WELCOME
It is with great pleasure that we present the first edition of the online magazine: okholmInLight.
With this magazine, we aim to share insights into the projects we have been part of, collaborating with visionary developers, architects, and lighting designers. These are professionals who see light and technology as essential elements in shaping the architecture of today and tomorrow.
We take pride in having contributed to projects where light not only enhances aesthetics but also brings durability and innovation, creating value that extends far into the future.
We hope these projects will serve as inspiration for new visions and collaborations that go beyond today and into the possibilities of tomorrow.
4 OKHOLM LIGHTING IS NOW PART OF CARL HANSEN & SØN/ INTERVIEW WITH KNUD ERIK HANSEN AND PETER OKHOLM
12 RENOVATED IN TRUE RESPECT FOR ITS HISTORY/ LYNGBY CITY HALL, KGS. LYNGBY, DENMARK
20 A VISIONARY OASIS IN THE HEART OF COPENHAGEN/ AMALIEHAVEN, COPENHAGEN, DENMARK
28 PREDIKHERENKLOOSTER – A LIBRARY IN A HISTORIC SETTING/ PREDIKHERENKLOOSTER, MECHELEN, BELGIUM
An iconic centerpiece in the lobby of 9 Appold Street, London. A 6-meter-diameter chandelier designed by March & White.
OKHOLM LIGHTING IS NOW PART OF CARL HANSEN & SØN
ON
MAY 31, 2024,
OKHOLM
THE DANISH LIGHTING MANUFACTURER
LIGHTING BECAME PART OF CARL HANSEN & SØN.
Founded in 1932, Okholm Lighting operates in Tønder, providing tailored lighting solutions for the professional market. The company’s operations will remain unchanged in this new setup and will, moving forward, also handle the production of Carl Hansen & Søn’s lighting fixtures. As part of the acquisition, Okholm Lighting will continue under the name Okholm Lighting by Carl Hansen & Søn.
In this interview with Managing Director Knud Erik Hansen from Carl Hansen & Søn and Director Peter Okholm from Okholm Lighting, we delve into the motivations behind the merger, the benefits of the partnership, and their vision for the future.
CARL HANSEN & SØN AND OKHOLM LIGHTING
Peter Okholm, Okholm Lighting is over 90 years old, and you are celebrating your 30th anniversary in the same year you are selling the company to Carl Hansen & Søn. How does that feel?
To begin with, I have a very good feeling about the takeover. No one in my family had the desire to continue running the company, so I am very pleased that my family’s life’s work is now being taken over by another family-owned business with deep-rooted craftsmanship traditions and the same values.
Furthermore, the lighting and furniture industries naturally complement each other, as we serve the same customer segments, creating great synergy right from the beginning of the merger.
Knud Erik Hansen - Direktor
Peter Okholm - Direktor
Knud Erik Hansen, why acquire a lighting factory and challenge yourself in a relatively price-competitive market when production could be done much cheaper abroad?
Over decades, lighting has evolved into a significant element of interior design, both in the private and professional markets. Since we already operate in both segments, the acquisition was a natural step for us, especially in terms of developing our brand. The design market practically expects us to offer an increasingly broader and deeper product range. It has become a competitive parameter, as many of our competitors, both domestically and in export markets, are similarly integrating lighting into their product portfolios.
We have had lighting in our collection for a long time but outsourced production to third parties.
Moving forward, we will have full control over production, which aligns much better with our DNA, rooted in craftsmanship and quality since 1908.
Has anything surprised you after acquiring Okholm Lighting now that you’ve been fully “behind the scenes”?
Yes, absolutely! And fortunately, only in a positive way!
I’m impressed by the great flexibility of the production setup, the ability to adapt quickly, as well as the versatility and complexity of the projects, which demonstrate profound and strong expertise in lighting technology – from renovation to the construction of cutting-edge lighting solutions. Okholm has delivered lighting ranging from catacombs to large light sculptures in major corporate buildings. The architectural approach to lighting is also incredibly fascinating. The only limit is imagination.
DANISH CRAFTSMANSHIP
Peter Okholm, what makes the production in Tønder so special?
The first thing I would highlight is our adaptability. We always need to be ready for new challenges, and many of the products we receive for renovation or restoration often have many years behind them. There are numerous technical and processing aspects that differ from today.
