completed and celebrated Y Residence. On the second floor in the master bedroom he carefully leans back in an old wooden chair which may or may not be designed by the German architect Bruno Taut, who fled the nazis to live in Japan in the mid 1930s. The chair itself has been placed in the room by the owner of the house who for a living, deals in furniture, mostly Scandinavian. Sitting in the chair, Aose gets a perfect view of the blue sky through its north facing window and the beauty of the framed blueness seems overwhelming to him. This scene serves as a fitting allegory not only for the construct of this whole exhibition, but also because it is literally what Claesson Koivisto Rune has done, they have framed beauty for us – in blue.
Literature:
Astrid Sampe - Swedish Industrial Textiles, Nationalmuseum, 1984.
Gustaf Kjellin, Claesson Koivisto Rune - In Transit, Rizzoli New York, 2024.
Hideo Yokoyama, The North Light, Riverrun, 2023 (Shinchosha Publishing Co., Ltd, 2019).
Aiiro is a Japanese term that in English translates to indigo – a darker shade of blue that is one of the seven defined colours in the rainbow. In Japan aiiro is often used in the context of crafts, such as textiles.
‘This
perfectly balanced composition of blues is actually not random at all, but absolute symmetry mirrored.’
– Claesson Koivisto Rune
Produced by Kasthall circa 1950
Double-sided pile carpet, silk and wool.
‘An ingenious modular table from the master of lamp design.’
– Claesson Koivisto Rune
Poul Henningsen
Unique Dining Table
Produced by a Danish Cabinetmaker Circa 1930 Pine, lacquered beech.
Provenance:
Gifted by Poul Henningsen to his close friends Elias Bredsdorff and Marlie Brande in the 1930s. Hence by descent to their son, Jan Bredsdorff. Later gifted to his friend, Ghita Nørby, who passed it on to her son, Giacomo Campeotto.
‘The beauty of a piece of photo studio equipment. Or a satellite in orbit.’
– Claesson Koivisto Rune
Yrjö Kukkapuro
Adjustable Floor Lamp, model 100A
Produced by Haimi 1968
Aluminium, tubular steel and fibreglass. Made in a small edition.
‘Ingenious variation from just one part. Absolutely timeless.’
– Claesson Koivisto Rune
Poul Kjærholm
Modular Room Divider, model PK-111
Produced by PP-Møbler circa 1980
Black lacquered ash, in ten parts.
‘Swedish design with deep consideration of Danish cabinetmaking, flawlessly executed in Japan.’
– Jacksons
Claesson Koivisto Rune Unique ‘Hand’ Suite Produced by Sasimonukagu Takahashi, Japan 2019
Comprising a dining table, bench and a pair of stools. Handmade in chestnut wood by master cabinetmaker Yuji Takahashi, Hiroshima, Japan, using only hand tools. Due to the complicated nature of the design, no other sets will be produced.
Claesson Koivisto Rune Unique ‘Hand’ Suite
Produced by Sasimonukagu Takahashi, Japan
Initiated as a Japanese craftsperson – international designer collaboration to encourage innovative use of their various crafts. The final design pushed Takahashi and his carpentry team further technically as the cross-sections of each of the component parts are made so that they become progressively thinner towards their outer edges, resulting in an edge thickness of only a few millimetres.
This thinning of parts begins at the very centre of each part, meaning that all the furniture pieces lack any true, flat surfaces. All the surfaces are slightly convex. Even the tabletop’s upper surface has a very subtle camber, a quality not easily observed but more obviously felt through touch.
Furthermore, these convex surfaces meet along the outer edge of each component which in itself forms perimeter shape from a series of curves, devoid of straight lines. The sum of these choices presents a considerable challenge for hand tool production. However, the completed collection of furniture retains a particular tactility that is often lost in larger series production.
The collection was presented for the first time at Tokyo Craft Room, at Hamacho Hotel, during DesignArt Tokyo 2019.
Timo Sarpaneva
Large ‘Orchid’ Vase (model no. 3566)
Produced by Iittala circa 1950
Faceted and polished glass with steam-blown cavity.
Engraved ‘Timo Sarpaneva Iittala-3566’ to base.
