Skargaarden catalog 2017 eu by Roltrade

Scandinavian Outdoor Design

A good way, possibly the only way for someone who didn’t grow up here, to understand the concept, the brand almost, of Scandinavian design, is to get behind the wheel. One way is to take the 2,700 km drive from Sønderborg in the south of Denmark, via Sweden and the far north of Finland, all the way to Nordkapp in Norway. Drive in June. Drive slowly. These are a few of the things you will see along the way: coastlines, bridges and storms. Fields of wheat so large they look like oceans. Deep forests, roads that no one else travels, hail beating against the windshield. Small, desolate towns with amazing, but worn-down and neglected, functionalist community centers or cooperative supermarkets. Water. A sun that’s ever present as you continue north. Birches and lupines along dirt roads. Austerity, beauty and serenity. Islands, rivers, lakes and canals. Not too many people because these are not crowded lands. By the time you get to Nordkapp you will realize that the things Skargaarden designs and manufactures, like the designs that came before us, couldn’t be any other way. There’s a certain melancholy to it. A luxury that never flaunts itself. A minimalism that goes no further than the land would ever allow. The necessary elements of ingenuity and humor, which anyone here would go crazy without. The things we do must be solid and robust, so we cut the crap. Welcome to Skargaarden.

NOT ENTIRELY FLAWLESS We got an email from a woman who bought six Viken Chairs in 1991. Now, she wrote, she’d noticed that on three of them, the teak rods that held the slats together had started to look a bit worn. We obviously sent her new rods for all six chairs. It also made us start thinking. Apparently, every 25 years or so, there could be some need for maintenance. We might as well be upfront about it, since we’ve heard retailers talk about our furniture as “literally perennial”. That’s obviously not correct. Hence, dear customer, please advise your kids that, sometime in the future, they might have to email us asking for a few spare parts. (Perhaps by then we can teleport the rods to them.) Then again, the new Resö Bench that we’re launching, is made in painted steel. So in this case, it’s more likely to be your great-great-greatgrandkids who might need to get in touch with us. The same is probably true for the new Kerteminde Chair, as well. (If we happen to be wrong about this, please contact our customer service hologram in, say, 2057.)

SKARGAARDEN

SLOW DESIGN TENDS TO LAST Every year, the business magazines list the fastest growing companies. Seems like people can’t get enough lists these days. It generates clicks online, like gifs of cats doing funny things. Oh, Internet, you oddball. We’re not usually on those lists. First, it’s because we do tangible things. We design and manufacture goods made from wood, metal and fabric. And second, it’s because we do them very thoroughly. We tend to be thoughtful rather than impulsive. Does this mean we miss out on opportunities? That’s likely the case. Does it lead us to sometimes design and test products, only to find out they don’t live up to our standards? You bet. Time is the most precious thing we know, and still we spend horrifying amounts of it on everything we do. On the other hand, it also means you can be sure that whatever we release isn’t rushed through. It’s built to last. The H55 Sunlounger, pictured to the right, is a good example. It’s been around for 62 years now.

SKARGAARDEN

NOZIB Nils-Ole Zib’s design philosophy can be described as an orthodox interpretation of ‘less is more’. Excitement, he says, happens when everything non-essential is scaled back to a point where you can’t remove anything else. The Nozib Sunlounger, designed in 1986, proves this point perfectly. Or so it appeared, even to Nils-Ole, for quite some time. But it turned out it was actually possible to remove even more. Not to improve the original, but to expand it. So now, with a more conventional seating length and four legs instead of resting on all 24 slats, we proudly introduce the Nozib Cut. A lounge chair, cut from a design icon. Reduced, then further reduced. Not entirely half-bad. It’s been 28 years since Nils-Ole Zib designed the original Nozib Sunlounger. Now we’re extending the line. Who knows what will be added in another twenty-eight years?

SKARGAARDEN

Not only do trees have the ability to turn sunlight into sugar and carbon dioxide into oxygen. Their wood can also be shaped into sublimely poetic chairs by, letâ&#x20AC;&#x2122;s say, some Danish genius. Trees are the best.

SKARGAARDEN

RESÖ The E6 motorway runs all the way up to Kirkenes, in the far north of Scandinavia, where Norway meets Russia. But travelers who turn off at Kragenäs, in Bohuslän on the Swedish west coast, and follow the road over two bridges, end up at Resö instead. It’s a fishing village that refused to die and became a tourist destination. Here you can sit on the veranda of the boarding house by the sea and have a beer. And when you look out across the archipelago, you could, accidently, get an idea for a range of furniture. One in which the steel performs with a gentle grace and air is the dominant material. Those who miss the Resö turnoff have another 1,600 km before they reach Kirkenes. On the way, they pass Narvik, the harbor from which Kiruna’s iron ore is shipped to become steel. The circle closes, even though you are still in Bohuslän. The versatile Resö Bench is new for this year. It goes brilliantly with the Resö Dining Chairs and Tables.

SKARGAARDEN

The Resรถ range is growing slowly. Now we have dining chairs, tables and the brand new bench, as well as the Resรถ Lounge Chairs and Tables. All of them perfect fits for crowded parties or simply minding your own business.

SKARGAARDEN

SCANDINAVIAN DESIGN ISN’T REALLY ABOUT SCANDINAVIA. OR DESIGN. Few people can tell how the molecular structure of snow allows it to be shaped into a snowball. Then again, that doesn't matter much once you’re hit by one in the face. It’s kind of the same story with Scandinavian design: hard to describe but easy to recognize once it hits you in the face. Sure you could talk about modernism or simplicity and what-have-you. So let’s do that on the pages to come. But please note already that ”Scandinavian design” is a lot older than “Scandinavia” or “design”.

SKARGAARDEN

SCANDINAVISK DESIGN

SCANDINAVIA 10,000 BC WELCOME TO A REALLY, REALLY BAD PLACE FOR DESIGNERS When people first settled in what is today Scandinavia, it was still the ice age. It might seem like a terrible idea to head north, toward the ice, at a time like this. We like to believe it says something about the mentality of those who made their way here anyway. Those who forged their own path, without complaining. We like to believe this because the alternative is that they were just stupid. Objectively, it is definitely an idiotic idea to wander up north at this time. Back then, the Scandinavian design philosophy was particularly unsentimental (a feature that lives on, by the way). You designed a spear to kill animals for food, and you designed fur clothing to avoid freezing to death. No, design in its modern sense just didn’t exist. Neither did Scandinavia. Thousands of years would pass before a few nations would form and declare themselves independent, with clear borders. Denmark, Sweden, and Norway are considered Scandinavian today, but we choose to include Finland here as well. The name Scandinavia, first mentioned by Pliny the Elder around 60 BC, is older than the countries themselves. Actually, it was the Germanic Skaðin-awj. Skaðin can be interpreted as “danger”, and awj as “land by the water”, or “island”. In which case, Scandinavia was the “dangerous island”, which is thought to refer to a series of perilous shoals off the coast of today’s Skåne, in southern Sweden. Leaving the Stone Age and Pliny behind, we step into the nineteenth century. It’s a big step, over some major changes, of course. Hunter-gatherers become sedentary and start to cultivate the land, trade with one another, build cities and specialize in different trades. But the basics of making the things people need, remain unchanged. Designer and producer were often one and the same. And whatever they made, the main raw material was time. Everything was labor. Nothing was simple. This was the way objects were given souls. It was nothing you strived for. It was a necessary consequence. If you think there’s something romantic to this, well, you can stop thinking so. People lived in tough times. A bad harvest could mean starvation. If anyone had been offered soulless, mass-produced goods, that’s an offer they would easily have accepted. Any day of the week. In the beginning of the 1900s, people had tired of the past generations’ backward-looking ideals. No, that’s not true. Far from everyone was tired of it. And the industrialization of the late nineteenth century gave them plenty of affordable copies of Rococo and Empire furniture to choose from. So no, people in general were hardly tired of nostalgia. And they wouldn’t be for ages. But let’s forget about them for now. For those looking forward, there was Art Nouveau. In Scandinavia it was called Jugend, from the German newspaper of the same name, meaning “youth”. Probably the best-known examples of Scandinavian jugend could be found within the Swedish ceramics industry, where Alf Wallander at Rörstrand and Gunnar Wennerberg and Josef Ekberg at Gustafsberg, created fantastic works. Another influence was Art Deco, which was less popular in Scandinavia than elsewhere in the world, although there are a number of impressive exceptions.

SKARGAARDEN

SCANDINAVISK DESIGN

In 1917, an exhibition at Liljevalchs art museum in Stockholm launched the concept of vackrare vardagsvara, or “more beautiful everyday goods”. But it never quite achieved mass acceptance, in spite of its promise. Most of what was produced was simply too expensive, despite its influences from modernism and a tendency toward what, in Sweden, would come to be known as Twenties Classicism, a type of refined simplicity, with a focus on craftwork and decorative elements with utilitarian functions. The Stockholm Exhibition of 1930 marked a breakthrough in Swedish Functionalism. It was a defining moment and a clear origin of what we today, more casually, call Scandinavian design. The late 1920s were heavily influenced by the Bauhaus school, with steel, leather, black laminated wood and wicker, as its central elements. Names such as Marcel Breuer and Ludwig Mies van der Rohe were the very definitions of modernity (and, quite remarkably, are still considered modern today, almost one hundred years later). The appeal of Functionalism is in the name: the function dictates the design. That which was functional was also beautiful, and unnecessary decorative elements were obsolete. Naturally, this wasn’t entirely the case, since the results would have been painfully boring. But in principle, it was true. And compared to what came before, it was something new. Internationally, this type of functionalism came to be known as Swedish Modern, although some of its prime influences came from Finland and Alvar Aalto. This is equally true for architecture and furniture. Simplicity, light, and air make up the palette of Swedish Modern. Which isn’t unexpected. Simplicity was the core of functionalism, with roots in Germany and Holland, as we interpreted it. Light in Scandinavia was, and is, something unique. Not just as an experience, as on Denmark’s Skagen coast, but as a fundamental need and desire. Darkness, irrepressible and unconditional, blankets itself over us for half the year. But that doesn’t mean we get a halfyear of light. Not at all. In reality, only June brings light. We become crazed by darkness, and we seek light in everything. It’s not hard to choose between large windows or small. It’s not hard to prefer light birch over black lacquer. Air is for the soul what light is for the eyes. After still more nostalgia in the forties, the vision turns forward in the fifties again. And even though we just claimed that the Stockholm Exhibition of 1930 established Scandinavian design, that’s not really true. It’s at the H55 exhibition in Helsingborg, in southern Sweden, just across the sound from Denmark, that it happens. No, that’s not true either. Just a year before, the Design in Scandinavia traveling exhibition had already begun touring North America, and would stop at 24 different museums in the US and Canada by 1957. We’re almost stumbling over our words. Everything happens here, at the same time, in different places. From the post-war period until the 1973 oil crisis, everything is possible. Ceramic, glass, furniture, textiles and industrial design. There is plastic, fiberglass, nylon and aluminum. You can take pretty much any object from the fifties and see that it was designed by an optimist. In the same way, you can see in the iconic designs of the sixties that this was a time when the future was allowed to be modern.

