FREE MAGAZINE 2020
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A thing of beauty is a joy forever. John Keats
NEW SUSTAINABLE COLLECTION Warm Nordic celebrates the 100th birthday of the acknowledged architect Hans Olsen by launching a sustainable warm-hearted anniversary collection. The sustainable collection offers three original Hans Olsen designs – the Fried Egg, Gesture Chair, and Mr. Olsen – all which have been produced with FSC-certified wood, sustainable textiles from Kvadrat, and carefully selected colours with a light and modern expression.
Gesture Chair
Designed by Hans Olsen, 1957 DKK 4.499,-
warmnordic.com
Fried Egg Lounge Chair Designed by Hans Olsen, 1956 DKK 19.999,-
In Denmark exclusively available at Paustian, Warm Nordic stores and warmnordic.com
Ceramic Pendant
Ceramic Pendant allows you to illuminate directly or to an angle. Its shade sits freely to the cord, which makes it possible to angle left, right and rotate completely around. Narrow 695 kr
Wide 845 kr
ENTS
CON
14 STILL A WORK IN PROGRESS 18 TREATS 21 KVADRAT / RAF SIMONS 22 IN MEMORIAM INGO MAURER 24 CONTEMPORARY CLASSICS 26 OBJECTS OF DESIRE 28 HOMEWORK 30 ULTIMATE COMFORT IN AN ORGANIC FORM 32 PAINT IT BLACK 34 ATMOSPHERE 36 DININGMASTERS 38 HOMMAGE TO ICONS 40 EASTERN INFLUENCES 42 THE TRENDSPOTTER KIM GRENAA 48 MIDCENTURY MODERN 62 THE UNUSUAL SUSPECT 64 AN ICON TURNS 50 65 LAIDBACK LUXURY 66 WINE & DINE 68 THE WALL MOUNTED LIFESAVER 71 LA CHAISE 72 BACK TO NATURE 84 BAUHAUS AND THE BUDDHA 86 UN FIN(N)ISHED TIMO PENTILLÄ AND ANTTI TEVAJÄRVI 94 THE STREET ARTIST 108 THE CURATOR VIVIAN BOJE 112 STUDIO VISIT ANDREAS MURKUDIS
Eames Plastic Chair Design: Charles & Ray Eames, 1950 The Original is by Vitra
Go to www.vitra.com/find-vitra to find Vitra retail partners in your area.
The new CLA shooting brake. Play by your rules.
mercedes-benz.dk
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Mercedes CLA 200 shooting brake aut. Advantage. Combined fuel consumption 15,9 km/l. CO2 143 g/km. For further info please visit mercedes-benz.dk.
STILL A WORK IN PROGRESS 14
Welcome to the second issue. The first order of business is to thank you, for the warm welcome of Paustian Magazine 01 and for always backing our venture into uncharted territory. Most recently by voting our unique and ambitious retail universe, Paustian v/ Strøget as Copenhagen’s best store for design & fashion in 2019. Your continued support is the fuel that keeps the creative engine running as we continue to push, erase and (re)define the shape and form Paustian is able to assume. Also, we would like to thank you for the many interior design projects we have made for friends and partners. Due to this success, Paustian has now further increased our interior design service – headed by our very own “Curator”, the one and only Vivian Boye and our talented design teams in both Aarhus and Copenhagen. Please read more about Vivian in the Magazine – and see more about the Paustian Interior Design Service for both private homes corporations on the Paustian website. We usually refer to the sum of all this as pioneer-ship. And behind the term lies an implied obligation to always remain a work in progress, to stay ahead of the curve — if not shaping it all-together — and to never thread the hazardous waters of complacency. The latest result of our ongoing search for fresh perspective, a special collaboration with the London-based atelier Alex Eagle Studio on our beloved Arctander Chair from the Paustian Furniture Collection, is another bright example of the self-portrait we’re trying to paint; taking a timeless classic and rearranging it in a new setting as seen through the eyes of talented individuals and brands with a different point of view, but a shared appreciation of quality, innovation and curiosity in design. Another international cooperation we have at Paustian is in Berlin with Andreas Murkudis who is in love with the Paustian Modular Sofa - Paustian Modular Sofa - as he mentions in his interview on page 112. A retrospective look to the future if you will. Our long-time friends from Artek are leading by example with their second-hand platform 2nd Cycle. In addition to being a retail space for pre-loved items by Artek, Alvar Aalto and IImari Tapiovaara which have been sourced through flea markets, garage sales and facebook groups, Artek 2nd Cycle also doubles as an archive for originals, researching and preserving the rich history of Artek and Aalto’s vast legacy in modern design. For this issue, we travelled to Helsinki, Finland for a talk with the small team behind the concept about 2nd Cycle and the ideas behind the unique initiative that’s continuing to attract an increasing number of discerning customers, window-shoppers and Aalto-fans from all over the world to the Finnish capital. 2nd Cycle is also a concept showing the sustainability aspects of quality design. An aspect we at Paustian are working on in order to embrace and promote more with our friends and customers. It is time! This and much more inside our second issue. The Paustian magazine you hold in your hands is free, made especially for you to enjoy.
Frantz Longhi CEO, Paustian
ELEVATE THE EVERYDAY
Design: Jaime Hayon
Se hele kollektionen pĂĽ fritzhansen.com
IKEBANA VASE Smuk, funktionel og med plads til kreativitet. Fritz Hansens Ikebana vase gør huset til et hjem og giver indretningen personlighed.
Cover Photography Nicolaj Didriksen Styling / Creative Direction Johanna Christensen Model Maya Leroux
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Make-up & Hair Stine Rasmussen, A-Management Chair Wiggle Side Chair by Frank Gehry, 1972 VITRA DKK 6.850 Rug Moss by Kinnasand KVADRAT DKK 19.105 Shoes Pura LĂłpez (available at Paustian Lilletorv)
Published by Paustian A/S November 2019 Editor Johanna Christensen Art Director / Graphics Johanna Christensen Contributing Writer Daniel Alexander Fuglsang Ă˜stergaard Photographers Nicolaj Didriksen Marco van Ritj Nicky de Silva Ana Santl Johanna Christensen Proofreader Laura Chabal
Printed by CS Grafisk A/S Over Hadstenvej 84-86 DK-8370 Hadsten All Rights Reserved Reproduction without written permission from the publisher is strictly prohibited. For inquiries please contact paustian@paustian.dk All products and prices are subject to availability and price errors, including, but not limited to typographical errors.
KONAMI DESIGNER DAMIAN WILLIAMSON
Den engelskfødte Damian Williamson har designet sofaen Konami, hvor bløde og sensuelle former er smukt kombineret med den skandinaviske minimalisme. KONAMI udtrykker på smukkeste vis balancen mellem design, kunstneriske visioner og traditionsrigt håndværk. Sofaens sensuelle og organiske former indbyder til at nyde et hvil og opleve den enestående komfort. Sofaen leveres i flere størrelser. Det skulpturelle KUMO bord, som også er designet af Damian Williamson, leveres i sort aluminium eller messing.
ERIK JØRGENSEN
SHOWROOM
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TREATS
ILLUMINATE AS YOU FEEL LIKE MOEBE is a Copenhagen based design studio, creating products, furniture, and interiors. MOEBE design with a belief that good design can be sustainable. They don’t believe in single-use products, furniture that only suits a trend or quality that doesn’t last. Their products are created with modularity in mind, are componentbased and can be assembled, repaired and recycled with ease.
MOEBE doesn’t believe in singleuse products, furniture that only suits a trend or quality that doesn’t last.
STACK
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With the new CERAMIC PENDANT, MOEBE introduces a pendant lamp that allows you to illuminate directly or to an angle. Its shade, whilst circular at the base, is rectangular at the top and sits freely to the cord. This allows the shade to angle left, right and rotate completely around, changing its expression as you do so. The ceramic has been left unglazed, raw and been burnt at over 1100°C, creating a final surface that is matt and finetextured. The shade is handmade and therefore, every lamp slightly varies in shape, size, and colour, making each pendant unique. CERAMIC PENDANT is a two-piece series with a wide and a narrow version, giving the two pendants a distinctly different expression whilst maintaining identical functionality. Ceramic Pendant MOBE From DKK 695
Don’t underestimate the power of beautiful light and flowers in your home. The new Stack range from Warm Nordic combines both, containing an abundance of fascinating stories, which take shape as you stack and arrange the parts in a sensuous still life, using candles, flowers and delicate branches. The combination of various sizes and colours results in personal expression. Elegant tea lights and vases in beautifully coloured mouth-blown glass with an organic, playful look. The playful design is the creation of Studio Føy in Norway. The Stack candleholders and vases take their name from their functionality. The very act of stacking the individual elements is an essential part of the design. The colours hark back to the colour scheme of the 1950s with an authenticity and warmth that will grace any modern interior.
Stack WARM NORDIC Set of 3 DKK 499
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TREATS Miira Table Opal NUURA DKK 2.599 Miira 1 Opal NUURA DKK 2.399 Miira 1 Large NUURA DKK 2.999
Miira 13 Large NUURA DKK 49.999
The meaning of NUURA is light and honour. Nuura aims to create aesthetic and exclusive lighting which reflects the riches and joy found in Nordic nature. With the chandelier as a centre reference.
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The unique and Nordic lighting collection, Miira, is created in a simple and timeless design. The lamps complement each other, and each one helps create a unique Nordic feel. The Miira collection is designed with the chandelier at its centre and expands into a complete series of light. It can be used everywhere from private homes to large exclusive interior decorations. Miira means beautiful vision and is designed by the awarded Danish lighting designer, Sofie Refer.
The Lovers Backdrop Earrings POLAR JEWELRY DKK 1.850
Volcanic ash, mixed with porcelain and black stone clay
ker.
WHEN RENOWNED ICELANDIC CERAMIC ARTIST GUÐBJÖRG KÁRADÓTTIR STARTED EXPERIMENTING WITH VOLCANIC ASH AND MIXING IT WITH PORCELAIN AND BLACK STONE CLAY, IT LED TO HER NEW BRAND, KER. Káradóttir has beed working as a ceramicist in Iceland since 1994 and works with top restaurants in Reykjavik and the Claus Meyer restaurant Agern in New York, designing tableware and pendants. All the ceramics and stoneware are handthrown by Káradóttir herself. ker. is available in Paustian by Strøget.