‘Unexpectedly classicist from the sovereign of mid-century modernism. Same mastery.’
– Claesson Koivisto Rune
Hans J. Wegner
Rare ‘Crocodile’ Cabinet
Produced by Mikael Laursen circa 1950
Carved oak, dark stained feet, brass.
‘The fluidity of heated glass tightly frozen in a perfect time capsule.’
– Claesson Koivisto Rune
Timo Sarpaneva Vase
Produced by Iittala 1957 Blown glass.
Engraved ‘Timo Sarpaneva Iittala-57’ to base.
Gino Sarfatti
Table Lamp, model no. 607
Produced by Arteluce circa 1970
Painted metal.
‘The beautiful tension of imbalance, captured in suspense.’
– Claesson Koivisto Rune
‘Harsh and minimalistic. A favourite of all Windsor chairs.’
– Claesson Koivisto Rune
‘Another beautiful aspect of these door handles becomes apparent when you know that they should be mounted one above the other – the lower one for children to reach.’
– Claesson Koivisto Rune
Produced by Valaistustyö circa 1950
Naturally patinated brass.
‘A trickling drop of water from the ceiling.’
– Jacksons
Claesson Koivisto Rune Large ‘K5 Tokyo’ Lantern Produced by Time & Style, Japan 2020 Washi paper over bamboo.
‘Beautiful form. Beautiful function. Beautiful materiality. Beautiful pattern. Beautiful colours. Looks so easy, but isn’t.’
– Claesson Koivisto Rune
Stig Lindberg Stacking Tea and Coffee Pots circa 1950
Glazed earthenware with hand painted faience pattern, bamboo handles. Underside painted with Gustavsberg Studio hand, decorator’s cypher.
‘Even in this simple design hides the forceful expression of its designer.’
– Claesson Koivisto Rune
Erik Höglund Mirror
Produced by Eriksmålaglas circa 1960
Carved, painted pine, inner circles with deeply textured surfaces, mirrored glass.
‘Unexpectedly classicist from the sovereign of mid-century modernism. Same mastery.’
– Claesson Koivisto Rune
Dom Hans van der Laan Monastery of Vaals circa 1960
Galvanized steel, original painted pine, copper nails. The benches were produced by the Benedictine monks.
‘If you didn’t know it was Swedish, you’d bet it was Japanese Art Deco. Superbly sculptural.’
– Claesson Koivisto Rune
Produced by NK Nordiska Kompaniet
‘Japanese shoji screens in three dimensions, seen through Scandinavian eyes.’
– Claesson Koivisto Rune
Mogens Koch
Modular Bookshelves
Produced by Rud Rasmussen circa 1930 Oak. Paper label to the reverse.
‘A
change in the curvature anywhere – of even an increment of an angle – and the perfection would be lost.’
– Claesson Koivisto Rune
Berndt Friberg Group of Vases 1957 - 1976
Ceramic with hare’s fur glaze. Incised Friberg and Gustavsberg Studio hand mark.
Gustavsberg Studio, Berndt Friberg, 1960s, Gustavsberg, Sweden.
Image: Värmdö Kommun.
‘The wonderful result of precision metals paired with a petticoat.’
– Claesson Koivisto Rune
Paavo Tynell Floor Lamp
Produced by Taito Oy circa 1940
Original blue painted perforated metal shade, fabric diffuser, glass top, brass, leather wrapped stem.
‘Study the details and its design refinement will dawn on you.’
– Claesson Koivisto Rune
Aino Aalto Rare Side Table Produced by Artek circa 1930 Birch, profiled top.
‘Fine
carpentry as delicate as it gets.’
– Claesson Koivisto Rune
Kaare Klint
‘Propeller’ Stool with Tray Top
Produced by Rud Rasmussen circa 1960
Stained ash, leather.
Folding stool with matching tray top.
‘The supersizing takes the acorn into another dimension.’
– Jacksons
Claesson Koivisto Rune ‘Bellota’ Ceiling Lamp Produced by Made in Mimbre/ the Andes House, Chile 2013
Handmade by a Chilean agricultural collective of local artisans. In the foothills of the Andean mountains, where they have made wicker baskets and hats for centuries. The project was named Made in Mimbre as ‘mimbre’ means ‘wicker’ in Spanish.