We also retrofit existing fixtures with new LED technology so companies, for instance, can avoid having to rebuild ceilings. In this area, we have extensive expertise in designing new LED inserts that meet the requirements of the specific workplace.
Our know-how has been built through the diversity of lighting tasks we undertake, ranging from relatively simple to large-scale constructions, such as an LED chandelier with a 9-meter diameter. In such cases, it’s not just about the lighting but also the construction and suspension, as such a piece can be very heavy.
As the Germans say: Übung macht den Meister (practice makes perfect), and this truly applies to us and our employees. We’ve tried almost everything, solved it, and this provides a strong foundation and experience for the next task. We are a small team, so almost everyone is involved in individual processes, which also creates broad knowledge within the company.
Knud Erik Hansen, Carl Hansen & Søn produces in Denmark and exports to a global market. You also own a production facility in Vietnam, where, among other things, you produce outdoor furniture. Why have you chosen not to move your entire production abroad, as other Danish design companies have done?
Our commitment to the Carl Hansen & Søn brand and the renowned designers in our collection lies, among other things, in Danish craftsmanship. This is where the furniture was created, and it was designed based on Danish craft traditions, which simply cannot be exported. Exporting those would mean exporting the soul, and suddenly a design is reduced to just a product without tradition or history.
Over the years, many Danish companies have been acquired by foreign investors, and suddenly, production disappears from the country. The result is that, as a nation, we have sold not only the soul but also the know-how, traditions, and products. And where does that leave us? In my view, in a poorer place. This is a development we will fight against at all costs.
The Carl Hansen & Søn Lighting Collection is already marketed across Europe through Carl Hansen & Søn’s flagship stores located in Copenhagen, Carlsberg City District, Odense, Gelsted, Stockholm, Oslo, Helsinki, London, Hamburg, Munich, Warsaw, Paris, Toulouse, Amsterdam, Antwerp, Milan, and Barcelona. Additionally, they also have flagship stores in New York, Tokyo, Osaka, and Singapore.
Hans J. Wegner’s iconic rise-and-fall pendant, HJW 37 The Pendant, is now produced in his hometown, Tønder, by Okholm Lighting.
SUSTAINABILITY
Knud Erik Hansen, Carl Hansen & Søn has invested significant resources in reducing waste in production. Wood is your most important raw material, and it remains a focus area, both environmentally and politically, such as the widespread destruction of rainforests. The wood industry has taken many steps, but what have you done?
The wood we receive is processed specifically for the production it will be used for. For example, the wood for an armrest is delivered already steam-bent, which significantly minimizes material waste while also ensuring better quality.
Today, we also utilize technologies that scan textiles and leather, optimizing resource use and minimizing waste. Furthermore, we have developed an accessories collection where we use leftover wood and leather for everything from cutting boards and trays to doorstops and potholders—even Christmas decorations. This has grown into both a fun and profitable business. As a side benefit, Carl Hansen & Søn has become the largest contributor to heating in Gelsted.
The smallest wood scraps and shavings are pressed into briquettes and sent to a heating plant, supplying heat to more than 400 homes in Gelsted as well as our factory. This reduces the use of fossil fuels and decreases the transport of waste, which was previously collected daily by large trucks. We are acutely aware that production consumes resources and are constantly working to improve our environmental footprint.
The same question for you, Peter Okholm. You are more involved in the metal industry, where leftover materials cannot be used for heating?
We are highly environmentally conscious, and years of focus have made the metal industry an extremely well-developed circular economy. Almost everything can be recycled and processed into new usable materials, particularly steel, aluminum, copper, and brass, which are extensively reused. We collect all leftover materials.
Recycling aluminum, for example, is very environmentally friendly, requiring 95% less energy compared to producing new aluminum.
The lighting industry, in general, is an excellent example of responsible production. Here are some examples: Efficiency through LED technology, characterized by extremely low energy consumption and long lifespan, which continuously contributes to reducing CO2 emissions. Compared to incandescent and halogen bulbs, LEDs are about 80% more energy-efficient.
Okholm’s core competency is the renovation of old lighting fixtures—and there are many! We upgrade them with new technology and recycle nearly 100% of the materials. Beyond the environmentally responsible aspect, there is a major additional benefit: we preserve the original architecture and design history, which also contributes to cultural and aesthetic sustainability.