Espresso cups KER. DKK 160
POLAR JEWELRY A LOVE FOR EXPERIMENTATION, AND FOR HARMONIOUSLY BLENDING DIFFERENT ELEMENTS, IS IN THE DNA OF POLAR JEWELRY. The two founders have combined their nontraditional creative background to create a unique hybrid aesthetic for their jewelry. Louise Kaiser studied Industrial & Product Design at Central St Martins and has worked in London for the past 7 years. Anne Sofie Fenneberg is an award-winning sculptor and artist. In 2017, she graduated with a Master’s from the Royal Danish Academy of Fine Arts. The application of their skills from these complementary crafts into jewelry making, ensures a product that is equally artistic, functional and distinctive.
KVADRAT / R A F
“I am interested in all the qualities that have an origin in fashion like bouclé, tweed and corduroy. Because of the density that is needed for furniture in order to make it last in the long run, it becomes even more interesting I think.” Raf Simons
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SI MONS Since their first collection in 2014, Kvadrat/Raf Simons have strived to push the limits of upholstery fabrics, using the designer’s unique aesthetic vision and Kvadrat’s unparalleled technical expertise. PHOTOGRAPHY MARCO VAN RIJT STYLING JOHANNA CHRISTENSEN
Simons’ knowledge of fashion, art, music, design and architecture have all played their part in the development of the textiles and accessories collection. The wide-ranging curiosity that informs Simons’ work as a fashion designer has influenced his work in developing these textiles for the interior, highlighting a discrete universe of elegantly
modulated colours and textures that invite combination. This season sees an evolution of the existing collection with further exploration of the microarchitecture of the textiles and yarns - a subject that has fascinated Raf Simons from the very beginning of his career. Delving into his background with clothing, he has continued to work with heavy structures made from natural fibers such as wool, cotton, linen and viscose, resulting in four new textiles: Atom, Phlox, Novus 1 and Novus 2. The Kvadrat/Raf Simons collection brings the acclaimed designer’s exceptional sense of style to the home. The collaboration between Kvadrat and Raf Simons is built on a mutual appreciation for fine craftsmanship. The collection is based on materials that both reflect Kvadrat’s commitment to quality, and Raf Simons’ refined elegance.
Lucellino INGO MAURER DKK 3.445
In memoriam
INGO MAURER 1932-2019
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Photography: Robert Fischer
Zettel’z INGO MAURER DKK 6.933
Bulb INGO MAURER DKK 10.675
The poet of light, as he is often described, has passed away at the age of 87. Maurer was known for his pioneering light designs, which can be found in the collections of the world’s most prestigious museums. Maurer’s fascination with technology led to lamps he made out of scribbled memos, tea strainers and incandescent bulbs with feathered wings. Ingo Maurer was born in 1932 and grew up in southern Germany, between the two world wars. He trained as a typographer in Munich before moving to the USA where he worked as a freelance graphic artist until 1963. As a designer, he took his inspiration from what he saw around him.
Don Quixote INGO MAURER DKK 5.295
“Light is a very flexible material where often we don’t even know if it exists or not. Research in a field like this never ends. As a designer I have always sought emotional satisfaction, above any other factor. That is the key to my work, but I live it as an intuition rather than a duty.” - Ingo Maurer
His first lamp, designed in 1966, was a large crystal bulb enclosing a smaller one. Called simply “Bulb”, it won praise from the designer Charles Eames and in 1968 became part of the Museum of Modern Art’s collection in New York. It made his career. Besides designing lamps, Maurer began to work on light installations for public or private spaces, from Munich Airport to a sushi bar designed by Shiro Kuramata in Tokyo. He created light installations at Westfriedhof subway station in Munich, and the renovation and lighting concept for Münchner Freiheit U-Bahn station, he even realised an installation for Issey Miyake’s fashion show in Paris in 1999. One of Paustian’s interior designers, Vivian Boye had the pleasure of spending time with Maurer last year. He was a big personality, a real character she recalls. He didn’t use a computer, only pen and paper. “The young people on my team can take care of the digital part,” he said while finishing his daily espresso with a splash of Fernet Branca. Boye asked what his favourite lamp was and after a long pause, he answered: “It has to be Don Quixote, a lamp I made in 1989. It combines a lot of different elements and techniques. It hasn’t been extremely successful commercially, but it’s one of the most daring lamps I’ve done. It represents my freedom.” A special exhibition, INGO MAURER INTIMATE. DESIGN OR WHAT? has just opened at the Pinakothek der Moderne in Munich and will run until 18.10.2020.
Flagship Stores
. COPENHAGEN .
COPENHAGEN AIRPORT
FOR STORE LOCATOR, VISIT
. PARIS . SINGAPORE . STOCKHOLM . SYDNEY . O L E L Y N G G A A R D . com
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OE QUASI
In partnership with Louis Poulsen, world-renowned Icelandic-Danish artist Olafur Eliasson has created a new, large-scale pendant. With the complex shapes of the OE Quasi, Eliasson combines his longtime interest in geometry and light, reinforcing his and Louis Poulsen’s shared idea that quality of lighting is essential to our lives. The complex geometric shape of the OE Quasi is perceived differently depending on where the observer stands, something that allows endless interpretations and perspectives. With its larger-than-life shape, the OE Quasi will brighten and visually interact with any space while creating smooth and glare-free light. The OE Quasi has been created with sustainability in mind, a core value of Eliasson’s work. The aluminium used is 90% recycled, while the other materials are entirely recyclable. Aiming for longevity, the design of the product enables replacement and recycling of parts.
“What distinguishes it from so many lamps is that it shines in towards the core, from which the light is reflected back out onto the surroundings. In one form, the lamp combines precision in design with quality atmospheric lighting.”
“I wanted to create a product that doesn’t produce any waste and that, like many of Louis Poulsen’s products, is something people will keep forever.” Olafur Eliasson
Olafur Eliasson 3
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CONTEM PORARY CLASSICS
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1. OE Quasi Light LOUIS POULSEN DKK 85.000 2. Panton tray GEORG JENSEN DKK 1.599 3. Plinth Collection MENU From DKK 8.995 4. Tuck Vase FERM LIVING DKK 1.599 5. LC3 Exemplaire Personnel, Limited Edition CASSINA DKK 59.100 6. The Star Earcrawler POLAR JEWELRY DKK 950 7. Clay Dining Table DESALTO From DKK 55.000 8. Trienna Table ARTEK From DKK 7.360 9. SOFT Plaid PAUSTIAN FURNITURE COLLECTION DKK 1.999
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Introducing
OE Quasi Light
Design to Shape Light
OE Quasi Light Design by Olafur Eliasson louispoulsen.com
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GWEILO
Gweilo is a new family of lighting that transforms the light source itself. Thin sheets of LED bulbs are carefully molded into a beautiful and dynamic sculpture. Each lamp is handsculpted by an artist in its hot plastic state, making every item unique, allowing for infinite possibility in the shape, size and detail of the finished object.
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HAVEN
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The Haven armchair is a contemporary chair with a simple, soft idiom. With its high, embracing back, the armchair creates a sanctuary, where you can sit, gently shielded off from your surroundings, curled up with a book or simply relaxing.
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Objects of Desire
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1. Silhouette WARM NORDIC DKK 3.999 2. Aalto Planters ARTEK From DKK 540 3. Gweilo Qin PARACHILNA DKK 10.920 4. 2R Nightstand PAUSTIAN FURNITURE COLLECTION DKK 5.560 5. Hand Wash 375ml, Sandalwood FRAMA DKK 260 6. Hand Lotion 375ml, Sandalwood FRAMA DKK 490.00 7. Haven Lounge Chair WARM NORDIC DKK 18.999 8. Distinct Coffee Table FERM LIVING DKK 9.999 9. Akari 1N VITRA DKK 2.300 10. Night Clock VITRA DKK 3.090
Designed by Paris-based brothers Ronan & Erwan Bouroullec, the Kaari Desk has a light, fluid outline that could have been drawn with a single stroke of the pen. Twin oak pillars are supported by the simple yet elegant steel band that characterises the Kaari collection – “Kaari” means “arch” in Finnish. Strikingly contemporary, this desk provides the ideal place to work and is suitable for both private and public spheres.
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1. Kaari Wall Shelf with desk ARTEK DKK 14.470 2. PH 4½-3½ LOUIS POULSEN DKK 20.495 3. Kaari Desk ARTEK From DKK 9.880 4. Aalto Screen 100 ARTEK DKK 17.920 5. Aalto Stool 60 ARTEK DKK 1.970 6. Calamo Desk ZANOTTA From DKK 14.630 7. Toolbox VITRA DKK 310 8. Compas Direction Desk VITRA DKK 19.200 9. Uten Silo I VITRA DKK 3.050 10. Shelving System MOEBE From DKK 3.980 11. MILO To Do Notepad NOTEM DKK 59 12. Spinal Chair PAUSTIAN FURNITURE COLLECTION From DKK 6.400 13. Aluminium Chair EA 118 VITRA From DKK 17.900 14. IC T1 FLOS DKK 3.350 15. Series 7 Swivel Armchair, fully upholstered, leather FRITZ HANSEN From DKK 13.795
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Fordi kedelig vin er den dyreste vin, der findes. God vin handler ikke om prisen, men om at oplevelsen skal overgå forventningen. Og det er uanset om du bestiller en enkelt flaske, en af vores unikke smagekasser eller en privat vinsmagning med en af vores erfarne vinkonsulenter. På noerkofod.dk finder du håndplukkede vine fra hele verden. Vin der bliver husket. Vin der giver en oplevelse. Ikke på grund af prisen. Heller ikke den fancy etiket. Men for det der er i flasken. Smager den godt? Vil den få maden til at smage bedre? Giver den lyst til at snakke? Spørgsmål vi stiller os, når vi smager på ny vin rundt om i verden.
Start vinoplevelsen på
noerkofod.dk
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HERRINGBONE VESSELS
The Herringbone Vessels by Raw-Edges are created by repeatedly immersing ceramic bowls, trays and vases in a coloured glaze. This process yields a pattern with an intrinsic logic, determined by the dipping angle as well as the shape and weight of the piece. As the dyeing process is performed entirely by hand, each bowl and vase in the Herringbone Collection is a unique object.