SKARGAARDEN

“Optimism, absolutely!” we responded in all the Nordic countries. But not the flamboyant or frivolous kind of optimism. The war had ended a decade ago, but remained in the back of everyone’s minds. Design was reserved, not luxurious. It was an optimism dressed not in feathers and gold, but in birch and modesty. Industrial design became a professional discipline. This wasn’t uncontroversial, and many considered artistry as the opposite of industrial production. But therein lies much of the significance and coherence of Scandinavian design. That we managed to produce objects so clearly connected to craft traditions, on an industrial scale. In Sweden this is possibly most evident in the ceramics industry, where several manufacturers begin mass-producing large series of vases and other items that were obviously full of soul. Then came the economic and political crises of the seventies, followed by postmodernism in the eighties.The former weren’t much fun, and the latter was being done better elsewhere, particularly in Italy. Still today, examples mainly from the fifties symbolize and define Scandinavian design. “Less is more” doesn’t suffice to describe it. There is an elegance, a boldness, in it. It’s difficult to put into words, yet so easy to recognize when you see it.

KERTEMINDE Kerteminde is in many ways the typical, small Danish town. Located by the sea, windy, unindulgent and uneventful. In fact, the tiny island of Romsø, just a nautical mile from the shore, is marketed as a place where nothing ever happens. “No beach, no coffee, no service.” The Kerteminde Chair captures the qualities of the town fairly well. There’s nothing spectacular or boastful about it. But then again, it’s really great to sit on, since there’s a springiness in the backrest. And after all, that’s not entirely unimportant for a chair. We also believe it’s minimalistic enough to be essential. Although slender and neat, it’s robust and sturdy enough to beat the elements. And there are quite a few elements to beat on the Danish coast. All in all it’s the perfect chair for cafés and restaurants. It also fits perfectly for those of you who occasionally treat your garden or balcony like a café for reading books, hanging out with friends, having a nightcap or perhaps breakfast.

SKARGAARDEN

Forest green steel and simplistic teak slats. Weighty enough to stand firmly, with a very casual attitude. “Never mind me,” it says. “Sit down if you want to, but no stress. I’m fine just standing here looking sharp.”

SKARGAARDEN

KRYSS In 1975, Björn Hultén was commissioned to design the interior of the Swedish Embassy in Cairo. For the embassy’s terrace, he designed and placed several foldable chairs. A hundred years earlier, a similar type of chair had been a favorite of the British, who took them to Egypt, which was then part of the Empire. Designing an embassy with the furniture of a former occupying power might seem rather ill-advised, diplomatically speaking. But Björn had already visited Cairo as early as 1960 to see the National Museum’s furniture collection from Tutankhamon’s tomb. And there it was – the chair. Albeit in ebony, decorated with ivory and gold. Björn saw a wood and fabric chair that could be folded and carried. The chair on the terrace was a subtle but distinct reference to an Egyptian legacy, roughly three thousand years older than the British safari chair. We’ve since added a dining version of it, which is a bit higher, as well as a new table to match. Like its predecessor, the new chair is exceedingly comfortable to sit in, even if you’re not a diplomat.

SKARGAARDEN

Given how good it looks, it’s pretty unlikely that someone would like to actually fold the Kryss Dining Chair to store it. But you can bring it to your favorite place. That’s something.

SKARGAARDEN

SKANÖR The southwest corner of Sweden is a peninsula stretching out towards Denmark and on it are the twin towns of Skanör and Falsterbo. Both of them exuding bohemian nobility and natural privilege. Here, obviously, Joseph Frank drew and built five summer houses – the only ones in Sweden. Here, southern Swedish nobility bathes in the nude. Today the towns have grown into one and it’s not always apparent what’s Falsterbo and what’s Skanör. But there is, they say, an embankment separating the two, with Skanör south of it and Falsterbo north of it. Our lounge ranges Falsterbo and the new Skanör are not easily separated either, with the latter as an evolvement sprung out the former. But still there are some distinct differences. Like the taller back-rest with nine slats instead of seven and the placing of the cushions.

SKARGAARDEN

We were going to write something poetic about secrets here. But we changed our minds and became practical instead. The Skanör Table can be used to hide stuff. Like that Palo Coelho book that you like but don’t want people to see.

SKARGAARDEN

H55 The Swedish Society of Industrial Design arranged the Helsingborg Exhibition of 1955, to, in the optimistic spirit of the age, showcase the previous 25 years since the Stockholm Exhibition in 1930. The event acquired the neat nickname of H55. Scandinavia’s designers were extremely well represented, including Alvar Aalto, Stig Lindberg, Yngve Ekström, Finn Juhl and Arne Jacobsen. And Björn Hultén. He designed a sun chair for the exhibition, one of the things that we at Skargaarden have always held dear as a source of reference and inspiration. It’s so perfect it’s almost provocative. How so little material can provide so much comfort. How something that speaks with such subtlety can become the focal point for a whole garden. More than 60 years have passed. Still, a nicer-looking sun chair is yet to be designed.

SKARGAARDEN

Minimalism can be intellectual and boring. The H55 is not. Itâ&#x20AC;&#x2122;s minimalism thatâ&#x20AC;&#x2122;s had a few glasses of wine, now walking barefoot in the sand, with a perfectly worn linen suit, saying charming things to other people.

SKARGAARDEN

DJURÖ Djurö is a secret place. It’s in the middle of Lake Vänern, isolated from the world by freshwater that stretches into the distance: you feel as though you are out at sea, or the last person on Earth. Our Djurö furniture range is not quite so secret. But it does share some of the same qualities: the same sensation of other-worldliness. Djurö has a link to the past, to the iconic Scandinavian teak furniture of the 50s. It also gives a very nonchalant nod to the future, in the durable acrylic fabric in the chair seat and backrest. Together, the past and future combine to create a strong sensation of the here and now. Severely simple, without being the least bit Spartan. Rather like the island that gives its name to this range of furniture. Fallow deer also roam Djurö, regal and graceful, but seldom seen. This is a secret place.

SKARGAARDEN

At Skargaarden we love it when objects look super simple and obvious at first glance, only to become intriguing when you look more closely. The Djurรถ Dining Chair is one of the best manifestations of this.

SKARGAARDEN

OXNÖ Oxnö lies on the island of Gålö in the Stockholm archipelago. Here, pines edge toward the waterline, held back by grey rocks with the quiet authority of millions of years of experience. This is not a spectacular place, but one that is uncomplicated and beautiful: precisely the sublime qualities that inspire our Oxnö range of dining chairs and tables. Oxnö chairs are designed with and without armrests. Both have curved slats in the seat, which by their ingenious design seem to float just outside the frame. The details are innovative and intricate, but the overall impression is so simple that it almost feels effortless. It is nearly as though the chair is aware of its own clarity. Meanwhile on Oxnö: nothing, absolutely nothing, happens that has not already happened for the past ten thousand years. The same pines, the same rocks.

SKARGAARDEN

HOW DO YOU AVOID GOING INSANE WHEN IT’S DARK NINE MONTHS A YEAR? Well, to start with, that’s obviously not true. The Earth is orbiting the Sun, right, so it should be a fairly even spread of light and darkness throughout the year. Then again, it’s sort of like telling someone who’s living with depression that things are fine. OK, we’re not making any sense here. You know why? Because we live in darkness nine months a year. The Earth is doing a lame job orbiting the sun.

SKARGAARDEN

SCANDINAVISK DESIGN

LIVING BETWEEN THE EXTREMES Greetings from land of the Midnight Sun and polar nights

There is a Finnish word, kaamosmasennus, which means literally “polar night depression” – the sort of depression that sets in during the darkest months of the year, due to the darkness itself. The English term is Seasonal Affective Disorder. Indeed, the Land of the Midnight Sun can lead to both insomnia and hypomania. So it’s not surprising that Scandinavian design, as well as everything else Scandinavian, has a slightly neurotic story behind it. This is, after all, the land of Søren Kierkegaard and Ingmar Bergman. It's no secret that anxiety works well as a catalyst for creative people. So please don’t interpret the lead-in text as gratuitous whining, but rather a statement of the facts. Quite simply, we come from a place where unnaturally high doses of both darkness and light are enough to drive a person crazy – something that not so many phenomena can actually do. The vast forests of Scandinavia are at once claustrophobic and magical, brimming with an abundance of ferns and lichens. Fir trees grow so tightly together that there’s barely even space for the occasional troll. Here you’ll find dense green fauna juxtaposed against all manner of dark earth tones – from ocher to brick and on to asphalt black. High above the timberline of the low, lumbering hills that make up the mountains of the region, it is empty and desolate. No trees. Cloudberries in summer perhaps. Snow and more snow in the wintertime. Snow so blinding it causes you to lose your way. So beautiful that it's as if the mountain and the entire world were dipped in finely crushed glass. Dotting the shorelines are archipelagos with gray rocks barely peeking above the waterline, in a sea going nowhere with no ambition to rage or argue. It’s the kind of place where you feel like the last person on Earth, but are just an hour away from the city. Oh, and by the way, all that talk about the darkness is true – it’s so dominant and all encompassing for so many days of the year. Your body may have a vitamin D deficiency and you curse the roads you travel on, but to no avail. To experience the magic of the dark, try this in the wintertime: drive out of town along a small county road, stop the engine and switch off the lights. On a cloudless night, you can experience the stars as they appeared billions of years ago. You're no longer in Norway or Finland anymore, but at one with the universe. You travel backwards and forwards in time simultaneously. When the mobile phone vibrates to tell you that someone has commented on a Facebook post, it's like an abrupt wakeup call. So what exactly are the summers like? To give you a feeling, let’s take June as an example. Imagine, for a moment, that sunlight is like coal and that you’ve gathered all the coal used during the year to create energy and pressed it into diamonds. Those diamonds mean everything. They are your motivation, the stuff that fuels all myths about midsummer. And they are more beautiful than anything you can imagine.