DESIGN
Knud Erik Hansen, sustainability and longevity also align with good, wellthought-out design. Carl Hansen & Søn is one of Denmark’s largest design companies and collaborates with some of the most prominent Danish designers. How do you see the future of lighting?
Lighting is a fascinating field, and since PH (Poul Henningsen), Danish lighting has proven to be groundbreaking. This has given rise to a Nordic lighting culture that has become very popular worldwide. For example, Japanese and Scandinavian lighting cultures share many similarities. This culture is based on lighting for people, where well-being, atmosphere, and the overall experience take center stage. Lighting design is experiencing growing global interest, and many new Danish lighting designers interpret this culture brilliantly and creatively.
An interesting fact: Many Danish lighting icons actually started as customdesigned products. We are seeing an increasing convergence between the professional and consumer markets. Many professional lighting solutions, such as spotlights, have transitioned from the professional market to now being used in kitchens, hallways, and bathrooms in private homes.
And Peter Okholm, what are your thoughts on Okholm’s approach to design?
We have not been consumer-market-oriented, even though we now produce fixtures for the consumer market. We remain firmly rooted in the custom design industry. Our approach is not solely about design but also about practical considerations, such as occupational health service requirements for lighting. Our lighting solutions are highly tailored depending on the application area.
It is exciting because we collaborate with architects and lighting designers who are creatively and specification-wise dependent on laws and regulations. These govern everything from energy consumption to the required lighting levels in workplaces. These are demands we must meet, and they are constantly evolving.
From residential lighting to a 9 x 6 meter LED ring chandelier in the Raadzaal Stadshuis Nieuwegein, Netherlands, designed by the architecture firm 3XN.
A significant portion of the lighting we perceive today as design icons was, in fact, developed in the same way we work at Okholm Lighting— through collaboration with architects and lighting designers. That means we develop a product for a specific project in the contract market. Others see it, think it could work for their project, and the momentum builds. Later, minor adjustments might be made, and suddenly the product finds its way into the consumer market and private homes. It’s a very exciting process!
THE FUTURE
Knud Erik Hansen, how do you see the future for Carl Hansen & Søn and Okholm Lighting?
Exciting and challenging! The two companies will need to merge organically, the synergies are obvious, and the opportunities are vast. We have a tradition of developing both design and craftsmanship, and our shared corporate culture makes us even stronger, enabling both us and Denmark to maintain our position as a significant player in the global design market.
I’m confident that together we can create a greater connection between furniture and lighting. It’s going to be an exciting future, and it starts tomorrow.
And Peter Okholm, the same question to you?
Okholm Lighting has received a boost from the acquisition. From being a small Danish company, we are now part of a global organization, both of us sharing a focus on craftsmanship as the cornerstone of our existence.
Carl Hansen & Søn brings experiences and expertise from the global market, while ours are primarily rooted in Scandinavia.
We’ve gained a partner who can not only introduce us to new markets but also benefit from our knowledge and position in a highly specialized field. This opens up significant opportunities to leverage each other’s competencies in the future, which looks bright!
Chandelier at VUC Syd Aabenraa, designed by Marianne Tuxen and artist Erik Steffensen.
RENOVATED IN TRUE RESPECT FOR ITS HISTORY
Lyngby City Hall, constructed between 1939 and 1941, is an architectural gem designed by Hans Erling Langkilde and Ib Martin Jensen. The building, which stands as a prominent landmark, rises six stories high and features an elegant concave form clad in Greenlandic marble. The top floor, slightly recessed, is encased in copper, giving the building its distinctive silhouette. In 2024, the city hall underwent a comprehensive renovation.
Under the leadership of ERIK architects, and as a listed building, the project demanded a profound respect for and understanding of the original visions. Decades of modifications, which had obscured the architectural essence, were removed with the aim of restoring the building’s original character and purity. ERIK architects describe their approach as rooted in a thorough analysis and deep respect for Hans Erling Langkilde and Ib Martin Jensen’s original ideas and sketches.
Photo: Meike Rehder
LYNGBY CITY HALL
Photo: Meike Rehder
Photo: Meike Rehder
ERIK architects describe the process as follows:
“Our approach has been to clear away and restore the original expression, but in a way that allows new spatial arrangements and functional requirements to align with the building’s fundamental heritage principles. This meant removing partitions and installations – the building has been opened up, particularly on the ground floor. On the ground floor, this has restored the quality of bringing the building’s stucco-marbled columns back into view. Normally, marbling is a technique known from Baroque and Neoclassical churches and palaces. There are examples from Modernist buildings, but few remain. Experiencing the sensuous surfaces of the columns in the new Citizen Service area transforms waiting time into a moment of discovery.”