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1. SKY wine carafe GEORG JENSEN DKK 899 2. Herringbone Tray VITRA DKK 990 3. Petite Potence VITRA DKK 7.650 4. Aballs PARACHILNA DKK 6.715 5. Stack WARM NORDIC DKK 249 6. Masquerade Mirror WARM NORDIC DKK 1.499 7. Karuselli ARTEK From DKK 59.250 8. Karuselli Ottoman ARTEK From DKK 21.590
Ultimate comfort in an organic form Distinct in style and exceptionally comfortable, the Karuselli Lounge Chair exemplifies designer YrjÜ Kukkapuro’s interest in achieving ultimate comfort through a union of function, ergonomics, and organic form. Shaped to echo the human body, the inspiration for the Karuselli reportedly came about when the designer was playing outside making snow chairs with his daughter. In search of the perfect dimensions, Kukkapuro spent several years sculpting the chair, achieving the iconic form in 1964.
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1. 699 Superleggera CASSINA DKK 13.764 2. Drop Chair FRITZ HANSEN DKK 1.995 3. Gesture Chair with leather seat WARM NORDIC DKK 4.499 4. Eames Plastic Chair DSR VITRA From DKK 2.260 5. Noble Chair WARM NORDIC DKK 2.499 6. Lia ZANOTTA From DKK 6.970 7. Domus Chair ARTEK From DKK 6.206 8. Eames DCM VITRA From DKK 6.890 9. Standard Chair VITRA DKK 5.790 10. ASAP Chair PAUSTIAN FURNITURE COLLECTION DKK 3.280 11. Eames Fiberglass Side Chair DSW VITRA From DKK 6.060
MEDVIND ALTID Se mere på biomega.com
30 DAGES FULD RETURRET
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1. Spaltekanden SPRING COPENHAGEN DKK 749 2. Akari YP1 VITRA DKK 3.500 3. Triangolo Chair FRAMA DKK 4.500 4. Element Rug 200x300 cm KVADRAT DKK 13.800 5. 637 Utrecht CASSINA From DKK 32.320 6. Bell Coffee Table CLASSICON DKK 20.040 7. Ceramic Pendant MOEBE From DKK 695 8. Small Table 40 PAUSTIAN FURNITURE COLLECTION DKK 1.730 9. Shelving System MOEBE DKK 15.660 10. SOFT Plaid PAUSTIAN FURNITURE COLLECTION DKK 1.999 11. Caravaggio FRITZ HANSEN DKK 5.995 12. Be my Guest Bench WARM NORDIC DKK 6.999
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THINK GREEN SLEEP BLUE CHECK.
Selvfølgelig varer det længst. Hästens fremstiller håndlavede senge i verdensklasse. Dét, du mærker, når fjedersystemer, krølhår, uld, bomuld, hør og fyrretræ samarbejder, er rent faktisk frugten af næsten 170 års hårdt slid. For det er, hvad der skal til, for at skabe fundamentet for en bedre dag. Grønt er ikke en trend for os, men en bæredygtig virksomhedskultur - i fem generationer.
AMAGER FREDERIKSBERG HILLERØD KØBENHAVN CITY
Amager Strandvej 112, 2300 København tlf. 33 24 22 17 Gammel Konge Vej 90, 1850 Frederiksberg C, tlf. 33 24 22 17 Slotsgade 49, 3400 Hillerød, tlf. 36 72 00 40 Kr. Bernikows Gade 6, 1105 København k, tlf. 33 24 22 17
LYNGBY Nørgaardsvej 1, 2800 Lyngby, tlf. 36 72 00 40 ROSKILDE Skomagergade 25, st., 4000 Roskilde, tlf. 36 72 00 40 RØDOVRE Roskildevej 301, 2610 Rødovre, tlf. 36 72 00 40
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The Eames revolutionized chair production. From airports to offices, they came up with designs that were innovative and lent themselves to mass production. Using materials like metal and plywood, they created chairs that remain popular today.
Eames Wire Chair VITRA DKK 3.400
DININGMASTERS
Tulip Armless Chair KNOLL DKK 13.400
699 Superleggera CASSINA DKK 13.764
Eames Fibergralss DSW VITRA DKK 6.060
Chair 611 ARTEK DKK 5.100
Eames Fiberglas DSR VITRA DKK 4.960
The Drop FRITZ HANSEN DKK 1.995
Noble Chair WARM NORDIC DKK 2.999
Eames DCW VITRA DKK 11.900
Grand Prix FRITZ HANSEN DKK 4.155
Cow Horn Chair WARM NORDIC DKK 5.999
Softshell Chair VITRA From DKK 5.190
Atelier Chair ARTEK DKK 4.170
Thornet 209 THONET From DKK 7.850
Standard Chair VITRA DKK 5.790
Mogensen J39 Chair FREDERICIA FURNITURE DKK 4.327
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Gesture Chair WARM NORDIC DKK 3.499
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HOM MAGE TO ICONS
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PIERRE JEANNERET
Hommage à Pierre Jeanneret. This chair is one of the most recognisable in Chandigarh’s Capitol Complex in India, found throughout the offices of the Secretariat.
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Founded in 1643, Cire Trudon is the oldest candle manufacturer in the world and each votive is still dripped and made by hand.
The side supports positioned in an upside-down V shape are the distinctive features of this chair that make it so recognizable. The 051 chair has been a real Instagram darling and thanks to Cassina’s hommage, once more available for purchase. Cassina’s reissue offers the classic version in teak, and two further versions in natural and stained black oak.
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1. Book Mirror DEPADOVA DKK 10.580 2. VL Ring Crown 5 LOUIS POULSEN DKK 19.995 3. Showtime Earring MARIA BLACK DKK 1.900 4. Dainty Pouf WARM NORDIC DKK 2.999 5. Spiritus Sancti Scented Candle CIRE TRUDON DKK 549 6. 051 Capitol Complex Office Chair CASSINA DKK 16.835 7. Arctic Vase Large WARM NORDIC DKK 499 8. Paustian Modular Sofa, 3 Seater PAUSTIAN FURNITURE COLLECTION From DKK 25.185 9. VK3, Vibeke Klint NORDIC MODERN DKK 2.060
Welcome back
VL Ring Crown
Design to Shape Light
VL Ring Crown Design by Vilhelm Lauritzen louispoulsen.com
EASTERN INFLUENCES
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KOKESHI
Kokeshi originate from the northeastern region of Japan. Kokeshis have been crafted for more than 150 years as a toy for children. The figures are handmade from wood. The 11 traditional Kokeshi styles represent the signature design of the 11 different towns in the Northern parts of Japan where Kokeshis were made. Since the 1950s, Kokeshi artisans have signed their work. Today the Kokeshi is a sign of love and friendship.
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“Take your pleasure seriously.”
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Charles and Ray Eames
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COFFEE TABLE BOOKS 8
Paustian by Strøget has a great selection of lifestyle, fashion and cooking books.
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1. Vintage Kokeshi Medium BLOON DKK 999 2. Vintage Kokeshi Large BLOON DKK 1.499 3. Eames Lounge Chair VITRA DKK 52.470 4. Oblique Black MOOOI From DKK 13.180 5. Akari UF3-Q VITRA DKK 9.050 6. LC14 Tabourets CASSINA From DKK 6.138 7. JUNDO daybed MOTARASU DKK 27.000 8. The Noma Guide to Fermentation NEW MAGS DKK 299 9. The Touch NEW MAGS DKK 449 10. Ottolenghi Simple NEW MAGS DKK 299
T-SHIRTS, MADE BY NAME: TERESA
AG E : 5 0 Y R S
CIT Y: GUIMARÃES
“I started in this field 13 years ago as a necessity, but today I work with a purpose. Each customer has his own piece and we need to think about how it’s made. Sometimes the challenge is big, sometimes it’s small, and it’s all part of the job”.
SON OF A TAILOR
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The Trendspotter Style guru Kim Grenaa has been a regular fixture in the fashion industry for decades. With a degree as a Fashion Designer from Copenhagen Design School, Kim started his work back in the mid-’90s. Now he is the Editor-in-Chief, for DANSK Magazine, the CEO at Grenaa Creative, a full-service branding agency, with many high-profile clients. Furthermore, he is behind the sustainable networking event, Meet the Nordics during Copenhagen Fashion Week. It’s Grenaa’s job to know what you want, before you even know it yourself. Undoubtedly that talent comes from decades of experience and understanding of global trends and influences. You notice Grenaa’s energy and charisma as soon as he enters the room and it is clear that he doesn’t compromise when it comes to aesthetic and style, he is in total control, almost Tom Ford-ish even though the temperature outside was through the roof. We sat down with Kim to talk about the latest trends and inspirations, the future of design and the connection between interior and fashion. WORDS JOHANNA CHRISTENSEN PHOTOGRAPHY NICKY DE SILVA
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“The home is a part of our overall image, it defines who we are and what we are about, just like our clothing.”
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WHAT IS YOUR VISION? For each client and assignment, I am creating a unique universe that fits the brand. I always find inspiration in Danish Modern and I am so proud of our aesthetics and all our amazing designers. I get really good international feedback regarding this matter. WHAT SPARKS YOUR INSPIRATION? Everything inspires me and it translates into my work. Of course, I go to all the international Fashion week to see what is next. I also get quick fixes from social media and surfing the internet. But travels, art, film and theatre give me a deeper and more defined inspiration. Especially hotels give me new ideas, and I can’t wait to stay at Aman that will open next year in NYC. WHAT IS YOUR MOTIVATION? My job. I feel truly blessed that I am among the few who have been given the opportunity to follow my passion and I never get tired of it. I am a perfectionist, I always want to do better and be better, I turn that pressure into motivation and I never look at how others are doing, this is a competition with myself. Of course, I have bad days too, but when that happens, I put on my best outfit and it gets me through the day. WHAT DO YOU SEE AS THE CORRELATION BETWEEN INTERIOR AND FASHION? The connection between fashion and interior design has always been strong in our part of the world. Danes have always had a focus on their homes. It is our way of living. The home is a part of our overall image, it defines who we are and what we are about, just like our clothing. Talking about trends I see a lot of similarities in these two categories. I am quick to pick up on things, and I can spot what trends will be significant and what trends are only for one season. One of the most important trends now is new minimalism with focus on simple silhouettes, exclusive materials and because of the timeless spirit in this, it is a very sustainable trend. DESCRIBE YOUR INTERIOR STYLE? My taste in interiors hasn’t really changed much over the years. I like beautiful pieces, soft colours, textures and wood. I live in a retro villa designed by Danish architect Holger Tangaa in 1963 when we moved in it was perfectly preserved, it was like stepping into another era, and we plan to keep it that way. We have done some changes like a new kitchen; it is modern but chosen with respect for the style of the house. However, I found that I had to add lighter furniture, and a bit of 80’s vibe with chrome, glass and marble to my interior collection so it wouldn’t feel too much like grandma’s house. HOW DO YOU KNOW WHEN A PIECE OF FURNITURE IS JUST RIGHT? Gut feeling, furniture is often chosen from need while clothes are selected because of want. You move, and you need a bigger dining table, and you go look for it. Like I felt the need when I moved from my apartment into the house, I bought a few new pieces for their function but also their look. However, when I shop for a sofa, I go for comfort.