SKARGAARDEN

Then along comes a summer in which the sun appears to be preoccupied elsewhere – summers without diamonds. It happens. It also creates this feeling that you simply cannot rely on nature here. You might be yearning for a beautiful summer more than anything, but don’t count on it. The seasons can also be somewhat unpredictable and brutal. It’s not uncommon, for example, for spring to arrive late after a protracted negotiation with winter. A lot like winter, without the snow. Then, suddenly, there is an explosion of vegetation and growth. Flowers that didn’t exist a few weeks earlier now stand meters high along the roadside as if reclaiming their natural right to suddenly pop up, year after year. Sometimes the winters are harsh and the snow is meters deep. Other years, it is mostly grey and stormy in the winter. Autumns can be quite similar to the ones you see on the tourist pictures from New England, with the trees tinged in striking reds, yellows and greens. Other times, they are all grey and full of storms. It’s not only darkness and light that represented the extremities. Between summer and winter, for example, temperatures can fluctuate by a hundred degrees Fahrenheit. And in the cities, there’s not enough room for everyone while in the countryside populations are so sparse you wish it were 10 million or even 100 million more. It’s as if the countryside is yearning for people. So it’s little wonder that for years people have believed in elves, goblins and little people here – and maybe still do. There’s something a little pagan and deep rooted about having so many secrets out there in nature. After all, we have the same evenings today that people experienced thousands of years ago. And the water hasn’t changed much in a billion years. Have you ever walked through a forest at night? Do you know what silence sounds like there? Darkness is nothing but the absence of light, in the same way that light is nothing other than the lack of darkness. Darkness is a color scale and a feeling. There is an emptiness that is at once beautiful and unpleasant. Darkness is silent and relentless. Light is full of nuances, full of reflections, like when sunlight dances on the water, shimmering in all directions. Light is lightness and air full of oxygen. Light is stronger than darkness since the darker it is, the less light you need to be visible. Space is naturally the same above Scandinavia as the rest of our planet. It consists of 72 percent of what they call dark energy and 23 percent dark matter, or a total of 95 percent. In other words, just five percent of the universe consists of ordinary atoms – the planets, stars, forests, chairs, cats, Bordeaux wines, straw hats and people you see on the way to work. So matter is in the minority, and not even the Midnight Sun can change that.

Did we just write a thousand words or so about light and darkness? Please, do forgive us. Because this is what Scandinavia is really about. The moments when itâ&#x20AC;&#x2122;s something in between. Not light, not dark. Sure the sky is blue here, sometimes. Then itâ&#x20AC;&#x2122;s also pink, carmine red, yellow and orange. And even in the pitch black of winter, Aurora Borealis makes it dance in purple and green.

GRINDA Standing on the gravel in front of his villa, Swedish lawyer and financier Henrik Santesson smokes a cigarette, his eyes squinting in the soft June light. It is 1930, and he’s on the island of Grinda, in the Stockholm archipelago. A thousand miles away, in Dessau, Germany, Hungarian-born Marcel Breuer sits on one of the Bauhaus Schools’ rooftop terraces. He’s dressed in a casual summer suit and bow tie. When he shuts his eyes, he imagines metal that can be molded into any shape. Upon opening his eyes, he sees the same stars that Santesson sees. The Grinda Dining Chair pays homage to both these men. Quiet steel frames that carry rustic wooden slats without a murmur. At the same time, it is both aesthetically functional and so beautiful it feels perfectly natural on the gravel in front of the Santesson home.

SKARGAARDEN

There’s something very orderly, minimalistic and restful about the Grinda Chair. This isn’t jazz-style teak with its stressful, atonal improvisations. Nah, this is more like Bach’s classic “Goldberg Variations” in hardwood.

102

SKARGAARDEN

103

104

SKARGAARDEN

105

106

SKARGAARDEN

107

HÄRINGE Häringe Castle is nestled in Landfjärden Bay, just 30 minutes outside of Stockholm. It had stood there for 272 years when Torsten Kreuger purchased the property in 1929. Torsten was a man with little appreciation for historic landmarks and a keen interest in modern trends and amenities. He quickly installed a fridge in the kitchen, a skittle alley in one of the wings and Sweden’s first outdoor swimming pool in the castle gardens. Over time, the castle became a jet-set haute for stars and socialites, including the likes of Josephine Baker and Greta Garbo. Decadent? Perhaps a bit. Fashionable? To some extent. If you were to design a piece of furniture according to the same principles, you could base it on solid traditions with precise, balanced lines. To the classic, original design you might add a touch of decadent playfulness and a very relaxed way of relating to luxury. This was what we did when we developed the Häringe range of dining furniture. Greta Garbo would have been the perfect company. But any mysterious beauty in dark sunglasses would do.

108

SKARGAARDEN

109

It takes forever to weld and polish the steel – not to mentioning sanding and polishing all those teak slats and then screwing them perfectly into place. If only the result was something extravagant, but it’s not. It’s just quiet perfection. Well, fair enough.

112

SKARGAARDEN

113

114

SKARGAARDEN

115

116

SKARGAARDEN

117

118

SKARGAARDEN

119

VIKEN Maybe it’s true: imitation is the sincerest form of flattery. In that case, it’s unlikely that any chair has been flattered as much as Viken. When Gunilla Norin designed it in 1983, she wanted a practical and comfortable chair for her balcony. So she made one. Viken is the very essence of an idea that, in hindsight, is so obvious that it seems so simple: overlap the slats so the seat can be folded. But the structure is unusual since it’s made entirely out of wood. There are no screws, frame or metal rods. What you see is what you get. And what you see is teak. For the past 30 years, the imitations and copies of this legendary chair have come thick and fast. Some believe that it’s the most copied chair of all time – and that could well be the case. When you buy a Viken, you’re buying the original. And it’s an extremely comfortable original in which to sit. Indeed, it’s fortunate that Gunilla didn’t just go out and buy a chair that historic day.

120

SKARGAARDEN

121

122

SKARGAARDEN

123

Many chairs are described as »teak chairs«, but for Viken it’s really true. It’s all teak. No metal at all. (Okay, so there’s a shiny metal Skargaarden plate on the back. But that’s it.)

124

SKARGAARDEN

125

MARRAKECH Itâ&#x20AC;&#x2122;s easy to assume that objects with such an apparent perfection as the Marrakech tables, were designed out of some profound, almost philosophic pursuit for simplified beauty. Nah. Not really. It started with the Swedish/Finnish design trio Claesson Koivisto Rune designing Moroccan tiles. The tables? They were originally made as props for the premiere exhibition of the tiles. Art by accident, one might (although a bit blasphemously) say. Well, some accident. The tables, with the simple steel frame and the prominent tiles, are the work of exceptional designers, working without any pressure. The effortless act of genius, the sublime unpretentiousness. Good thing that results are more important than intentions.

126

SKARGAARDEN

127

This is about as extravagant as weâ&#x20AC;&#x2122;ll ever be. The playful Marrakech Table next to the intriguing and sculptural Nozib Sun Chair. (Concrete flooring and the Baltic Sea not included.)

128

SKARGAARDEN

129

WHAT ELSE? We’re not primarily a furniture manufacturer. We design and produce equipment for relaxation. Beautiful and practical objects for those precious moments when you don’t actually have to be productive, meet obligations or cater to the whims of others. That’s why we make a few more things to go with the furniture. When night falls (or at the time of year when the day never bothers to even show up), we need light. So we’ve developed candle lanterns and the Tipi outdoor lamps, in association with Ateljé Lyktan. And of course the Boo fire basket and candle holder. For those chilly springs, early autumns or when summer is simply being “Swedish”, we provide throw blankets to keep us warm. And we have cushions made for outdoor use in a wide range of colors and designs, so everyone can find their favorites. What else? Oh, some neat details for setting the table. That’s it.

130

SKARGAARDEN

131

There is something very primal about setting chunks of wood alight. The good news is that you can now frame this brutal act of cosiness in an open, minimalistic cube.

132

SKARGAARDEN

133

134

SKARGAARDEN

135

Gathering friends to eat together is something man has done since we were hunter-gatherers. Doing it in a civilized manner, at a modern and neat table setting, is a slightly newer development.

136

SKARGAARDEN

137

SCANDINAVIAN LIVING Architecture is to design what outdoor billboards are to advertising. Non-negotiable. You simply can’t choose to avoid being exposed to it. That is, unless you decide to escape civilization and head out to a remote coastline or the deep woods. But as we look at some of the Scandinavian landmark houses, you’ll understand that even this doesn’t work – architectural creations can be anywhere.

138

SKARGAARDEN

SCANDINAVISK DESIGN

WELCOME TO THE PLEASURE DOME. Villa Spies | 1969 | Location: Torö, Sweden | Architect: Staffan Berglund, Sweden

There is something sacred about the dramatic coastline of Torö, a rugged island 70 kilometers south of Stockholm in the archipelago. Here even an atheist could find God and it wouldn’t be regarded as strange. Nowadays, if someone were to build a summerhouse on this site, the emphasis would no doubt be on blending into the landscape – a structure made of graying larch wood, large windows and enormous respect for the natural surroundings. This is the site of Villa Spies – circular, made entirely of plastic, and resembling a spaceship perched on a cliff overlooking the sea. It blends into the surroundings about as well as a drunken clown blends into a monastic garden. How did it even get here? Simon Spies, the wealthy Danish businessman who commissioned the house, was no ordinary businessman, not even by Danish standards. He had built up a travel empire based on the idea of letting northerners fly to the Mediterranean to soak up the sun. In 1967, the Spies travel agency announced an ambitious architectural competition. The idea was to find new housing solutions for Scandinavian charter tourists traveling to Spain who did not wish to stay in a traditional hotel room. Swedish architect Staffan Berglund won the competition with what was later to become the model of Villa Spies. It was a modest single-storey structure, but nevertheless round and plastic. The roof was shaped like a dome and the walls were flexible. In the kitchen of that house, with the graying larch mentioned earlier, you found stoneware to eat on, lovingly made by a local potter. And inside Villa Spies? Paper plates and plastic cutlery. After all, who wants to cook and wash dishes when you’re on vacation? The food would be bought through the travel agency and delivered to the home. Not surprisingly, the project never got off the ground. One plausible reason is that the Spaniards were not too wild about the idea of using prefabricated plastic modules – something that would not exactly benefit the local craftsmen, no matter how many jobs might be created by the large-scale catering operations. Nonetheless, Berglund was commissioned to design a private summer residence for Spies himself, on a rock ledge on the west side of Torö. Unlike the Spanish summerhouses he’d designed earlier, the private home is on two levels. The entrance level is like a bowl of concrete, the roof is self-supporting and made of fiberglass-reinforced plastic. In the middle of the roof is a window section that lets in light. The whole house was built in three months. Plastic roofing arrived in cake-like wedges and could be lifted into place by two men. No cranes were needed. Inside the villa is a circular dining area that can be moved up and down automatically. At the touch of a button, you can glide down from the middle level to the kitchen. Press the button again and you go up to the skylight and enjoy the view. Outside is a circular patio and an equally circular pool. It is, in short, like being in the home of a villain in a James Bond movie.