The renovation of Lyngby City Hall has been an exercise in architectural detective work. With limited professional literature available about the building, the project had to rely on original drawings from the archives of the Royal Danish Academy of Fine Arts and the collections of Lyngby-Taarbæk Municipality. Historical photographs and the original building descriptions have further served as key sources for understanding the building’s original design and intent.
Photo: Meike Rehder
Katrine Juul Nielsen, partner and commercial market manager at ERIK architects, comments on the project process:
“Lyngby City Hall is a listed building, and from the very beginning of the project, we started researching the building’s history. Through old archive photos from the early 1940s, when the city hall first opened, we discovered intriguing column fixtures that we believed could play a role in the current restoration. We shared the photos with Peter Okholm and discussed proportions and design. Okholm Lighting returned with a proposed solution, which we then presented to the client.
The archive photos also revealed that the existing lamps in the foyer area, which today function as uplights, were originally used to provide downward lighting in the arcades. Okholm Lighting measured the original glass and ensured the production of new replicas. In close collaboration, we worked on the dimensions for the wall mounts and cable routing, resulting in elegant and historically precise lighting for the iconic arcades, which help emphasize the building’s form. This solution has revitalized the arcades and highlighted their architectural qualities.
For the niches in the work areas and the toilets, we selected a standard product from Okholm Lighting, the Linaa downlight, which, with its brass finish, complements the many brass details that characterize the interior of Lyngby City Hall.”
Photos: Meike Rehder
In the ground floor foyer, the iconic column fixtures have been respectfully restored, not only highlighting the architectural structure of the building but also emphasizing the columns as monumental elements within the room’s visual hierarchy. These fixtures contribute to a nuanced spatial experience, underscoring the integral role of the columns in the building’s original design.
Photos: Meike Rehder
Client: Lyngby-Taarbæk Municipality
Architect: ERIK architects
Custom Lighting: Okholm Lighting
Consulting engineer: Søren Jensen Rådgivende Ingeniører A/S
Contractor: Jakon A/S
Photo: Meike Rehder
Source: ERIK architects: erik.dk
Photo: Meike Rehder
As a subtle homage to the original aesthetics of the materials, Okholm Lighting’s Linaa downlights in brass were chosen for the niches, creating a harmonious interplay with the city hall’s broader materiality and color palette.
The outcome of this sensitive renovation has been widely acclaimed and stands as an example of a growing trend in architecture: the understanding that renovation is not merely about modernization but about an empathetic and respectful dialogue with the past. This approach ensures that we not only preserve architectural masterpieces of the past but also make them relevant and vibrant in a contemporary context. Lyngby City Hall demonstrates how history can serve as an active collaborator in shaping future architectural narratives—a reminder that respect for the original ideas can build a bridge between the visions of the past and the needs of the future.
Photo: Meike Rehder
A VISIONAIRY OASIS IN THE HEART OF COPENHAGEN
Situated at the historic Larsen Plads, neighboring Amalienborg and the Copenhagen Harbor, Amaliehaven stands as a modern oasis and an ambitious architectural garden project. Created by the Belgian landscape architect Jean Delogne, the garden opened its gates on May 10, 1983, and quickly became a landmark of Copenhagen. After 41 years, the garden was reopened in 2024 following an extensive renovation that honored its heritage while securing it for the future.
A CITY GARDEN WITH GLOBAL INSPIRATION
Amaliehaven is one of Copenhagen’s beautiful urban spaces, and its design is an eclectic tribute to both French and Italian Renaissance gardens. With a combination of strict, symmetrical lines and natural elements, the garden strikes a balance between the formal and the wild, the modern and the historical. A walk through the garden leads visitors past four majestic bronze columns and a central fountain—created by the renowned Italian sculptor Arnaldo Pomodoro—which symbolizes the connection between art, culture, and nature.
A GIFT FROM AN ICON TO THE DANISH PEOPLE
The gift from the A.P. Møller Foundation to the Danish people marked not only the transformation of Larsen Plads but also a new era for Copenhagen as a city where history and innovation merge. The garden is situated along an axis that runs from the Marble Church, past Amalienborg Palace, and towards the Opera House on the opposite side of the harbor, symbolizing a strong architectural dialogue between past and future.