Carsten Höller, Six Sliding Doors Aman NYC
DO YOU COLLECT ART? I have a few pieces that I love but let’s say that I mostly look at art, I mean let’s face it can be so expensive and I don’t really feel the need to own it to enjoy it. I love going to museums like Louisiana, Arken and Copenhagen Contemporary, where I am looking forward to seeing Carsten Höller’s, Six Sliding Doors. WHAT DO YOU NEVER GET ENOUGH OF? There is always room for a fantastic chair, am I right? I have chairs all over the house, many of them I don’t even sit in. But they are there like a piece of art almost. WHAT ARE YOUR THOUGHTS ABOUT SUSTAINABILITY? I buy quality, items I want to keep. I also keep all my old clothes, put them away and then I go “shopping” in my garage when I feel the need for something “new”. I am by no means a big consumer. It is essential to be aware of your consumption, the key is to reduce the consumption, and reduce waste. WHAT IS NEXT? Right now I am working on an extension for our networking event Meet the Nordics which will take place in Paris during the next fashion week. Also, I am working on several campaigns and collaborations. But who knows, later on in life I might even open a hotel. I am open to ideas and opportunities that come my way. But right now, I feel fortunate and grateful for where I am today.
KIM’S FAVORITES
“There is always room for a fantastic chair”
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1. 413 Cab CASSINA DKK 16.975 2. Platner Side Chair KNOLL From DKK 23.600 3. Platner Dining Table KNOLL DKK 31.500 4. Akari 9A VITRA DKK 4.950 5. PK54 Table FRITZ HANSEN DKK 65.186 6. Fauteuil de Salon VITRA DKK 19.600 7. Barcelona Daybed KNOLL From DKK 108.100 8. Handmade Coffe Mugs KER. DKK 290
Fever-Tree begyndte i 2003 med et par kloge hoveder, der mødtes, og en enkelt forudsætning: ”Hvis 3/4 af din G&T er tonic, ville du så ikke vælge den bedste?” Ordene er Tim Warrillows, der sammen med Charles Rolls har skabt Fever-Tree. Og historien om de prisbelønnede Fever-Tree Mixers er netop også historien om en ukuelig stræben efter det bedste af det bedste. Det er historien om perfektion på flaske. Helt enkelt. Efter Tim & Charles i 2004 deltog i en skuffende tonicsmagning i USA, besluttede de at udvikle en mixer lavet på de bedste naturlige ingredienser fra hele verden. Det blev det første skridt imod Fever-Tree, der i dag står som fyrtårn for tonics i et hav af gin.
TIL VERDENS ENDE FOR DEN GODE, NATURLIGE SMAG Fra dag ét handlede det for Tim & Charles udelukkende om smag. De startede en 15 måneders smagsrejse til nogle af de fjerneste, smukkeste og nogle gange farligste egne i verden for at finde de ypperligste naturlige ingredienser. Den essentielle kinin, der giver tonic sin tørre bitterhed, fandt de i en plantage med de oprindelige febertræer i Congo. Den håndhøstede bark fra de ældgamle stammer producerer det reneste kinin i verden.
Foto taget af medstifter Tim. Udsigt fra kinin plantagerne i Demokratiske Republik Congo.
Ofte opdagede de sjældne råvarer hos små landmænd. For eksempel fandt de frem til et unikt håndpresset ekstrakt af bitre appelsiner fra små, specialiserede citrusfarmere på Yucatan-halvøen i Mexico. Udover Mexico og Congo henter Tim & Charles deres råvarer i blandt andet Nigeria, Indien, Italien, Frankrig og Madagaskar. Kun det bedste er godt nok, og landegrænser er ikke en hindring i jagten på den gode smag.
Tim sammen med landmænd i Congo hvor Fever-Tree høster kininen som er den primære ingrediens i alle deres tonics. Kininen er fra cinchona ledgeriana planten, den reneste kilde til kinin i verden og den selv samme kinin som er blevet brugt siden Fever-Tree lancerede vores første flaske tonic i 2005.
FRA HJERTET AF ENGLAND TIL DIT DRINK-GLAS De eksotiske, naturlige ingredienser kombineres i kildevand fra en kilde i det vestlige England, hvor FeverTree finder ro og hælder de berejste råvarer på flaske. Vandet tilsættes små perlende bobler og sødes med rørsukker, der giver en dyb sødme uden den bismag som kendes fra kunstige sødemidler. Den første Fever-Tree Tonic Water så dagens lys i 2005, 15 måneder efter Tim & Charles indledte deres rejse. I dag findes der er bredt sortiment af Fever-Tree Mixers lavet udelukkende med naturlige ingredienser. De er specielt udviklet til at fremhæve de øvrige smagsnuancer i din drink og har sat nye standarder for kategorien. Uanset din gin, eller anden type spiritus, er der en Fever-Tree mixer, der matcher. Fever-Trees rejse har været lang og kompliceret, men resultatet er helt enkelt: De bedste mixere i verden.
SKAGERRAK NORDIC DRY GIN & FEVER-TREE INDIAN TONIC WATER
LINIE AQUAVIT & FEVER-TREE GINGER ALE
FYLD ET GLAS med isterninger
FYLD ET GLAS med isterninger
TILSÆT 4 cl. Skagerak Nordic Dry Gin
TILSÆT 4 cl. Linie Aquavit
TOP OP med 150 ml. Fever-Tree Indian Tonic Water
TOP OP med 150 ml. Fever-Tree Ginger Ale
GARNÉR med citronskal, en kvist rosmarin og evt. lidt tørrede enebær
GARNÉR Garnér med en citronskive og evt. basilikumblade
MID CEN TURY MOD ERN PHOTOGRAPHY
NICOLAJ DIDRIKSEN MODEL
MAYA LEROUX
CREATIVE DIRECTION & STYLING
JOHANNA CHRISTENSEN MAKEUP & HAIR
STINE RASMUSSEN, A-MANAGEMENT
Arctander Chair by Philip Arctander, 1944 PAUSTIAN FURNITURE COLLECTION DKK 40.585 Coffee Table by Isamu Noguchi, 1944 VITRA DKK 23,600 Desk Sculptures KRISTINA DAM DKK 1.000 Scape Bowl FERM LIVING DKK 1.299
Domus Chair by Ilmari Tapiovaara, 1946 ARTEK From DKK 6.206
Domus Chair bay Ilmari Tapiovaara, 1946 ARTEK From DKK 6.206
Platner Side Chair by Warren Platner, 1966 VITRA From DKK 23.600 Rivet Box Table by Jonas Trampedach, 2014 FRAMA DKK 3.800 Layers Collection S NUDE DKK 825
Panton Tray by Verner Panton, 1988 GEORG JENSEN DKK 1.599 Object Cecile Manz Jar Earthenware Vase FRITZ HANSEN DKK 899 Layers Collection S NUDE DKK 825 Layers Collection L NUDE DKK 1.450 Troll Vase MENU DKK 450
Square 16, 3 Seater by Studio De Padova, 2004 / 2016 DE PADOVA As Shown DKK 92.080 Barcelona Table by Ludwig Mies van der Rohe, 1929 KNOLL DKK 18.100 Delta Stool by Jan Puylaert, 2018 ECOPIXEL DKK 1.199 Akari 10A by Isamu Noguchi, 1951 VITRA DKK 5.250
Be My Guest by Charlotte Høncke, 2017 WARM NORDIC DKK 6.999
Verpan for Prada by Verner Panton, Re-Edition of the Iconic 1960 Version VERPAN DKK 4.999
Paustian Modular Sofa by Erik Rasmussen, 1969, in Byron by Raf Simons for Kvadrat PAUSTIAN FURNITURE COLLECTION As Shown DKK 30.151 Platner Coffee Table by Warren Platner, 1966 KNOLL DKK 15.500 Panton Tray by Verner Panton, 1988 GEORG JENSEN DKK 1.599 Model 2065 by Gino Sarfatti, 1950 ASTEP DKK 8.150
Wheel by Nils Juul Eilersen EILERSEN DKK 9.951 Thyra Earring MARIA BLACK DKK 1.400
Serie 7 Office Chair in Essential Leather by Arne Jacobsen, 1955 FRITZ HANSEN DKK 17.615
Wiggle Side Chair by Frank Gehry, 1972 VITRA DKK 6.850 Gweilo Qin by Partisans, 2016 PARACHILNA DKK 10.920 Moss by Kinnasand KVADRAT DKK 19.105
Cape Sofa by Charlotte Høncke, 2017 WARM NORDIC DKK 19.999 Saarinen Side Table by Eero Saarinen, 1957 KNOLL DKK 10.200 Eames Elephant (Plywood) by Charles & Ray Eames, 1945 VITRA DKK 10.800 STOFF Nagel Candle Holder in Brass by Werner Stoff, 1960 STOFF NAGEL As shown DKK 1.069 Zebra Cushion Cover by Aino Aalto, 1936 ARTEK DKK 1.050 Leather Pillow RECYCLE DEAD STOCK DKK 800
Panton Chrome Limited Edition by Verner Panton 2018 VITRA DKK 15.100
The
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Suspect Hans Olsen might be the best-kept secret from the golden age of Danish design. With the assistance of the emerging design brand, Warm Nordic, Olsen and his foresighted body of work are back post-mortem to prove that Danish mid-century furniture is more than just Juhl, Wegner & Jacobsen. WORDS
DANIEL ALEXANDER FUGLSANG Ă˜STERGAARD
Fried Egg Lounge Chair by Hans Olsen, 1956 WARM NORDIC As Shown DKK 19.999 Mr. Olsen Lounge Chair by Hans Olsen, 1958 WARM NORDIC As Shown DKK 14.999 Gesture Chair by Hans Olsen, 1957 WARM NORDIC As Shown DKK 4.499