SKARGAARDEN

SCANDINAVISK DESIGN

IN THE MIDDLE OF SOMEWHERE Villa Mairea | 1939 | Location: Norrmarkku, Finland | Architects: Alvar and Aino Aalto, Finland

Berglund was able to work without any budgetary constraints and hand pick the people he wanted to help him with the commission. And yet, in an interview from 2012, he notes that it was a bad idea to carry out the job. His other Swedish projects suffered due to the lack of attention (not the Danish though). All this because Simon Spies demanded a lot of attention and was a bit too much for Swedes to handle in every imaginable way. In the late 1960s, Sweden was still a rather conservative moralistic society, despite all the myths about the Swedish sin and promiscuity. It was also a society located on the northern rim of Europe, in the outskirts. We were a society of farmers rather than cosmopolitans, with little understanding or tolerance for deviants. And, my heavens, did Simon Spies deviate from the norm! Moreover, the left-wing parties were just as strong as they were dogmatic, something that spilled over into all cultural expression. It was somehow not okay to be a happy fart that liked to have fun. It was not okay to be Danish.

Finland in the mid-1930s. Alvar and Aino Aalto are inspired by the idea of mass-producing beautiful bentwood furniture that would enable all Finns to enjoy high-quality home living. They’re driven by an inner conviction to create a world in which aesthetics and ethics go hand in hand. Their houses would be small, rational and produced in high volumes. Oh how sadly predictable it all sounds. Fortunately, they were friends with the super-rich couple Harry and Maire Gullechsen who dreamed of an even bigger house. Norrmarkku is not exactly Manhattan. Nor is it even in Helsinki. No, it takes many hours by car to reach this remote town in the west of Finland. Although there’s not much there, there is a river – the same river that provided the energy needed to power industrial companies in the Ahlstrom Corporation, founded by Antti Ahlström in 1870. Antti also built a nice little castle in the Renaissance style out there in the woods. And the next generation built themselves a gigantic Art Nouveau villa. Then along came Harry and Marire (who was born Ahlström) who built the house that bears her name.

Simon, who sported a huge beard and happily associated with young naked women, rubbed a lot of people the wrong way. Aesthetically, he found himself somewhere between the Manson family and a chubby Rasputin. Ethically, he was ... well, what can one even say. When the house was built, he devoted himself to trying to cross strawberry plants with Indian hemp.

While Alvar focused on designed the exterior and Aino the interior, they actually worked closely as a team. Their brief was unusual: Think of it as an experimental house. If it doesn't turn out that all well, nobody will give you a hard time. The budget? Oh, never mind, let it cost what it costs.

Spies paid for everything in cash, including his hotels and airplanes. At the age of 28, he was a billionaire. When he attended the cinema, he always bought an extra ticket for his cane and bought the seats in front of them, so he and his cane would look good. He had group sex with porn stars in front of journalists at an inn outside Copenhagen. In short, he was more Danish than anyone else has ever been.

As part of the work process, the final plan was created following a series of proposals. Some basic elements were included in all: an open courtyard towards the pine forest. The house also separates the private and public spaces, with the latter being interlinked. At first it was more conventionally modernist but then it was altered so that the Bauhaus edge was pushed aside, allowing for a bit more fun and beautiful touch.

One remarkable thing about Villa Spies is how its architectural value was largely ignored at the time. So, sure, the Swedes were disobliging and grumpy, but the house truly vibrates with unique qualities. And yet it was never featured in the Swedish magazine Arkitektur, nor was it mentioned in the Architects' Association (SAR) English-language guide to contemporary Swedish architecture from 1968 to 1978.

What strikes the viewer is the way the house does not appear to be as big as it actually is, either on the inside or the outside. It follows a modified L-shape of the kind Aalto had used before. It automatically created a semi-private enclosure to one side and a more exclusive, formal edge to confront the public world on the other. It is undoubtedly a Bauhaus-style building and yet not so at all so. The feeling is soft and playful. The detailing is breathtaking. Everywhere you look, it’s apparent that this house cost a lot of money.

Perhaps it was simply that the house was too Danish. Too hedonistic and too cosmopolitan. Too many cocktail parties with Burt Bacharach playing in the background, too much naked bathing and Peter Sellers. And far too little of the staunch narrow-mindedness so valued back then.

Then there is the curved pool, the wood complementing the white basic form with the forest, which comes so close as to become an integrated part of the whole. At the same time, the organic forms are clearly linked to the dream of rationality that’s still live and well – somewhere between the bespoke door handles and statues in the panoramic windows. The house stands as a solitary masterpiece in the Finnish countryside. Today it is almost 80 years old, but oddly enough it’s difficult to find a contemporary house that feels more modern. Villa Mairea is still owned by the company that Antti started almost a 150 years ago. Those who wish to do so are welcome to make an appointment to visit the house.

SKARGAARDEN

SCANDINAVISK DESIGN

THE FUN IN FUNCTIONALISM Villa Stenersen | 1939 | Location: Oslo, Norway | Architect: Arne Korsmo, Norway

One can only imagine the status Arne Korsmo might have achieved had he lived and designed homes in a country larger than Norway – like the cities of the US or Germany. Fortunately, the Norwegians embraced their homegrown hero. During his career, he designed more than 50 stunning villas, including the splendid Villa Stenersen Oslo. Functionalism emerged in the 1920s as a bold new philosophy – ideological and quite severe. Le Corbusier’s vision of the house as “a machine to live in" was undeniably a far cry from what one might describe as "cozy". But when Korsmo designed Villa Stenersen, functionalism had already started to soften up. It was almost as if this stern ideology had poured itself a drink, leaned back and was not taking itself or life so seriously – a formal politician who suddenly steps down and shows that he or she is genuinely charming. Korsmo was definitely a part of that movement. In the many private homes he designed, he never ceases to surprise with his intriguing use of color and details – above all the colors. For Korsmo, functionalism was not a world of white. Nor was it hard, but rather soft, even if the angles are straight. Rolf Stenersen, who commissioned the villa, was a Norwegian businessman, art collector and track and field star. At the ripe age of 22, he’d already managed to compete as a sprinter in the Summer Olympics in Antwerp and become financially independent on stock trading. Not too bad. The villa would serve as his home and house his art collection. Stenersen was also friends with Edvard Munch. In 1974, he donated the house to the Norwegian Government to serve as the prime minister’s residence. But to date, only one prime minister has lived there.

MINDING THEIR OWN BUSINESS Exner House | 1963 | Location: Skodsborg, Denmark | Architects: Inger and Johannes Exner, Denmark

The home of Inger and Johannes Exner may not be spectacular, but it’s still extraordinary. There is a palpable sense of security in the down-to-earth selection of materials, both in terms their structure and color. Perhaps this is what happens when you are your own client and will be actually living in the house. Both the interior and exterior exude a sense of serenity that is difficult to capture in words. There are certainly more impressive homes in Denmark, designed by architects with more familiar names. But this is perfection on a smaller scale. With just 159 square meters (1,712 square feet) of living space in total, Exner House is by no means large. By comparison, this is even smaller than the entire living room of Villa Mariea, built by Finnish modernist Alvar Aalto in 1939. It is also situated on a surprisingly modest plot of land. God really is in the details here – an expression that takes on a dual meaning since this Danish couple designed more than a dozen churches. Together, the small details add up to a much larger whole impression. The interplay between brick and wood. The slope of the roof. Room solutions. There is something at once exciting and quietly confident about Exner House – a reminder that you don’t need to be grandiose to be ingenious. Also, when you break new ground in the world of architecture, the surrounding land doesn’t need to be so striking. You can carve out your own place in history, right before the eyes of others, whose claims are much more vocal. The house was the first of its type – a style that became popular over the next 15 years for houses in Denmark and the rest of Scandinavia.

SKARGAARDEN

146

SKARGAARDEN

147

148

SKARGAARDEN

149

DJURÖ

MATERIAL AND COLOR GUIDE WOOD

An exquisite lounge and dining range in teak: The armchair is available with the seat and backrest in Batyline textile, or made entirely from teak. The matching footstool is also teak. The dining chair is made entirely from teak or with seat and backrest in Batyline textile. The Djurö range includes two lounge tables and three dining tables.