‘A wonderfully uncompromising architectural product design. ’
– Claesson Koivisto Rune
John Lautner Floor Lamp 1965
Metal and enamelled metal.
Provenance: George D. Sturges, Los Angeles.
‘The perfect self-portrait by a designer who called himself a “Hindu-CatholicShaker-Japanese-American.’
– Claesson Koivisto Rune
George Nakashima ‘Conoid’ Chair
Produced by Nakashima Studio executed 1975-1978
American black walnut, hickory. Signed with client’s name to underside.
Provenance:
Acquired directly from the artist by Mr. & Mrs. Marshall Sahlins, Chicago.
Gerald Summers
Rare ‘Type P’ Chair 1934
Birch Plywood.
This is believed to be the only example of this chair to exist, though it is known that two were originally produced.
Provenance:
Private Collection, London; Decorative Arts, Christie’s, London, 16 February 1994, lot 74; The Fine Art Society, London; Private British Collection; Private Collection, London.
‘A figure and a character. Distinguished, elegant, friendly.’
– Claesson Koivisto Rune
‘Klot över Kon’ (Sphere over Cone) Sculpture circa 1960 Handblown glass.
‘Stanley Kubrick on your wall, a 21st century odyssey of lines.’
– Jacksons
Claesson Koivisto Rune ‘Hillside’ Wall Cabinet
Produced by Arflex, Italy 2009
Five part cabinet, painted wood. Originally designed for an uncompleted architecture project in 2007.
Hillside House
Claesson Koivisto Rune Private House, unbuilt Mataojo, Uruguay 2007
The magnificent scenery is the rough hills of Mataojo, about ten kilometres north of Punta del Este. Like a slice set into the elevation lines on a topographical map, the house stretches along a wide sector of the hill, following the terrain. From the main house to the guest wing is some 100 metres, separated by a pool and terrace but held together by a continuous roof and elaborated concrete retaining walls.
Sketch ‘American Foundation’ Desk, Arne Jacobsen, 1952.
‘A hovering dark cerulean blue volume under thinly-folded black planes, ever so lightly supported by the most delicate steel frame. Pure functionalistic poetry.’
– Claesson Koivisto Rune
Arne Jacobsen
‘American Foundation’ Desk
Produced by Rud Rasmussen 1952
Steel tubular frame, ‘shoes’ of black lacquered wood, top and moveable tray covered with original black leather, blue lacquered wood drawers.
Provenance: Friend of Arne Jacobsen.
‘A floating piece of impeccable proportioning.’
– Claesson Koivisto Rune
Timo Sarpaneva Bowl
Produced by Iittala 1958
Coloured glass bowl with polished edge. Signed Timo Sarpaneva Iittala 58.
‘Evoking springtime like a glacial river.’
– Claesson Koivisto Rune
Produced by Venini 1969
Mould-blown, internally decorated glass. Inscribed to base ‘Venini Pierre Cardin’, Venini decal to side.
‘As much an architectural structure as it is a lamp.’
– Claesson Koivisto Rune
Philip Johnson, Richard Kelly Floor Lamp
Produced by Edison Price 1967
Enameled bronze, enamelled aluminium.
Provenance: Millett House, Bristol, Rhode Island.
Claesson Koivisto Rune
‘Kin Urushi’ Tea-Light Holders
Produced by Sfera/Skultuna 2011
Five tea light holders. All with the same size, same material, but with different basic geometrical shapes. Like a sort of form font. Or close relatives. Kin.
In 2011, Kin Urushi – Tohoku Support Limited Edition, a variation of Kin, was developed in collaboration between architects Claesson Koivisto Rune, Skultuna – the Swedish brass manufacturer since 1607, Kyoto Keikou Nishimura Lacquer Art Studio and Kyoto design brand Sfera in support of those who were affected by the Tohoku region Pacific Coast earthquake. Urushi is a two thousand year old hand lacquering technique. It took the skilled master craftsmen in Kyoto one month to complete the 75 numbered Kin Urushi pieces – one week to carefully hand-finish and three weeks for the lacquer to dry. All of the Kin Urushi pieces were sold out two days after presenting in Tokyo on October 29th, 2011. All of the proceeds from the project went to disaster area support groups.