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In theory, there’s little to separate Hans Olsen from his internationally acclaimed compatriots. Like Arne Jacobsen, he studied under the guidance of Kaare Klint, the godfather of modern Danish design. And like Hans J. Wegner and Finn Juhl, he extended and challenged the perception of modern furniture with teak and other dark wood types as the primary material. But theory doesn’t always translate into practice, and the reality surrounding Hans Olsen is that you’ve probably never heard of him, nor seen his under-exposed and under-appreciated designs. It’s essentially anyone’s guess why he never reached the same level of recognition as his illustrious peers. Still, his visionary style is indisputable and — at the turn of his wouldbe 100th birthday — the world is slowly but surely beginning to appreciate Hans Olsen. As a celebratory gesture, Danish design brand Warm Nordic recently launched a small range of Olsen’s modern masterpieces set in a contemporary and sustainable context, further underlining the fact that it’s high time to get familiar with Danish Modern’s odd man out. After graduating from the Royal Danish Academy of Arts, Hans Olsen continued along the experimental path, moving away from the more traditional take on modernism taught by Kaare Klint at the Academy, though he never abandoned Klint’s meticulous focus of the craft. He always kept an idealistic approach to design and continuously objected to the budding idea of furniture being fashion and vice versa and insisted that excellent craftsmanship and solid materials
should never be considered neither in or out of style. The post-war years also saw rapid advances in industrial technology which allowed him to further experiment with moulded and laminated plywood early in his career, brilliantly displayed in his impressive chair, The Bikini (1968). A futuristic lounge chair that still has a corresponding look and feel, and is a poster chair for his avant-garde, foresighted body of work. Perhaps the most eye-catching characteristic of his humorous, almost gimmicky style is the varying nature of his characteristic furniture, both in shape and functionality. Besides the Bikini Chair, notable designs such as the timeless Gesture dining chair (1957), the organic Fried Egg lounge chair (1956) and the industrial Balloon lounge chair (1955) all represent a different take on mid-century modern furniture design and is proof of his dynamic style and rare ability to stray from the comfort of familiarity and resemble Wegner one year and Juhl the next, all while remaining completely unique. In 2018 a carefully curated selection of Hans Olsen’s eyecatching designs from the 1950s & 60s was brought out of the shadows and back into production by the estate of Hans Olsen and Warm Nordic, finally shining the spotlight on one of Danish Moderns unsung heroes. The limited jubilee collection, celebrating a handful of Olsen’s most prominent chairs, is dressed in colourful upholstery and textiles from Kvadrat, continuing the spirit of his uncompromised principles on comfort, functionality and aesthetics.
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Paustian Modular Sofa by Erik Rasmussen, 1969, in Horse Cloth Textile PAUSTIAN FURNITURE COLLECTION As shown DKK 39.000
AN IC ON
PHOTOGRAPHY
MARCO VAN RIJT
IN 1969 A NEW DESIGN CLASSIC WAS BORN. THE PAUSTIAN MODULAR SOFA, DESIGNED BY ERIK RASMUSSEN, KNOWN FOR HIS VISUAL EXPRESSION AND GRAPHIC - ALMOST SCULPTURAL - FOCUS ON FORM. THE SOFA HAS REMAINED POPULAR EVER SINCE DUE TO ITS UNIQUE ABILITY TO ALTER ITS EXPRESSION DEPENDING ON MODULE COMBINATION AND UPHOLSTERING. The inspiration for the iconic modular sofa was the classic checked pattern of the traditional horse market blankets that Ole Paustian began to use for decor and furniture upholsteries back in the 1960s. Ole Paustian wished to create a piece of furniture emphasizing the subtle pattern of the Horse Cloth Textile, whose robust twill construction made it ideal for furniture, carpets, pillows and even floors. Inspired by the curved form of the horse’s back, Erik Rasmussen created the characteristic round shape of the seat and back of the modular sofa. A modest advertisement on the back of the Danish daily paper ‘Extra Bladet’ made Paustian a name to be noticed outside the furniture industry. ‘Horse blanket’ fabric in garnetted wool priced at 22 DKK per meter was challenging to match. In just one year more than 10 miles of horse cloth fabric was used for production and the weaver Kim Naver was asked to combine the tradition Tattersall checks with strokes in brown, olive and blue. To celebrate the anniversary, the Paustian Modular Sofa is yet again available in the original horse cloth checked pattern.
LAIDBACK LUXURY
Suita Sofa Series by Antonio Citterio, 2010/2019 VITRA From DKK 33.700
Cape Sofa 3 seater by Charlotte Høncke, 2017 WARM NORDIC From DKK 19.999
Grand Sofa Series by Antonio Citterio 2017 VITRA From DKK 46.400
William Sofa Series by Damian Williamson 2015 ZANOTTA As shown DKK 85.785
Outline Sofa Series 3 seater by Theresa Rand, 2018 PAUSTIAN FURNITURE COLLECTION From DKK 31.200
Konami Sofa Series 3 seater by Damian Williamson, 2019 ERIK JØRGENSEN From DKK 44.321
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Polder Compact by Hella Jongerius, 2015 VITRA From DKK 46.600
Bowy Sofa Series by Patricia Urquiola, 2018 CASSINA As shown DKK 88.861
Galore Sofa Series 3 seater by Rikke Frost, 2017 WARM NORDIC From DKK 19.999
249 11 Volage EX-S by Philippe Starck, 2016 CASSINA As shown From DKK 60.822
Delphi Sofa Series 3 seater by Hannes Wettstein, 2007 ERIK JØRGENSEN From DKK 56.066
Lissoni Sofa Series by Piero Lissoni, 2008 FRITZ HANSEN In leather from DKK 67.601
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THE WALL MOUN TED LIFE SAVER WORDS
DANIEL ALEXANDER FUGLSANG ØSTERGAARD PHOTOGRAPHY
MARCO VAN RIJT
IS
ONE
THING
THAN BETTER
ANOTHER?
A small study on form, function and the legacy of the trailblazing Eames leg splint. It’s impossible to understate both the magni- and multitude of Charles & Ray Eames and the duos iconic contributions to modern design. A prolific body of work often highlighted by the equally iconic LCW, or Eames Lounge Chair Wood (1940); an organically shaped two-piece lounge chair in moulded plywood dubbed the greatest design of the 20th century by Times Magazine and a case study into the Eameses distinct functional yet playful aesthetic. However, the LCW — and many of their timeless designs — can essentially be traced back to the less-known, quirky looking Eames leg splint — a piece of military equipment commissioned by the U.S. Navy in 1943 during World War II. First a lifesaver, next an industrial benchmark and now a highly coveted obscure sculpture admired for its aesthetic and historic qualities alone. An impressive trifecta for an elongated, perforated piece of moulded plywood.
DSW by Charles & Ray Eames, 1946 VITRA DKK 19.999
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Revolutionary winds are blowing across the globe in the years surrounding the turn of the 20th century. Riding the coattail of the industrial revolution with its new-age technology, materials and vast social transformation is an unstoppable tornado of radical yet rational ideas, especially evident within the fields of design and architecture. United under the echoing war-cry that form should follow function, — a phrase first coined by American architect and de facto father of modernism, Louis Sullivan in 1896 and emphasized by second-wave modernist pioneers such as Frank Lloyd Wright, Le Corbusier, Alvar Aalto, Ludwig Mies van der Rohe and the Bauhauslers in Germany — the steam-powered arrival of the transcending modernist movement essentially illustrated the showdown between the new and the established. Between technology and traditionalism, rationality and feeling, simplicity and ornamentation en route to becoming the defining style of the new century. It’s epitomized by the general principle that good design equals usefulness — how well an object performs its function and solves a problem — as opposed to the form-first romantic, retrospective and spiritual idiom of days passed. A generational breakaway dogmatically described by the Austrian architect Adolf Loos in his essay Ornament & Crime (1908), an eventual manifesto for the modernist movement moving forward; “I will not subscribe to the argument that ornament increases the pleasure of life of a cultivated person. If I want to eat a piece of gingerbread, I will choose one that is completely plain and not a piece which represents a baby in the arms of a horserider, a piece which is covered over and over with decoration “. The modern pioneers meant business.