DJURÖ LOUNGE CHAIR

PRODUCT

PACKAGING

DJURÖ ARMCHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:65 D:50,5 H:78,5 Seat height: 45 Armrest height: 64 W: 6 kg

W:72 D:61 H:81 Weight: 9 kg Volume: 0,36 1 pc per box

Teak with Batyline seat and backrest

DJDA-T

ITEM NO

DJURÖ ARMCHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:65 D:50,5 H:78,5 Seat height: 45 Armrest height: 64 Weight: 8 kg

W:72 D:61 H:81 Weight: 11 kg Volume: 0,36 1 pc per box

Teak

DJDA-TT

TEAK

TEXTILES

BATYLINE WHITE 7300FR-5001

DESCRIPTION

Design Matilda Lindblom

W:78 D:66 H:70 Seat height: 36 Armrest height: 55 Weight: 9 kg

W:85 D:70 H:73 Weight: 15 kg Volume: 0,43 1 pc per box

Teak with Batyline seat and backrest

DJA-T

Design Matilda Lindblom

DJURÖ LOUNGE CHAIR & STOOL

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

DJURÖ TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Lounge Chair W:78 D:66 H:70 Seat height: 36 Armrest height: 55 Weight: 12 kg

W:85 D:70 H:73 Weight: 18 kg Volume: 0,43 1 pc per box

Teak

DJA-TT

Design Matilda Lindblom

W:100 D:85 H:73 Weight: 21 kg

W:105 D:90 H:13 Weight: 25 kg Volume: 0,1 1 pc per box

Teak

DJDT100-T

Stool W:59 D:40 H:34 Weight: 7 kg

W:64 D:46 H:42 Weight: 9 kg Volume: 0,12 1 pc per box

Teak

DJS-T

DJURÖ LOUNGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

DJURÖ TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:40 D:40 H:45 Weight: 4 kg

W:56 D:53 H:9 Weight: 6 kg Volume: 0,03 1 pc per box

Teak

DJ42-T

Design Matilda Lindblom

W:200 D:85 H:73 Weight: 44 kg

W:204 D:89 H:13 Weight: 54 kg Volume: 0,24 1 pc per box

Teak

DJDT200-T

DJURÖ LOUNGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

DJURÖ TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:79 D:79 H:38 Weight:11 kg

W:87 D:87 H:7 Weight: 15 kg Volume: 0,05 1 pc per box

Teak

DJ79-T

Design Matilda Lindblom

W:110 D:110 H:73 Weight: 23 kg

W:114 D:114 H:13 Weight: 33 kg Volume: 0,17 1 pc per box

Teak

DJDT110D-T

Design Matilda Lindblom

150 SKARGAARDEN

SKARGAARDEN

151

GRINDA

MATERIAL AND COLOR GUIDE WOOD

Grinda dining furniture comes in teak with a black painted steel frame. Grinda dining furniture includes a side chair, armchair, a bench and four different sizes of tables to decorate your balcony, veranda, deck, lawn or wherever you host your dinner parties

PRODUCT

PACKAGING

Design Matilda Lindblom

W:45 D:52 H:84 Seat height: 45 Weight: 7 kg

W:61 D:52 H:90 Weight: 20 kg Volume: 0,29 2 pc per box

GRINDA ARMCHAIR

PRODUCT

Design Matilda Lindblom

W:64 D:52 H:84 Seat height: 45 Armrest height: 60 Weight: 9 kg

GRINDA BENCH Design Matilda Lindblom

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:85 D:85 H:73,5 Weight: 16 kg

W:109 D:93 H:9 Weight: 33 kg Volume: 0,42 1pc per box

Teak, black painted steel frame

GRT85-T

TEAK

METAL FRAME

BLACK PAINTED STEEL FRAME

TEXTILES

WHITE SUNBRELLA NATTE NAT 10020

GRINDA CHAIR

GRINDA TABLE

HEATHER GREY SUNBRELLA NATTE SJA 10029

BLACK SUNBRELLA NATTE NAT 10078

DESCRIPTION

ITEM NO

GRINDA TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Teak, black painted steel frame

GRC-T

Design Matilda Lindblom

W:150 D:85 H:73,5 Weight: 29 kg

W:157 D:93 H:29 Weight: 33 kg Volume: 0,42 1pc per box

Teak, black painted steel frame

GRT15-T

PACKAGING

DESCRIPTION

ITEM NO

GRINDA TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:67 D:63 H:90 Weight: 24 kg Volume: 0,38 2 pc per box

Teak, black painted steel frame

GRA-T

Design Matilda Lindblom

W:200 D:85 H:73,5 Weight: 37 kg

W:206 D:94 H:29 Weight: 42 kg Volume: 0,56 1pc per box

Teak, black painted steel frame

GRT20-T

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:128 D:40 H:45 Seat height: 45 Weight: 9 kg

W:133 D:45 H:48 Weight: 15 kg Volume: 0,29 1 pc per box

Teak, black painted steel frame White Natte cushions Heather Grey Natte cushions Black Natte cushions

GRB-T GRBC-10020-SN-W GRBC-10029-SN-HG GRBC-10078-SN-B

H55

MATERIAL AND COLOR GUIDE WOOD

The H55, a recliner in teak, fabric and stainless steel, was designed in 1955, is unbelievably comfortable and has six different recline settings. The canvas fabric edition is for indoor use only.

TEAK

TEXTILES

NATURAL CANVAS NEVOTEX 510

BLACK SUNBRELLA SJA 5408

NAVY BLUE SUNBRELLA SJA 5439

WHITE SUNBRELLA SJA 5453

BEIGE RENEISANCE SUNBRELLA 40328/03

DARK GREY RENEISANCE SUNBRELLA 40328/07

GRINDA TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

H55

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:60 D:60 H:73,5 Weight: 9 kg

W:82 D:75 H:9 Weight: 12 kg Volume: 0,06 1 pc per box

Teak, black painted steel frame

GRT60-T

Design Björn Hultén

W:76 D:90 H:92 Weight: 9 kg

W:133 D:83 H:10 Weight: 10 kg Volume: 0,11 1 pc per box

Teak, natural canvas fabric (indoor use) Teak, black Sunbrella fabric Teak, navy blue Sunbrella fabric Teak, white Sunbrella fabric Teak, Sunbrella Reneisance fabric beige Teak, Sunbrella Reneisance fabric dark grey

H55-T-N H55-T-B H55-T-NB H55-T-W H55-T-RB H55-T-RDG

152 SKARGAARDEN

SKARGAARDEN

153

HÄRINGE

MATERIAL AND COLOR GUIDE WOOD

A lounge range made in teak. Frames in brushed stainless steel or powder coated black. Outdoor cushions feature buttons and decorative stitching, so they aren’t waterproof but they are beautiful. Cushions in Sunbrella fabrics or artificial leather for outdoor use.

TEAK

METAL FRAME

TEXTILES

BLACK PAINTED STEEL FRAME RAL 9005

WHITE SUNBRELLA NATTE NAT 10020

GREY CHINÉ SUNBRELLA NATTE NAT 10022

HEATHER GREY SUNBRELLA NATTE SJA 10029

SOOTY SUNBRELLA NATTE NAT 10030

HEATHER CHINÉ SUNBRELLA NATTE SJA 10039

NATURE GREY SUNBRELLA NATTE SJA 10040

BLACK SUNBRELLA NATTE NAT 10078

BLACK ARTIFICIAL LEATHER

HÄRINGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:85 D:85 H:71,5 Weight: 17 kg

W:92 D:93 H:12 Weight: 22 kg Volume: 0,10 1 pc per box

Brushed stainless steel frame with teak Black stainless steel frame with teak

HART85-T HART85-BT

WHITE ARTIFICIAL LEATHER

HÄRINGE ARMCHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

HÄRINGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:62,5 D:57 H:72 Seat height: 45 Armrest height: 72 Weight: 11 kg

W:69 D:64 H:80 Weight: 16 kg Volume: 0,35 1 pc per box

Brushed stainless steel frame with teak slats Black stainless steel frame with teak slats White Natte cushions Grey Chiné Natte cushions Heather Grey Natte cushions Sooty Natte cushions Heather Chiné Natte cushions Nature Grey Natte cushions Black Natte cushions Black artificial leather cushions White artificial leather cushions

HARAR-T HARAR-BT HAC-10020-SN-W HAC-10022-SN-GC HAC-10029-SN-HG HAC-10030-SN-S HAC-10039-SN-HC HAC-10040-SN-NG HAC-10078-SN-B HAC-AFL-B HAC-AFL-W

Design Carl Jägnefeldt and Joacim Wahlström

W:170 D:85 H:71,5 Weight: 30 kg

W:179 D:93 H:12 Weight: 39 kg Volume: 0,20 1 pc per box

Brushed stainless steel frame with teak Black stainless steel frame with teak

HART17-T HART17-BT

HÄRINGE LOUNGE CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

HÄRINGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:80 D:72 H:66 Seat height: 39 Armrest height: 66 Weight: 17 kg

W:86 D:78 H:73 Weight: 24 kg Volume: 0,49 1 pc per box

HARLA-T HARLA-BT HLC-10020-SN-W HLC-10022-SN-GC HLC-10029-SN-HG HLC-10030-SN-S HLC-10039-SN-HC HLC-10040-SN-NG HLC-10078-SN-B HLC-AFL-B HLC-AFL-W

Design Carl Jägnefeldt and Joacim Wahlström

W:214 D:95 H:71,5 Weight: 42 kg

W:223 D:103 H:12 Weight: 52 kg Volume: 0,28 1 pc per box

Brushed stainless steel frame with teak Black stainless steel frame with teak

HART21-T HART21-BT

HÄRINGE LOUNGE SOFA

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

HÄRINGE LOUNGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:184 D:72 H:66 Seat height: 39 Armrest height: 66 Weight: 28 kg

W:191 D:80 H:74 Weight: 44 kg Volume: 1,13 1 pc per box

HARLS-T HARLS-BT HS-10020-SN-W HS-10022-SN-GC HS-10029-SN-HG HS-10030-SN-S HS-10039-SN-HC HS-10040-SN-NG HS-10078-SN-B HS-AFL-B HS-AFL-W

Design Carl Jägnefeldt and Joacim Wahlström

W:85 D:85 H:40 Weight: 15 kg

W:93 D:93 H:12 Weight: 20 kg Volume: 0,10 1 pc per box

Brushed stainless steel frame with teak slats Black stainless steel frame with teak slats

HARLTS-T HARLTS-BT

HÄRINGE SUN LOUNGER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

HÄRINGE LOUNGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:200 D:70 H:30 Weight: 31 kg

W:210 D:79 H:37 Weight: 40 kg Volume: 0,61 1 pc per box

HARCL-T HARCL-BT HSL-10020-SN-W HSL-10022-SN-GC HSL-10029-SN-HG HSL-10030-SN-S HSL-10039-SN-HC HSL-10040-SN-NG HSL-10078-SN-B HSL-AFL-B HSL-AFL-W

Design Carl Jägnefeldt and Joacim Wahlström

W:148 D:85 H:40 Weight: 23 kg

W:157 D:93 H:12 Weight: 32 kg Volume: 0,18 1 pc per box

Brushed stainless steel frame with teak Black stainless steel frame with teak

HARLTL-T HARLTL-BT

154 SKARGAARDEN

SKARGAARDEN

155

KERTEMINDE

MATERIAL AND COLOR GUIDE WOOD

Dining Chair with a matching table, in teak and forest green steel. Sturdy and robust, and yet at the same time light and slender. Easily maintained and very durable.