‘A serenity of handcraft, urushi lacquer, and the contrast of materials.’
–
Jacksons
Claesson Koivisto Rune ‘Kin Urushi’ Tea-Light Holders Produced by Sfera/Skultuna, Japan/ Sweden 2011 Urushi lacquer on brass. Produced by Sfera/Skultuna for Tohoku Support Limited Japan. Each individually inscribed with numbers 21-25. From an edition of 75 pieces.
‘Maximum expression from a minimum of material. There you have a motto for the future.’
– Claesson Koivisto Rune
Tapio Wirkkala ‘Rhythmic Veneer’ Table Produced by Asko circa 1950 Birch.
‘Dark nature romanticism meets pop brutalism.’
– Claesson Koivisto Rune
Galleri Örsta Claesson Koivisto Rune Art Gallery Kumla, Sweden 2010
Positioned on top of an artificial hill the base of the Galleri Örsta follows the hill’s topology. The resulting series of curves at the building’s base, combined with mirroring curves in the rooflines, makes the planar façades seem curved – a bit like ‘cinemascope’ screens.
The façades were painted white and, while still wet, three tons of special reflective glass beads were applied. The glass bead treatment, developed by artist Mikael Pauli, works in a similar way to the reflective component in zebra crossings.
‘A dense and weighty material designed with the lightness of a feather in mind.’
– Jacksons
Claesson Koivisto Rune ‘Gallery’ Coffee Table Produced by Marsotto Edizioni, Italy 2011
White Carrara marble, matt polished surface. Producer’s computer chip inserted in the marble to the underside.
‘The
answer for how to make a design robust, yet light.’
– Claesson Koivisto Rune
Attributed to Finn Juhl Bench
Produced by Niels Vodder circa 1950
Solid teak, original oiled surface.
Provenance: Professor Alf Ross.
‘With proportioning so wrong, it’s right.’
– Claesson Koivisto Rune
Provenance: Padua University, Padua, Italy.
‘Masterfully-proportioned pattern. Could have been an equally perfectly balanced skyscraper façade.’
– Claesson Koivisto Rune
Produced by Märta Måås-Fjetterström AB circa 1950
Hand flat woven wool on a linen warp.
‘A deep vertical pool of reflection for the senses.’
–
Jacksons
Claesson Koivisto Rune ‘Mercury’ Mirror
Produced by Boffi, Italy 2004
Metal, one inch thick rounded edge, mirrored glass.
Nils Lindberg
Group of ‘Tulip’ Vases
Produced by Orrefors
circa 1950
Hand blown glass.
‘The set of nesting tables of all nesting tables sets.’
– Claesson Koivisto Rune
Bruno Mathsson Six Tables Produced by Firma Karl Mathsson Circa 1960 Beech, oak, elm and birch.
‘The friendly, inviting design in an otherwise mostly austere chair typology.’
– Claesson Koivisto Rune
by
Koma
Claesson Koivisto Rune
Produced by Time & Style, Japan 2024
Koma is a Japanese term that in English translates to spinning top toy.
The Koma paper lamp’s idea stems from childhood memories of colourful spinning top toys. Set in motion by a quick twirl of the fingertips, the toy magically and mesmerizingly balances vertical on its sharp pointed tip.
Interestingly, spinning tops as old as 4.000 years have been archeologically unearthed on every continent on the planet, which tell the story of a human invention independently emerged in various cultures. A beautiful reminder of how much man has in common, regardless of origin.
‘2000 years of paper lantern making in Japan led right to this very moment.’
– Jacksons
Claesson Koivisto Rune ‘Koma’ Ceiling Lamp Produced by Time & Style, Japan 2024 Washi paper over bamboo, metal frame.
‘2000 years of paper lantern making in Japan led right to this very moment.’
– Jacksons
Claesson Koivisto Rune ‘Koma’ Table Lamp
Produced by Time & Style, Japan 2024
Handpainted washi paper over bamboo, metal frame.