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Eventually and inevitably the strict anatomy of early modernism and the defiant ‘form follows function’axiom morphed into something less rigid, more holistic at the hand of 2. generation modernist. Frank Lloyd Wright rebranded it as “form and function are one”, Alvar Aalto insisted that “form must-have content” and Charles & Ray Eames asked “does it solve a problem?”, “is it serviceable?” and “how is it going to look in 10 years?” as modernism as a style and philosophical movement fast became a yardstick for ‘good design’ during the first half of the 20th century. And to this day still. Defined not necessarily by what it is, but rather what it is not, modernism and its pioneers successfully predicted and dictated how people were going to live in a modern world, breaking down the gaps, both in society and between high and low culture, on path to a new mass-produced world order build for the many, not the few. An attitude towards design visibly shared by the Eameses and on crystal clear display in their career-defining holy grail: The solution on how to improve and scale the affordable technique of bending and fixating thin sheets of plywood veneer into organic, three-dimensional shapes first showcased in a modern context by Alvar Aalto on his iconic Paimio Chair made for the equally famous Paimio Sanatorium in 1932. The duos first commercial breakthrough in the discipline of moulding plywood was the singleshell ‘Organic Chair’ (the first of many iterations of the famous LCW). The prototypical lounge chair — designed in collaboration with friend and fellowshipcolleague at the Cranbrook Academy in Michigan, Finnish superstar architect Eero Saarinen — placed first in the’ seating’ category at the 1940 “Organic Design in Home Furnishings” competition held by the Museum of Modern Art in New York and essentially convinced Charles & Ray Eames to move to the booming West Coast in pursuit of pioneering and perfecting the technique behind. Working day and night from the spare bedroom turned makeshift workshop of their West Los Angeles apartment, the Eameses’ early experiments, most noticeably, resulted in the invention of a crude machine made out of bicycle pumps, curved plaster moulds and rubber balloons inside a small wooden box, powered by stolen electricity from nearby utility poles. The ingenious and revolutionary device was aptly named the Kazam! Machine for its magic-like abilities to twist, turn and manipulate wood. By 1942 America is a nation at war. In the matter of only months, millions of able-bodied boys and men are being shuttled across the Pacific and the Atlantic Ocean, representing a seismic shift in the way of American life towards consciousness and rationality. This new focus, along with a scarcity of industrial materials, also put the brakes on the Eameses ambition to mass-produce and publicly launch the Organic Chair. On January 8th, 1948, Eliot Noyes, Director of Industrial Design at the Museum of Modern Art, wrote to Charles Eames voicing his frustration about the situation, saying “the whole project seems to be dribbling off into nothing because of war priority pressure; no more rubber, no more plywood”. True to the old saying that whenever one door closes another opens, the American involvement in World War II — odious as it may sound — turned out to be the perfect silver-lining playground for the ambitious couple to further expand on and refine the technique of moulding plywood. Shortly into the American war-efforts, medical officers at the front reported an urgent need for an updated emergency transport splint to support wounded soldiers with lower-body injuries as the metal leg splints in use caused further trauma. The main problem with the current splint was the amplified vibrations from the metal, but also the logistic nightmare embedded in the heavy
material and the sheer volume needed to support the rapidly growing demand as the war intensified. Back home on American soil, the U.S. Government — in dire need of a quick turnaround — pegged the selfproclaimed problem solvers and plywood-pioneers, Charles & Ray Eames with the task of reinventing the standard military-issue leg brace. In large part due to their relatively proven track record with this cuttingedge production method through extensive trial & errors on their homemade’ production facility’. A task right up the utilitarian Eames-alley. In retrospect, the brief was relatively simple. During the span of four years, 16 million American soldiers went to serve on Pacific, African and European battlefields with the collective casualties surpassing one million. The cost of the American involvement in the World War II amounted to $341 billion ($4,5 trillion in today’s money), equivalent to 74% of the country’s Gross Domestic Product at the time. To support and transport wounded soldiers, there was a pressing need for new and improved military medical equipment, including a leg splint with qualities matching the challenges of an operation of a scale never before seen in American history. The U.S. Navy took delivery on the first prototype of the moulded plywood Eames Leg Splint in the summer of 1942. The finished version - an organically curved splint, shaped after the human leg with symmetrical holes for the bandages strategicallyplaced to allow flexibility in the wooden frame - not only fit the mold of military requirements, but also the emerging modus operandi of the Eames-ian approach to design where beauty is measured first and foremost in the problem-solving abilities. The Eames Leg Splint proved vastly superior from a medical point of view, but its lightweight design and stackable shape also made it much easier to transport all while being easy and inexpensive to produce in large quantities. The patriotic act of the army-issued leg splint essentially went on to serve as a template for the Eameses playful furniture design, both in terms of shape and production, but especially in terms of attitude. At the conclusion of World War II, more than 150.000 units of the Eames Leg Splint had been produced. From the Eames Office Website: “They started the process by placing a sheet of veneer into the Kazam! Machine mould and then they added a layer of glue on top of it. They repeated this process five to eleven times. Then, they used a bicycle pump to inflate a rubber balloon after the machine had been clamped shut, and the balloon pushed the wood against the form. Once the glue was set, Charles and Ray released the pressure and removed the seat from the mould, ‘ala Kazam!—like magic.’ (Hence the name). Finally, they used a handsaw to obtain the finished shape and hand-sanded the edges to make them smooth.” The stripped-down utilitarianism of the Second World War and the following years, combined with the resources and production facilities available through the U.S. Government allowed Charles & Ray Eames to gain invaluable insights on how to diagnose, troubleshoot and solve a particular design problem and successfully navigate within the constraints of this idiosyncrasy. Abilities that were evident throughout their entire design practice. Today the Eames leg splint is considered a collector’s item, and at this moment there’s a total of five-leg splints for sale on the American eBay. The cheapest one, a scratched example, is priced at 675$ with some vintage dealers selling for as much as 2500$. Quite the contrast to the 1$ sticker price back in 1942.
“They started the process by placing a sheet of veneer into the Kazam!”
LA CHAISE
“ Charles and Ray changed everything. It was the first time that designers infused everyday objects with emotion. Suddenly common objects were able to communicate feelings. This because they were designed with feelings. Charles and Ray were a good balance of idiosyncrasy and rationality. It is hard to find this emotion today as economics and the unmanageability of inspiration force most things to be merely logical. An Eames LA CHAISE exudes as much feeling of life and wholeness as a living, breathing thing. Is it alive? It can be lived with, seen every day, change and evolve, and slowly reveal its beauty. Like a lover. And it’s a chair. ” Tibor Kalman
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La Chaise by Charles & Ray Eames, 1948 VITRA DKK 63.200
BACK TO PHOTOGRAPHY
MARCO VAN RIJT
CREATIVE DIRECTION & STYLING
JOHANNA CHRISTENSEN
699 Superleggera, Lacquered Black by Gio Ponti, 1957 CASSINA DKK 14.880 699 Superleggera, Ash by Gio Ponti, 1957 CASSINA DKK 13.764
SOFT Plaid by Helene Blanche, 2018 PAUSTIAN FURNITURE COLLECTION DKK 1.999
Masquerade Mirror by Sebastian Alberdi, 2017 WARM NORDIC DKK 1.999
Masquerade Mirror by Sebastian Alberdi, 2017 WARM NORDIC DKK 1.499
Superloon by Jasper Morrison, 2015 FLOS DKK 35.000
Arctander Chair by Philip Arctander, 1944 PAUSTIAN FURNITURE COLLECTION DKK 17.420
Paustian Modular Sofa by Erik Rasmussen, 1969, in Horse Cloth Textile PAUSTIAN FURNITURE COLLECTION As Shown DKK 39.000
Mirror Long by Studio Roso FRITZ HANSEN DKK 6.250
523 Tabouret Méribel by Charlotte Perriand, 1953 CASSINA DKK 6.091
by Gudbjorg Karadottir, 2018 KER. DKK 900 by Gudbjorg Karadottir, 2019 KER. DKK 1.000
Bellhop by Edward Barber & Jay Osgerby, 2018 FLOS DKK
Arctic Vase by Gunnar Cyrén, 1968 WARM NORDIC DKK 499
Gesture Chair by Hans Olsen, 1957 WARM NORDIC From DKK 2.999
Fried Egg by Hans Olsen, 1956 WARM NORDIC DKK 29.999
Rug VK-1 140 x 215 cm by Vibeke Klint NORDIC MODERN DKK 7.940
Ensemble Side Table Small by Theresa Rand, 2018, PAUSTIAN FURNITURE COLLECTION DKK 5.175 Ensemble Side Table Medium by Theresa Rand, 2018, PAUSTIAN FURNITURE COLLECTION DKK 7.175
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Theory of Colour
Theory of Form
Carricature of Paul Klee by student Ernst Kallai
Class is in session.
STUDY OF A HIGHER ORGANISM “For the artist, dialogue with nature remains a conditio sine qua non. (a necessary condition) The artist is a man, himself nature and a part of nature in natural space. But the ways that he pursues both in his production and in the related study of nature may vary, both in number and in kind, according to his view on his own position in this natural space”.
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COSMOS - CHAOS “Chaos as an antithesis is not complete and utter chaos, but a locally determined concept relating to the concept of the cosmos. Utter chaos can never be put on a scale, but will remain forever unweighable and unmeasurable.”
It almost feels unjust to single out individuals from the extraordinary line-up, but according to student accounts, the ambidextrous and omniscient Swiss master Paul Klee always seemed one step closer to Bauhausian nirvana, earning him the godly moniker ‘Bauhaus Buddha’ among peers and pupils due to his pleasant and profound nature. Klee, who is first and foremost universally recognized for his expressionistic and cubistic talents on a canvas, served as an integral part of the Bauhaus staff through the better part of the school’s existence where he held an array of classes and workshops, ranging from mural painting, stained glassmaking, bookbinding and, most famously, ‘Color and Form Theory’. During his 10 year stint as one of the most prominent figures at the Bauhaus, Klee compiled an extensive collection of notebooks and lecture scripts of more than 4.000 pages, documenting a rare and thorough theoretic approach to the abstract subject of arts and providing a rare peek inside the machine room of the eclectic Bauhaus movement through one of its most prominent teachers. Paul Klee’s classes on colour and form theory served as an essential part of the preliminary course — a basic training program mandatory for all aspiring Bauhauslers — and was essentially the introduction to the unique spirit and artistic scope of the Bauhaus’ principles of design. Together with other art-history immortals like color pioneer and fellow Swiss, Johannes Itten and prolific German square-painter, Josef Albers, Klee oversaw the students’ adaptability to the schools unprecedented Modus Operandi across nine different classes on color and form in a philosophical context, often referencing the thoughts of one of his idols, Johann Wolfgang von Goethe and his studies of man and his evolving and complicated relationship with nature.
THE CANON OF COLOUR TOTALITY Every colour starts ever so gently from its zero, that is its neighbours’ peak, rises to its own peak, and from there descends again slowly to its zero, that is the next neighbours’ peak.
PRIMARY, SECONDARY AND TERTIARY COLORS I: Primary Colors II: Secondary Colors III: Tertiary Colors
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DANIEL ALEXANDER FUGLSANG ØSTERGAARD PHOTOGRAPHY BY
NICOLAJ DIDRIKSEN
When Artek introduced 2nd Cycle at the 2007 Salone del Mobile in Milano, they did so without a blueprint, but rather with a vague vision, perfect timing and even better intentions. Today — 12 years on — the idiosyncratic industry-darling and poster-child for conscious and sustainable consumption continues to push the holistic envelope in a fast and furious design-world, reclaiming and reincarnating Artek’s vast legacy one pre-owned stool at a time. One man’s trash is still another man’s treasure…
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A stack of painted stools inside the 2nd Cycle Showroom.