METAL FRAME

DARK GREEN RAL 6009

TEXTILES

KERTEMINDE CHAIR

PRODUCT

PACKAGING

WOOD

HEATHER GREY SUNBRELLA NATTE SJA 10029

TEAK

TEXTILES

NATURAL CANVAS NEVOTEX 510

BLACK SUNBRELLA SJA 5408

NAVY BLUE SUNBRELLA SJA 5439

WHITE SUNBRELLA SJA 5453

BEIGE RENEISANCE SUNBRELLA 40328/03

DARK GREY RENEISANCE SUNBRELLA 40328/07

BLACK SUNBRELLA NATTE NAT 10078

ITEM NO

KRYSS LOUNGE CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Teak, forest green painted steel frame White Natte seat cushions Heather Grey Natte seat cushions Black Natte seat cushions

KERC-G-T KERC-SUN-W KERC-SUN-N KERC-SUN-B

Design Björn Hultén

W:54 D:54 H:77 Seat height: 39 Armrest height: 64 Weight: 5 kg

W:85 D:60 H:11 Weight: 6 kg Volume: 0,06 1 pc per box

PKC-T-C PKC-T-B PKC-T-NB PKC-T-W PKC-T-RB PKC-T-RDG

PACKAGING

DESCRIPTION

ITEM NO

KRYSS TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:85 D:85 H:10 Weight: 21 kg Volume: 0,07 1 pc per box

Teak, forest green painted steel frame

KERT80-G-T

Design Björn Hultén

W:60 D:60 H:50 Weight: 6 kg

W:85 D:60 H:6 Weight: 6 kg Volume: 0,03 1 pc per box

Teak

PKT-T

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

KRYSS DINING CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W: 200 D:80 H:70 Weight: 34 kg

W: 205 D:85 H:10 Weight: 42 kg Volume: 0,17 1 pc per box

Teak, forest green painted steel frame

KERT200-G-T

Design Björn Hultén

W:58 D:54 H:83 Seat height: 45 Armrest height: 69 Weight: 7 kg

W:91 D:62 H:12 Weight: 8 kg Volume: 0,07 1 pc per box

PKDC-T-C PKDC-T-B PKDC-T-NB PKDC-T-W PKDC-T-RB PKDC-T-RDG

Design Nils-Ole Zib

W:44 D:40 H:80 Seat height: 43 Weight: 7,5 kg

W:60 D:52 H:90 Weight: 18 kg Volume: 0,28 2 pc per box

KERTEMINDE TABLE, 80X80CM

PRODUCT

Design Nils-Ole Zib

W:80 D:80 H:70 Weight: 17 kg

KERTEMINDE TABLE Design Nils-Ole Zib

156 SKARGAARDEN

MATERIAL AND COLOR GUIDE

Lounge Chair and Dining Chair in teak and fabric fitted to the backrest with leather. Matching cushions are included. Table in teak. Originally designed for a roof terrace on the Swedish Embassy in Cairo in 1975. The canvas fabric edition is for indoor use only.

TEAK

WHITE SUNBRELLA NATTE NAT 10020

KRYSS

DESCRIPTION

SKARGAARDEN

157

KORSÖ

MATERIAL AND COLOR GUIDE WOOD

This table is named after an island just east of Sandhamn in the Stockholm archipelago. It looks almost like a pier that stretches, slat by slat, over the water. The roundness of the corners is soft, like rocks that have been polished by the sea for thousands of years.

MARRAKECH

MATERIAL AND COLOR GUIDE METAL FRAME

Tables in two sizes, with black and white painted steel frames. The star feature of Marrakech are the tiles, brilliantly crafted by hand in Morocco.

TEAK

WHITE

BLACK

TILES

BROWN-WHITE GREY-WHITE

AZURE-WHITE PINK-WHITE

KORSÖ DINING TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

MARRAKECH TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

W:200 D:90 H:67 Weight: 58 kg

W:210 D:100 H:14 Weight: 62 kg Volume: 0,29 1 pc per box

Teak

KORT20-T

Design Claesson Koivisto Rune

W:42 D:42 H:30 Weight: 16 kg

W:44 D:44 H:34 Weight: 17 kg Volume: 0,07 1 pc per box

Black steel frame with brown-white tiles Black steel frame with grey-white tiles White steel frame with azure-white tiles White steel frame with pink-white tiles

MAR44-B-BW MAR44-B-GW MAR44-W-AW MAR44-W-PW

KORSÖ TABLE TOP EXTENSIONS

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

MARRAKECH TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:100 (50 cm x2 pc) D:90 H:4 Weight: 7 kg

W:60 D:100 H:26 Weight: 16 kg Volume: 0,16 2 pc per box

Teak, 2 pc

KORTEX10-T

Design Claesson Koivisto Rune

W:63 D:23 H:45 Weight: 12 kg

W:64 D:25 H:51 Weight: 13 kg Volume: 0,08 1 pc per box

Black steel frame with brown-white tiles Black steel frame with grey-white tiles White steel frame with azure-white tiles White steel frame with pink-white tiles

MAR42-B-BW MAR42-B-GW MAR42-W-AW MAR42-W-PW

Design Martin dos Santos

158 SKARGAARDEN

SKARGAARDEN

159

NOZIB

MATERIAL AND COLOR GUIDE WOOD

An extravagant duo. A spectacular sun lounger made from 88 meticulously assembled teak parts, with neck cushion in water resistant artificial leather. And the teak Lounge Chair with its unique, yet a tad mor conventional look. Both of them folds neatly away.

TEAK

TEXTILES

WHITE SUNBRELLA NATTE NAT 10020

HEATHER GREY SUNBRELLA NATTE SJA 10029

BLACK BLACK SUNBRELLA NATTE ARTIFICIAL NAT 10078 LEATHER

OXNÖ

MATERIAL AND COLOR GUIDE WOOD

A dining range in teak with ingenious design details such as a mounted seat that creates the impression of floating just above the frame. Cushions in quality Sunbrella fabrics, made to endure both the sun and the rain.

TEAK

TEXTILES

FELT DARK GREY

FELT WHITE

NATTE WHITE NAT 10020

NOZIB SUN LOUNGER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

OXNÖ ARMCHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Nils-Ole Zib

W:51 D:169 H:102 Seat height: 31 Weight: 18 kg

W:60 D:160 H:30 Weight: 32 kg Volume: 0,29 1 pc per box

Teak

NOZ-T

Design Matilda Lindblom

W:57 D:53 H:76 Seat height: 45 Armrest height: 71,5 Weight: 6,5kg

W:64 D:62 H:90 Weight: 16 kg Volume: 0,36 2 pc per box

Teak Felt cushion, dark grey Felt cushion, white Sunbrella Natte cushion white

OXA-T OXC-FELT-DG OXC-FELT-W OXC-SUN-WN

NOZIB LOUNGE CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

OXNÖ TABLE, 80X80CM

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Nils-Ole Zib

W:60 D:83 H:73 Seat height: 31 Weight: 8,5 kg

W:105 D:64 H:24 Weight: 13 kg Volume: 0,16 1 pc per box

Teak White Natte lounge chair cushion Heather Grey Natte lounge chair cushion Black Natte lounge chair cushion

NOZLC-T NOZLC-10020-SN-W NOZLC-10029-SN-HG NOZLC-10078-SN-B

Design Matilda Lindblom

W:80 D:80 H:74 Weight: 16 kg

W:94 D:88 H:17 Weight: 19 kg Volume: 0,14 1 pc per box

Teak

OXT85-T

OXNÖ TABLE, & EXTENDABLE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:220 D:100 H:75,5 Weight: 44 kg

W:229 D:108 H:16 Weight: 50 kg Volume: 0,40 1 pc per box

Teak

OXT22-T

W:220-300 D:100 H:75,5 Weight: 78 kg

W:229 D:110 H:37 Weight: 85 kg Volume: 0,93 1 pc per box

Teak

OXET-T

Design Matilda Lindblom

160 SKARGAARDEN

SKARGAARDEN

161

RESÖ

MATERIAL AND COLOR GUIDE METAL FRAME

A dining series in steel and fabric: available as standard in white and charcoal grey, but also available to order in a variety of colors. There are two versions of Resö, one made entirely from steel with straight back slats, and one with a fabric seat and crossed slats in the back.

WHITE RAL 9016

CHARCOAL GREY RAL 7016

YELLOW RAL 1018

DARK GREEN RAL 6009

LIGHT GREEN RAL 6021

BLACK RAL 9005 GL. 35

SOOTY SUNBRELLA NATTE NAT 10030

HEATHER CHINÉ SUNBRELLA NATTE SJA 10039

PRODUCT

PACKAGING

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:74 D:63 H:73 Weight: 9 kg Seat height: 41

W:78 D:71 H:80 Weight: 21 kg Volume: 0,44/box 1 pc per box

Black metal Charcoal grey metal Light green metal Pink metal White metal White Sunbrella cushion Black Sunbrella cushion Natural Sunbrella cushion

RELCM-B RELCM-GG RELCM-LG RELCM-P RELCM-W RELC-W RELC-B RELC-N

ITEM NO

RESÖ BENCH

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

REM-B REM-GG REM-DG REM-LG REM-P REM-W REM-Y REC-W REC-B REC-N

Design Matilda Lindblom

W:100 D:47 H:45 Weight: 10 kg Seat height: 45

W:105 D:52 H:48 Weight: 14 kg Volume: 0,27 1 pc per box

White metal Light green metal Black metal Charcoal grey metal White Sunbrella cushion Black Sunbrella cushion Natural Sunbrella cushion

REBM-W REBM-LG REBM-B REBM-GG REBC-W REBC-B REBC-N

PINK RAL 3015

TEXTILES

WHITE SUNBRELLA NATTE NAT 10020

RESÖ CHAIR

RESÖ LOUNGE CHAIR

DESCRIPTION

CHARCOAL SUNBRELLA SLING SLI 50045 00

BEIGE SUNBRELLA SLING SLI 50045 06

WHITE SUNBRELLA SLING SLI 50045 07

Design Matilda Lindblom

W:54 D:59 H:80 Seat height: 45 Weight: 8 kg

W:69 D:59 H:93 Weight: 8 kg/chair Volume: 0,38/box 2-4 pc per box

Black Charcoal Grey metal Dark Green metal Light Green metal Pink metal White metal Yellow metal White Sunbrella cushion Black Sunbrella cushion Natural Sunbrella cushion