The 60 Stool — as it’s officially named — stands as the ultimate symbol of Aalto’s uncomplicated design philosophy.
An original 1940s example of the iconic Armchair 400 also know as The Tank. Behind, a rare screen in yellow.
HELSINKI, FINLAND — The seemingly endless rows of Alvar Aalto’s instantly recognizable and universally loved threelegged stool headlines the perfect mess of modern icons on show inside Artek 2nd Cycle. Too many to count and in all colours of the rainbow, they’re neatly stacked from floor to ceiling in spiralling sculpture-like towers, acting as familiar beacons across the humble but vibrantly chaotic showroom floor. Most of them appear in weathered and rugged shape, the paint chipped and the wood cracked, others have been creatively altered throughout the years by past owners of all ages, but they all share a common fate. They’ve returned back ‘home’ to Artek from all corners of the globe to be sold once more. This time under the 2nd Cycle banner and in all their stained, scratched and faded glory, some early (and ultra-rare) examples dating as far back as the 1930s.
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Since Aalto first introduced the threelegged icon in 1933, several million units have passed through the hands and halls at Artek’s historic A-factory in Turku, Finland. Rumours suggest as many as eight (million). Still, according to Timo Pentillä — one half of the stoic, slightly nerdy duo in charge of Artek 2nd Cycle — the actual number is more likely somewhere between one and a half and two million. And still counting. Supremely practical, painfully simple and evidently everlasting, the 60 Stool — as it’s officially named — stands as the ultimate symbol of Aalto’s uncomplicated design philosophy and a cultural point of reference that embodies the spirit of Artek 2nd Cycle; to “showcase the longevity of Artek furniture and promote conscious consumption”. The other half and Artek-veteran, Antti Tevajärvi, has been a part of the 2nd Cycle initiative since former CEO of Artek, Mirkku Kullberg came up with the idea of buying back old stock in 2005. (Timo joined in 2007) At the time Kullberg and other Artekians had noticed a general depreciation of the vast amounts of vintage Artek & Aalto furniture circulation, resulting in bargain prices and little competition on the second-hand market. Out of sentiment and without a masterplan, she tasked a team of in-house Artek & Aalto experts, including Antti, with the mission of hunting down old items across Finland & Sweden, found everywhere from garage sales and flea-markets to kindergartens, schools, hospitals and even shipyards.
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“When we first started buying back old items it wasn’t to sell, but rather to collect and show old layers of Artek and Aalto”, Antti recalls from the early days. “We took our time to figure out the concept of what’s now Artek 2nd Cycle and didn’t rush into commerciality. When we finally had the blueprint, we had some truly unique pieces in stock. Timo elaborates. “Also I’m not sure the audience was quite there in 2005. When we first showcased these vintage pieces under the 2nd Cycle name in 2007, it coincided with the growing interest in minimalistic Scandinavian design and lifestyle. The timing was absolutely key back then.” In 2005 and the following years, the market for old and unwanted Artek & Aalto seemed to be an inexhaustible well — largely in part to the very democratic production numbers from 1960 and upwards. But the two have witnessed first hand how the public perception for these vintage versions have shifted seismically throughout the last decade. “Back when we started, there was no appreciation for old, modified Artek products. If a chair had been repainted in the 60s or 70s there was little to no interest from vintage dealers, and most sellers were frankly surprised that we wanted to buy them,” Timo says. “We would often find ultra-rare originals for next to nothing and rarely paid more than 50€ for anything”. According to Antti, people are now taking notice and doing research when stumbling across the familiar designs, in part because of 2nd Cycle’s ambition to promote and showcase the beauty and value of these items, making it harder and harder to acquire new stock.
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The Pirkka Lounge Chair by Ilmari Tapiovaara in front of a caricature of Alvar Aalto.
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“Nowadays we’re hardly able to find old originals at flea markets anymore, unlike ten years ago. People know the value and collectability and the good stuff at affordable prices is usually scooped up by local vintage dealers, who are now our main source along with private collectors from all over the world and international auctions”. The 2nd Cycle concept in its current form was first introduced to the public at the 2007 Salone del Mobile in Milano. Here, it was showcased with new stock inside a site-specific pavilion by the Japanese architect and environmentalist Shigeru Ban made of recycled paper from the Finnish paper company UPM. In addition to showcasing the longevity and history of Artek & Aalto, the installation also served as a refreshing contrast to the industry’s constant chase for the new and fashionable, encouraging consumers to “appreciate the imperfections that come with age”.
The inconspicuous entrance to Artek 2nd Cycle.
Today, the idiosyncratic offspring is still playing the counterpart to Artek in convincing fashion, serving as its second-hand outpost, research archive, exhibition space and everything else deviating from ordinary Artek-business. The incognito location alone — half-hidden underneath a sleepy residential building in the shadows of mainstream Helsinki — underlines the implied but obvious fact that Artek’s second-hand outpost is primarily for people in the know. The collectors and connoisseurs looking to buy “what you can’t find in the flagship store or anywhere else, something unique”, as Timo puts it. Among many enlightened things, Alvar Aalto once said that “Nothing old is ever reborn, but neither does it totally disappear. And that which has once been will always reappear in a new form.” and that’s probably, still, the best way to encapsulate Artek and its weird and wonderful 2nd Cycle and its perfect ‘full circle’.
“Nothing old is ever reborn, but neither does it totally disappear. And that which has once been will always reappear in a new form.” Alvar Aalto
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Four Hallway Chairs, practically stacked.
A visibly used Karuselli Lounge Chair by Yrjö Kukkapuro; one of many other Finnish designers on show at 2nd Cycle.
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The streets of Helsinki are home to the majority of Aalto’s masterworks, and few cities worldwide boast an architectural legacy on par with the Finnish capital. Most of the buildings penned by Aalto are publicly accessible, and his extensive body of work includes multiple cultural spaces such as churches, schools, libraries and theatres, further underlining his democratic and people-centric approach to design, architecture and life in general. Alvar Aalto was here! WORDS
DANIEL ALEXANDER FUGLSANG ØSTERGAARD NICOLAJ DIDRIKSEN
PHOTOGRAPHY
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Alvar Aalto has his unmistakable fingerprints all over the architectural landscape of Finland. His well-composed national opus of bricks and mortar is on display for everyone to enjoy, stretching the entire length of the vast country as far north as the Polar Circle down to the south shores on the Baltic Sea. Rather a Midas Touch, Aalto’s buildings are today considered three-dimensional works of art in their own right by many.
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The Aalto House / 1936 It’s no wonder that Aalto and other well-off Helsinkians migrated to the Munkkiniemi neighbourhood —a sleepy residential district on the outskirts of central Helsinki framed by the scenic shores of Laajalahti Bay, offering a preview of Finland’s natural beauty — during the 1930s. Villa Aalto, Alvar Aalto’s combined private home and studio, sits on top of the elevated, rocky terrain where the multi-purpose two-story villa is overlooking the former Cadet School by fellow architect and national treasure Eliel Saarinen. Villa Aalto is designed with a heavy focus on natural light, which is the reason why all but one window are south facing. A common denominator throughout Aalto’s prolific practice.
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Restaurant Savoy / 1937 Dining guests at Restaurant Savoy sense the history dripping off the walls as soon as they step out of the small elevator and into the restaurant lobby. Hiding in plain sight on the 7th & 8th floor of a commercial building on Helsinki’s busiest boulevard, it’s as if time is standing still inside the dark, wood-clad dining room, still sitting exactly as envisioned by Alvar Aalto and his first wife Aino in 1937. Complete with its grand piano and the original all-Artek decor. Most notably the two site-specific designs — the Savoy Vase and Golden Bell Pendant Lamp — which are both still in production today. In addition to the two design icons, Savoy is famous among locals for the traditional dish Vorschmack; minced lamb, onions, herring or anchovies and a baked potato with sour cream and diced, pickled beets and gherkins.
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Studio Aalto / 1954 - 56 The growing popularity and more significant commissions eventually forced Aalto and his international army of architects to abandon the small studio at the Aalto House. Greener pastures were only a stone’s throw away. With the new Studio Aalto, he continued his unholy union of strict functionalism and leftover traditionalism, realized through sharp geometric lines and soft, naturalistic shapes. Key details reveal Aalto’s long-standing love affair with Italian classicism, including a taverna-inspired coffee & break room and — the de facto heart of the studio — an outdoor amphitheatre in natural slate, built into the sloped garden.
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CURATOR
Through a lifetime, Vivian Boje has steadily navigated the treacherous waters of good taste. We caught up with Paustian’s outstanding interior architect for a talk about standing the test of time, trusting the power of good arguments and maintaining an idealistic approach even when it means going against the grain.
Vivian Boje’s path to becoming an interior architect was as straight as an arrow. Growing up in a cultural home among classic books, contemporary furniture and modernist paintings, Vivian naturally developed an early fascination for design, art and architecture — further underlined and encouraged by her mothers exotic black & white lifestyle magazines and frequent family trips to museums — en route to an illustrious career as a purveyor of all things beautiful: A career that was written in the stars since the budding age of 16 and still showing no signs of fatigue more than half a century down the road. For the last 20 years, Vivian has been plying her trade and talents under the Paustian banner, working on behalf of a large number of private, public and corporate clients in search of the fickle aesthetic home run. But what’s the secret behind our first lady of interior architecture? FOR THE BENEFIT OF ALL OF US UNENLIGHTENED, PLEASE TALK US THROUGH THE PROCESS OF CREATING INTERIORS FROM A PROFESSIONAL PERSPECTIVE. There are many layers to the process. Like an artist, I begin with a blank canvas, and in interior design, the perfect canvas equals to ambitious architecture. Before the first pen-stroke, I try to get a feel for the room or house in question and analyze it from a functional point of view. In order to streamline the process, I prefer to meet and establish a solid report with the client, proposing initial ideas and setting the tone for the rest of the project. Next, I begin sketching out the different layers of the interior, room by room in a 1:50 scale. I always draw my sketches in hand, and I’ve never really felt the need to learn how to use 3D computer software like most — if not all — of my colleagues prefer to use. Also, a handdrawn sketch feels more vibrant and personal. The first layer is all of the furniture, both new additions and existing objects fitting the overall aesthetic. The second layer is light and colour. Light and colour are quite abstract qualities, but an essential, often underestimated tool that can shift the entire balance of a room in one direction or the other. Finally, there’s an ongoing awareness and attention to materials, tactility and textures and every other little detail.