RESÖ CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

RESÖ LOUNGE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:54 D:59 H:80 Seat height: 45 Weight: 6 kg

W:69 D:59 H:93 Weight: 6 kg/chair Volume: 0,38/box 4 pc per box

Charcoal Grey metal Sunbrella Sling seat White metal Beige Sunbrella Sling seat White metal White Sunbrella Sling seat

REFGG-G REFW-N REFW-W

Design Matilda Lindblom

W:45 D:45 H:41 Weight: 6 kg

W:51 D:51 H:44 Weight: 8 kg Volume: 0,11 1 pc per box

Charcoal grey metal Light green metal Pink lounge metal White lounge metal Black metal

RELTI-GG RELTI-LG RELTI-P RELTI-W RELTI-B

RESÖ TABLE, 60CM DIA

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

RESÖ LOUNGE TABLE

PRODUCT

PACKAGING

MATERIAL

ITEM NO

Design Matilda Lindblom

W:60 D:60 H:73 Weight: 8 kg

W:76 D:61 H:9 Weight: 15 kg Volume: 0,04 1 pc per box

Charcoal Grey metal Dark Green metal Black Light Green metal Pink metal White metal Yellow metal

RET60-GG RET60-DG RET60-B RET60-LG RET60-P RET60-W RET60-Y

Design Matilda Lindblom

W:45 D:45 H:41 Weight: 6 kg

W:51 D:51 H:44 Weight: 8 kg Volume: 0,11 1 pc per box

Charcoal grey metal Light green metal Pink metal White metal Black metal

RELTX-GG RELTX-LG RELTX-P RELTX-W RELTX-B

RESÖ TABLE, 100CM DIA

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Matilda Lindblom

W:100 D:100 H:73 Weight: 16 kg

W:101 D:101 H:9 Weight: 20 kg Volume: 0,09 1 pc per box

Charcoal Grey metal Dark Green metal Black Light Green metal Pink metal White metal Yellow metal

RET10-GG RET10-DG RET10-B RET10-LG RET10-P RET10-W RET10-Y

162 SKARGAARDEN

SKARGAARDEN

163

SKANÖR

MATERIAL AND COLOR GUIDE WOOD

An exclusive and generous range of furniture for outdoor, covered outdoor and indoor areas. Outdoor: teak frames and foam-filled cushions, with covers made from outdoor fabrics from Sunbrella.

SKANÖR LOUNGE CHAIR Design Carl Jägnefeldt and Joacim Wahlström

PRODUCT

PACKAGING

W:105 D:90 H:74 Seat height: 40 Weight: 31 kg

W:111 D:95 H:29 Weight: 43 kg Volume: 0,31 1 pc per box W:110 D:80 H:75 Weight: 14 kg Volume: 0,66 1 set per box

SKANÖR LOUNGE TABLE, S

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:71,5 D:71,5 H:45 Weight: 30 kg

W:79 D:79 H:52 Weight: 32 kg Volume: 0,32 1 pc per box

Teak

SKANT71-T

ITEM NO

SKANÖR LOUNGE TABLE, L

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Teak White, Sunbrella Natte Light grey, Sunbrella Natte grey chiné Dark Beige, Sunbrella Natte heather grey Dark grey, Sunbrella Natte sooty Beige, Sunbrella Natte heather chiné Black, Sunbrella Natte

SKANA-T SKANA-10020-SN-W SKANA-10022-SN-GC SKANA-10029-SN-HG SKANA-10030-SN-S SKANA-10039-SN-HC SKANA-10078-SN-B

Design Carl Jägnefeldt and Joacim Wahlström

W:137,5 D:80 H:45 Weight: 42

W:145 D:88 H:52 Weight: 52 kg Volume: 0,66 1 pc per box

Teak

SKANT137-T

TEAK

TEXTILES

WHITE SUNBRELLA NATTE NAT 10020

GREY CHINÉ SUNBRELLA NATTE NAT 10022

HEATHER GREY SUNBRELLA NATTE SJA 10029

SOOTY SUNBRELLA NATTE NAT 10030

DESCRIPTION

HEATHER CHINÉ SUNBRELLA NATTE SJA 10039

BLACK SUNBRELLA NATTE NAT 10078

SKANÖR 2-SEATER SOFA

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

SKANÖR SIDE TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM

Design Carl Jägnefeldt and Joacim Wahlström

W:167 D:90 H:74 Seat height: 40 Weight: 38 kg

W:171 D:94 H:29 Weight: 56 kg Volume: 0,47 1 pc per box

SKAN2-T SKAN2-10020-SN-W SKAN2-10022-SN-GC SKAN2-10029-SN-HG SKAN2-10030-SN-S SKAN2-10039-SN-HC SKAN2-10078-SN-B

Design Carl Jägnefeldt and Joacim Wahlström

W:51 D:51 H:35 Weight: 13 kg

W:59 D:59 H:42 Weight, 18 kg Volume: 0,15 1 pc per box

Teak

SKANT515-T

W:110 D:80 H:120 Weight: 21 kg Volume: 1,06 1 set per box

SKANÖR 3-SEATER SOFA

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:231 D:90 H:74 Seat height: 40 Weight: 49 kg

W:233 D:93 H:29 Weight: 72 kg Volume: 0,63 1 pc per box

SKAN3-T SKAN3-10020-SN-W SKAN3-10022-SN-GC SKAN3-10029-SN-HG SKAN3-10030-SN-S SKAN3-10039-SN-HC SKAN3-10078-SN-B

W:120 D:80 H:130 Weight: 26 kg Volume: 1,25 1 set per box

SKANÖR SUN LOUNGER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Carl Jägnefeldt and Joacim Wahlström

W:200 D:68,5 H:23 Seat height: 23 Weight: 32 kg

W:209 D:76 H:31 Weight: 43 kg Volume: 0,49 1 pc per box

Teak Teak, with wheels White, Sunbrella Natte Light grey, Sunbrella Natte grey chiné Dark Beige, Sunbrella Natte heather grey Dark grey, Sunbrella Natte sooty Beige, Sunbrella Natte heather chiné Black, Sunbrella Natte

SKANSL-T SKANSL-W-T SKANSL-10020-SN-W SKANSL-10022-SN-GC SKANSL-10029-SN-HG N SKANSL-10030-SN-S SKANSL-10039-SN-HC SKANSL-10078-SN-B

164 SKARGAARDEN

SKARGAARDEN

165

VIKEN

MATERIAL AND COLOR GUIDE WOOD

A dining series in teak. The chair is made entirely from teak, as is the table – apart from a couple of screws to secure the table top to the legs.

TEAK

TEXTILES

WHITE SUNBRELLA NATTE NAT 10020

SOOTY SUNBRELLA NATTE NAT 10030

HEATHER CHINÉ SUNBRELLA NATTE SJA 10039

VIKEN CHAIR

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Gunilla Norin

W:47 D:51 H:94 Seat height: 47 Weight: 7 kg

W:116 D:54 H:26 Weight: 19 kg Volume: 0,16 2 pc per box

Teak Seat cushion white Sunbrella Natte Seat cushion dark grey Sunbrella Natte Sooty Seat cushion beige Sunbrella Natte Heather Chine

VIKC-T VIKC-SUN-WN VIKC-SUN-BN VIKC-SUN-NN

VIKEN TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Gunilla Norin

W:110 D:95 H:72,5 Weight: 11 kg

W:120 D:117 H:14 Weight: 15 kg Volume: 0,20 1 pc per box

Teak

VIKT11-T

VIKEN TABLE

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Gunilla Norin

W:140 D:121 H:72,5 Weight: 17 kg

W:147 D:132 H:14 Weight: 19 kg Volume: 0,27 1 pc per box

Teak

VIKT14-T

166 SKARGAARDEN

SKARGAARDEN

167

ACCESSORIES Let there be light. And let there be cosiness as well, while you’re at it. The popular fire basket, Boo, now comes in a small candleholder version, Boo Jr. The Tipi lamp is still made with the help of the brilliant people at Ateljé Lyktan. And the storm lanterns are as beautiful this year as they were last. Our soft goods perfect the collection with elaborate design details and great materials.

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin Kallin

W:30 D:30 H:30 Weight: 3kg

W:32 D:32 H:32 Weight: 5 kg Volume: 0,03 1 pc per box

Candle holder black metal Candle holder metal

BOO-CH-BM BOO-CH-M

MARSTRAND CANDLE LANTERN

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:15 D:15 H:25 W:1,5 kg

W:20,5 D:20,5 H:28 Weight: 1,5 kg Volume: 0,01 1 pc per box

Candle lantern, dark brown leather, clear glass CALA-DBL

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

W:20,5 D:20,5 H:28 Weight: 1,5 kg Volume: 0,01 1 pc per box

Candle lantern, light leather, clear glass

CALA-L

Design Martin dos Santos

W:15 D:15 H:25 W:1,5 kg

TIPI LAMP XS

PRODUCT

PACKAGING

DESCRIPTION

Design Mårten Cyren & Gustav Cyrén

W:40 D:40 H:42 Weight: 4 kg

W:77 D:78 H:57 Weight: 9 kg Volume: 0,34 1 pc per box

Outdoor table top lamp, teak slats, TIPI-XS black painted steel. Connection: Electric connection and delivered with black rubber cable 3x0.75 mm2, 5 m long with earthed plug. Recommended light source is a 8W LED-bulb with E27 fitting.

TIPI LAMP S

PRODUCT

PACKAGING

DESCRIPTION

Design Mårten Cyren & Gustav Cyrén

W:61 D:61 H:74 Weight: 11 kg

W:78 D:77 H:76 Weight: 14 kg Volume: 0,46 1 pc per box

Outdoor lamp small, teak slats, TIPI-S black painted steel. Connection: Electric connection and delivered with black rubber cable 3x0.75 mm2, 5 m long with earthed plug. Recommended light source is a 8W LED-bulb with E27 fitting.

TIPI LAMP L

PRODUCT

PACKAGING

DESCRIPTION

MÖJA CANDLE LANTERN

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Mårten Cyren & Gustav Cyrén

W:75 D:75 H:95 Weight: 13 kg

W:91 D:92 H:96 Weight: 19 kg Volume: 0,80 1 pc per box

Outdoor lamp large, teak slats, TIPI-L black painted steel. Connection: Electric connection and delivered with black rubber cable 3x0.75 mm2, 5 m long with earthed plug. Recommended light source is a 8W LED-bulb with E27 fitting.

Design Martin dos Santos

W:19 D:19 H:24 W:3,2 kg

W:20,5 D:20,5 H:28 Weight: 3,5 kg Volume: 0,01 1 pc per box

Candle lantern with concrete plate, clear glass

CALA-C

BOO FIRE BASKET

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

MÖJA CANDLE LANTERN

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin Kallin

W:50 D:50 H:50 Weight: 5 kg

W:53 D:53 H:53 Weight: 8 kg Volume: 0,15 1 pc per box

Fire Basket, metal Fire Basket, Black Painted Metal Metal Plate Deck Protection

BOO-M BOO-BM BOO-MP

Design Martin dos Santos

W:19 D:19 H:24 W:3,2 kg

W:20,5 D:20,5 H:28 Weight: 3,5 kg Volume: 0,01 1 pc per box

Candle lantern with concrete plate, grey glass

CALA-G

168 SKARGAARDEN

ITEM NO

BOO CANDLE HOLDER

ITEM NO

Design Martin dos Santos

MARSTRAND CANDLE LANTERN

SKARGAARDEN

169

GLASS COASTER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

NAPKIN

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

Dia: 9,5

4pc per set

Glass coaster, light leather Glass coaster, dark brown leather

COA-L COA-DBL

Design Martin dos Santos

W:45 D:45

4pc per set

Natural linen napkin White linen napkin

NAP-NL NAP-WL

TABLE RUNNER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

NAPKIN HOLDER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

W:150 D:40

1pc per set

Natural linen table runner,

TR-NL

Design Martin dos Santos

W:16 D:4

4pc per set

Napkin holder, light leather Napkin holder, dark brown leather

NH-L NH-DBL

TABLE RUNNER

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

THROW, HAVERDAL

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

W:150 D:40

1pc per set

White linen table runner

TR-WL

Design Martin dos Santos

W:180 D:130

1pc per box

Dark grey wool, leather border

THR-DG

DOILY

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

THROW, MORUP

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

W:48 D:36

4pc per set

Natural linen doily

DOI-NL

Design Martin dos Santos

W:180 D:130

1pc per box

Light grey wool, leather border

THR-LG

DOILY

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

THROW BAG

PACKAGING

DESCRIPTION

ITEM NO

Design Martin dos Santos

W:48 D:36

4 pcs/set

White linen doily

DOI-WL

Design Martin dos Santos

1pc per box

Light grey canvas

THR-CB

170 SKARGAARDEN

SKARGAARDEN

171

AVA

PRODUCT

HEMSE

PRODUCT

Design Martin dos Santos W:50 D:50 H:9 W:0,9 kg

* W:50 D:40 H:9 W:0,7 kg

PACKAGING

PACKAGING W:51 D:51 H:9 Weight: 1,5 kg Volume: 0,02 1pc per box

AVA-LG

AVA-O

AVA-IG

AVA-P

AVA-BE

AVA-DB

AVA-OW

W:51 D:51 H:9 Weight: 1,5 kg Volume: 0,02 1pc per box

TOFTA

TOF-R

TOF-DB

HEM-NYS

HEM-BR

HEM-CC

HEM-MB

HEM-W

HEM-SB

HEM-T

FIDE

TOF-P

TOF-LG

SNÄCK

SNA-W

HEM-TU

TOF-LB

FID-MB

LÄRBO

FID-O

LAR-LG

LAR-BE

NYAN

SNA-DB

NYA-BR

NYA-O

NYA-DB

BUNGE

* BUNG-BG

172 SKARGAARDEN

* BUNG-G

* BUNG-W

* BUNG-B

SKARGAARDEN

173

SPARE PARTS AND EXTRAS

KRYSS DINING FABRIC

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Björn Hultén

Size for Kryss dining chair

W:50 D:45 H:5 Weight: 1,5 kg Volume: 0,01

Black fabric Natural canvas fabric (indoor use) Navy blue fabric Beige Renaissance fabric Dark grey Renaissance fabric White fabric

PKDC-F-B PKDC-F-C PKDC-F-W PKDC-F-RDG PKDC-F-RB PKDC-F-NB

ITEM NO

NOZIB NECK CUSHION

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Nils-Ole Zib

W:35,5 D:13 H:12

W:40 D:20 H:15

Nozib neck cushion, Sun lounger

NOZ-NC

We offer covers for the Häringe and Skanör ranges, separate fabrics for the H55 and Kryss chairs and neck cushions for the Nozib Sun Lounger.

WEATHERPROOF COVER HÄRINGE Design Carl Jägnefeldt and Joacim Wahlström

WEATHERPROOF COVER SKANÖR Design Carl Jägnefeldt and Joacim Wahlström

PRODUCT

DESCRIPTION

Size made for product

Weatherproof cover, Häringe armchair Weatherproof cover, Häringe lounge chair Weatherproof cover, Häringe lounge sofa

HAC-COV-GR HLC-COV-GR HS-COV-GR

PRODUCT

DESCRIPTION

ITEM NO

Size made for product

Weatherproof cover, Skanör lounge chair Weatherproof cover, Skanör 2-seater sofa Weatherproof cover, Skanör 3-seater sofa Weatherproof cover, Skanör sun lounger

SKANA-COV-GR SKAN2-COV-GR SKAN3-COV-GR SKANSL-COV-GR

H55 FABRICS

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Björn Hultén

Size for H55

W:60 D:30 H:12 1 pc per box

Natural canvas fabric (indoor use) Black Sunbrella fabric Navy blue Sunbrella fabric White Sunbrella fabric Sunbrella Reneisance fabric beige Sunbrella Reneisance fabric dark grey

H55-F-N H55-F-B H55-F-NB H55-F-W H55-F-RB H55-F-RDG

KRYSS LOUNGE FABRIC

PRODUCT

PACKAGING

DESCRIPTION

ITEM NO

Design Björn Hultén

Size for Kryss lounge chair

W:50 D:45 H:5 Weight: 1,5 kg Volume: 0,01

Black fabric Natural canvas fabric (indoor use) Navy blue fabric Beige Renaissance fabric Dark grey Renaissance fabric White fabric

PKC-F-B PKC-F-C PKC-F-W PKC-F-RDG PKC-F-RB PKC-F-NB

174 SKARGAARDEN

SKARGAARDEN

175

TEAK MAINTENANCE Teak is a hardwood tree, called Tectona grandis in latin. Apart from being very stylish, it’s also exceptionally durable and it needs very low maintenance. Do note, however, that the latter isn’t the same as “no maintenance”. Here are a few tips on what to do, and what not to do. At Skargaarden we only use only high grade teak, harvested from carefully controlled plantations. You don’t have to use any kind of preservatives or treatments to ensure the longevity of your outdoor teak. NEW FURNITURE All our teak furniture are sanded and polished at delivery – but that’s it. If you’re using the furniture outside, and they are exposed to water, they will get a bit rough. This is a natural process and is solved by sanding the teak. It usually only happens twice, in the beginning. DON’T OIL OUTDOOR TEAK FURNITURE Oiling teak is a good thing if you are planning on using the furniture indoors. Outdoor teak furniture should not be oiled. It will not make it last longer, but it will tie you into an tiresome maintenance routine. Oiled teak is more likely to mildew and will cause irregular coloring as it weathers. New teak furniture often appears smooth and “polished” – this comes from the oil that occurs naturally in the wood. The oil on the surface of your teak will gradually evaporate when the furniture is outdoors (this is what happens when it turns grey). It’s the oil that remains below the surface that gives the wood its strength and durability. This is why Skargaarden teak can be left outside all year long. SOME SHADES OF GREY As mentioned already, left outdoors, our teak furniture will naturally weather to a silver grey color. You will begin to notice this “greying” in a few months, depending on the amount of sun and rain your furniture is

exposed to. During the weathering process there may be som roughening of the grain, occuring in spots. You may even notice a few small cracks. Water spots or other discoloration may also occur during the weathering process. All these flaws will eventually even out, and the furniture will take on a uniform silver-grey color. It’s a natural, living material. HOW TO KEEP THE ORIGINAL COLOR So, what if you don’t fancy the grey color and want to keep the original dark color of the teak? Your piece of furniture can be restored, by cleaning it with mild, soapy water and a soft bristle scrub brush. A good teak cleaner is also very effective. It requires no heavy scrubbing or polishing. A teak sealer can then be applied after cleaning, which will help to maintain the honey-like color of your teak. Teak sealer needs to be reapplied about once a year, and should not be applied to new teak. Remember to wipe your teak furniture clean with water and a mild detergent and then let it dry – before you apply the sealer. Apply the sealer in a thin layer! Less is really more. OTHER TIPS FOR PROTECTING AND CARING THE TEAK Cleaning your teak furniture every now and then is a good thing. It helps maintaining the general appearance and prevents dirt from building up. Hosing it will do the trick, so it’s not that much of an effort. Just don’t use a high-preasure washer. As mentioned earlier, use a mild detergent and rinse afterwards. You may of course cover your furniture when you are not using it for a long period of time. That will help keep it clean and protected (especially in areas with a lot of tree sap or dust), but is not essential. If you do choose to use protective covers, it is very important that you use only “breathable” covers that don’t trap the humidity, but allow constant ventilation. If you’re in a region with cold and snowy winters, we recommend you to store the furniture in a roof-covered place.

OUR SELECTION OF MATERIALS AND THE ENVIRONMENT All our oak, teak, leather and glass is selected from a long-term perspective of sustainability. Our teak comes from carefully selected approved plantations with the highest available quality.

176 SKARGAARDEN

Our outdoor fabrics are from Sunbrella and Serge Ferrari, both leading companies in the development of weather-resistant fabrics.

SKARGAARDEN

177

All rights reserved. Skargaarden product catalogue. No part of this catalogue may be used or reproduced in any manner whatsoever without prior consent from the publisher. Photography: Johan Carlson, F22, Magnus Arnesund, Andreas Kock/Link Image, Gefle Fotostudio, Stefan Isaksson/Agent Molly & Co, Lars Gundersen/Realdania By & Byg. Copy: Fredric Thunholm. Art Director: Martin dos Santos. Final Art: Gomorron Reklambyrรฅ. Styling: Britta Henley, Per Wennberg. Print: Gรถteborgs Tryckeriet. Published by Skargaarden International AB. skargaarden.com