TALKING ABOUT STYLE. HOW ARE YOU ROUNDED AS AN INTERIOR ARCHITECT? Scandinavian functionalism with a touch of international style and a firm belief that less is more. Bourgeois as it may sound, I’m a big fan of Finn Juhl and his school of design, but then again, who isn’t? He was a teacher and director at the Royal Academy of Fine Arts from 1945 - 1955, teaching interior design. When I graduated in 1970 the spirit of Finn Juhl was still notably present. I’m especially fond of his use of colours with teak as opposed to the tight, monochrome look that rules everything these days. While studying in Rome, I developed a love for modern Italian design and especially the works of Maddalena de Padova, who’s one of my design heroes. There’s definitely an interesting dialogue between the North and the South of Europe. Especially between Scandinavia and Italy.
“It sounds like actual science. I think it’s rather a personal formula that works for me — both in terms of process, style, and how I deal with clients.”
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It sounds like actual science. I think it’s rather a personal formula that works for me — both in terms of process, style, and how I deal with clients.
REALLY? Indeed. Maddalena de Padova, who I had the pleasure of getting to know personally before she passed away, once told me that they flipped a coin to decide whether to go on a field trip to Scandinavia or stay in Southern Europe. And after visiting Scandinavia and Denmark, she fell in love with the functional style and began to import Scandinavian furniture to her store in Milano during the ’60s. The Scandinavian inspiration is actually quite obvious in DePadova’s style. Piero Lissoni’s (art director for DePadova, Boffi, etc.) architecture & design office in Milano is decorated with furniture from the likes of Arne Jacobsen, Hans J. Wegner, and Børge Mogensen. REFLECTING ON YOUR CAREER, HOW HAVE YOU PERSONALLY EVOLVED AS A CURATOR OF INTERIOR DESIGN? It has always been vital for me to remain idealistic and opinionated in both my approach and execution. That’s a given when you’re young and passionate about most things, but I still insist on doing projects that feel right and matches my ambitions. Not just for the sake of it. The easiest thing in the world is just to bend over backwards and give clients what they want. Or rather what they think they want. My job is at its most rewarding when I’m able to challenge and push my clients’ boundaries, convincing them do be more bold and adventurous than they initially thought possible. SO YOU’RE NOT REALLY INTO PLAYING IT SAFE? Preferably there’s some desire to go a bit further than, sorry to say, boring and overused evergreens like Arne Jacobsen’s Series 7 chairs, Piet Hein’s SuperEllipse table or Poul Henningsen’s lamps, to name a few. In my humble opinion, that’s just buying material comfort.
Vesthimmerlands Gymnasium in Års
“It’s a dynamic and evolving ability that needs to be stimulated, trained and adjusted accordingly like playing the Violin or the Piano. Ultimately I’m not creating stage settings, but real homes for real people, who should feel at home.”
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YOU’RE NOT AFRAID TO VOICE YOUR OPINION? No. Why would I? It’s not something I strive for, but I always insist on calling things as I see them. Also, when my ideas don’t fit into the mould of current trends and tendencies and some general consensus on what’s currently in style. In my experience, a solid and valid argument goes a long way, and it’s worth remembering that most clients who approach me already have a general idea of my style and maybe seen my previous projects, creating some common ground in advance. My job is about connecting the dots and assisting with the final push across the finish line to realize a hidden potential. I’m quite sure my straight forward nature is one reason why I’ve been blessed with many repeat customers. WHAT ARE YOU DOING TO STAY ON COURSE AND AVOID PASSING TRENDS & TENDENCIES? I believe that I’ve developed an ‘eye’ for lasting quality throughout the years. An ‘eye’ that is tried and tested. Also, I’m not too proud to admit that there’s a small group of talented designers and architects that I admire and follow closely. de Padova and Piero Lissoni as I’ve already mentioned, Vico Magistretti, the British super-minimalist John Pawson and British-Israeli industrial designer Ron Arad. But also young and contemporary designers like the Bouroullec brothers with their playful approach to design and Jasper Morrison, who has a knack for making the new feel weirdly familiar. Outside of furniture design, I’ve always been a huge admirer of Phoebe Philo, the former creative director of Chloé & Celine.
An apartment for a young couple in Østerbro
It’s a dynamic and evolving ability that needs to be stimulated, trained and adjusted accordingly like playing the Violin or the Piano. Ultimately I’m not creating stage settings, but real homes for real people, who should feel at home. And do so long after my work is done. I need to create interiors with the ability to stand the test of time. Still, it’s virtually impossible to avoid or discard trends entirely, and that’s not necessarily a bad thing. One constant is that whenever I visit Salone del Mobile in Milano, my first and last stop is always DePadova’s showroom. It’s my much-needed dose of design clarity after being bombarded with thousands of different impressions at the fair. DO YOU USE SOCIAL MEDIA TO STAY UP TO DATE? No, not at all. To be honest, I think it’s a waste of time, and I’m not on Instagram, Facebook, Twitter or any other social media platform. There’s too much noise on there. I already know who and what I like and I don’t need to find inspiration on social media. No thanks. I’m much more analogue in that sense, and I’d much rather visit leading furniture fairs, read literature and magazines or go to an art exhibition in search of a fresh perspective in real life. ON A FINAL NOTE, I CAN’T HELP BUT NOTICE THAT A HOME IS A VERY PRIVATE SPACE. IS DECORATING ONE ON BEHALF OF A STRANGER AS TRICKY AND DELICATE AS IT SOUNDS? Most people will probably never understand why you would hire an outsider to help decorate something as private as your home. Still, the common denominator for the clients I work with has an already existing and genuine interest for design, art, architecture, and a lot of good ideas and input, creating an essential ongoing dialogue. Throughout my long career, I’ve learned how to navigate the process, where and when to push and pull, and how to sell my vision. I’m not trying to meet clients halfway because that’s the recipe for mediocracy, but I do value and recognize the importance of dialogue and the exchange of thoughts and ideas. The prototypical client is already well on the way in terms of understanding design but needs to be convinced that they dare a bit more than they initially thought. A private villa in Colorado Springs
In Denmark exclusively available at Paustian, Warm Nordic stores and warmnordic.com
ANDREAS Studio Visit
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The Paustian Modular Sofa by Erik Rasmussen has been an icon of modern Danish design since it’s introduction in 1969. One of the most famous examples is perhaps the often instagrammed, huge cobalt blue version on display at the distinguished Andreas Murkudis showroom in Berlin. We talked to the man himself, Andreas Murkudis, about his creative vision and why he choose the Modular Sofa as a centerpiece of his impressive flagship store. WHY DID YOU PICK THE PAUSTIAN MODULAR SOFA FOR YOUR SHOWROOM? You could say that although it’s from the 1960s, it is an incredibly modern sofa. Especially with the KVADRAT fabrics that PAUSTIAN has chosen. Besides being inherently beautiful, its modular design allows us to arrange it in different constellations inside the showroom. WHAT IS IT ABOUT THE SOFA THAT YOU FIND INTERESTING? It’s very comfortable and at the same time so reliable that you can work on it as well. It’s not a sofa you fall and disappear into, but rather one you sit on. Also, the idea of the modules is simple yet brilliant and I love the fact that you can do all these different sizes and shapes. You can even arrange the Modular Sofa into the shape of a circle which is quite unique.
WHICH ROLE DOES IT HAVE IN YOUR SPACE? It’s the absolute magnet of the store and many clients and customers instantly gravitate towards it. We also have many of our meetings on the sofa, both internally and with clients and companies we work with. It’s a small oasis inside the showroom; some people sit down with a cup of coffee, others use it for a rest while waiting for a partner and kids play on it. WHAT HAS BEEN THE DEVELOPMENT OF THE SPACES SINCE YOU FIRST OPENED? Our main store has been around since 2003. First it was located in the backyard of Münzstraße in Mitte and in 2011 we moved to Potsdamerstraße 81 into the former print-works of the Tagesspiegel newspaper. The product selection is curated according to my fundamental belief in clean aesthetics, quality, longevity and — above all — a personal attachment to each item. In 2015 we transferred our furniture section into a full independent store that is now located on Potsdamer Straße 77 and in 2017 we acquired an additional space on Potsdamer Straße 98 that serves as a project space for exhibitions or special brand-showcases. The Showroom at Potsdamer Straße 98 stocks everything from lighting to floor samples, wall paint to tiles. And, of course, you will find handcrafted furniture, ceramics and the most beautiful Italian linens. WITH YOUR BACKGROUND AND INTEREST IN ART AND DESIGN, CAN YOU EXPLAIN THE VISION FOR THE MURKUDIS STORES? WHAT KIND OF DESIGN UNIVERSE IS IT YOU WANT TO CREATE? It’s a very personal selection. I don’t have a dogmatic vision or a specific concept, but I let myself be guided by what I feel and see, and this is always more in favour of the quality behind the products. To me, it’s crucial that the backstory is spot on: The production and the product as a whole have to be in the right frame, the circumstances of the production have to be sustainable, and the quality has to be outstanding. At our stores, there are no boundaries, and everything is possible. That’s why it’s always a surprise when our clients and visitors ( who are often people who have seen a lot) find things they don’t expect to find. I want to surprise the visitors as much as I want to surprise myself.
WHAT IS THE ROLE OF FURNITURE IN YOUR DESIGN UNIVERSE? Furniture and interior design objects are becoming more and more important to our overall selection. Since we started with fashion and accessories in 2003, furniture has always had a place in our store(s) but now, as we have more space, it’s becoming a bigger and bigger part of our universe, mainly because we find it exiting to explore this realm. It’s not only exiting to take care of the apparel of the clients, but also to find unusual solutions for their living areas and to discover brands for them that are special and not to be found everywhere.
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“Simply to believe that if people buy something beautiful they will live amidst beauty and even think better.� Philippe Starck