A RESPECTFUL RESTORATION PROJECT
Over time, restoration became necessary to preserve the garden’s original beauty and functionality. With a budget of 67.6 million DKK and a substantial donation of 65 million DKK from the A.P. Møller Foundation, the renovation has been a model collaboration between the City of Copenhagen and the Danish Agency for Culture and Palaces. Every element, from the beautiful fountains to the technical installations, was meticulously restored in respect of Delogne’s original vision.
TECHNOLOGY AND TRADITION IN LIGHT AND FORM
Okholm Lighting played a pivotal role in the restoration of the lighting, where modern LED technology was implemented without disrupting the garden’s historic aesthetic.
As Peter Okholm from Okholm Lighting expressed: ”Restoring the lighting in Amaliehaven has been a fascinating task. By combining the latest technology with the original fixtures, we have created an atmosphere where light and shadow accentuate the garden’s unique details, making the experience magical—especially at dusk.”
The updated fixtures not only illuminate the garden but also create an almost ethereal atmosphere, breathing new life into the garden’s materials and surfaces. The brightness and color rendering have been carefully calibrated to complement the natural surroundings and the iconic bronze work.
Client: Danish Agency for Culture and Palaces/ Slots- og Kulturstyrelsen
Architect: Fogh & Følner, Kgs. Lyngby
Engineer: Gert Carstensen A/S, Værløse
Photography: Jacob Termansen
Sources:
A.P. Møller Foundation Ritzau Press Release
Ministry of Culture: Amaliehaven Reopened After Extensive Restoration
A HARMONIOUS FUTURE FOR AMALIEHAVEN
The restoration of Amaliehaven has not only been a technical challenge but also a gesture of deep respect. Through careful maintenance and reverence for the original vision, the garden has regained its status as a vibrant, dynamic part of Copenhagen, where citizens and visitors can enjoy a blend of cultural refinement and beauty.
The updated technology and restored design ensure that Amaliehaven remains a significant cultural and recreational destination for future generations.
With its elegant lines, artistic fountains, and subtle lighting, Amaliehaven stands as a testament to how architecture and nature can come together in perfect harmony—a gathering place where diverse cultures unite for the well-being and enjoyment of all.
The restoration project was carried out in collaboration with the Danish Agency for Culture and Palaces, as well as the architectural firm Fogh & Følner in Kgs. Lyngby, which, in addition to this project, oversees a large number of the state’s listed and heritage buildings, including over 100 churches. The engineering firm Gert Carstensen A/S from Værløse was responsible for designing the new electrical systems and lighting installations, including new fountain installations, which were replaced during the restoration to meet modern energy requirements.
PREDIKHERENKLOOSTER – LIBRARY IN A
HISTORIC SETTING
Libraries have always held a special status, but few can boast a history as captivating as Het Predikheren in Mechelen, Belgium. The monastery, also known as the Dominican Monastery, was built in 1736 by the Dominican Order. The name “Het Predikheren” originates from the Dutch term for the Dominicans, “Orde der Predikheren.” Over the years, the building has undergone many transformations. Initially, the monastery was converted into a care home for men of a religious order, and in 1796, it was seized by French forces and repurposed as a training center, military hospital, and arms depot.
Photo: Luuk Kramer
After Napoleon’s defeat in 1814, the monastery was used by the military until 1977, which resulted in significant alterations to its original structure. When the city council of Mechelen took over the building, they initiated an extensive renovation.
An architectural competition was announced, and the Rotterdam-based firm Korteknie Stuhlmacher Architecten won with their vision. The architects chose to embrace the monastery’s complex history by respecting the traces left by time. As the architects themselves stated: “The building’s unique details, its scars and patina, are an essential part of its identity – as compelling as they are challenging.”
Today, the monastery has been revitalized as a library and meeting place, where the interior design balances historical authenticity with modern functionality. The library shelves have been carefully adapted to the proportions of the spaces, creating an inspiring and harmonious environment. Variations in heights and groupings invite both focus and immersion.
THE LIGHTING HAS BEEN CAREFULLY SELECTED TO ENHANCE THE AMBIENCE.
The decorative general lighting is provided by SCAN pendants and ceiling lamps, whose polished brass surfaces harmonize with the architectural lines of the building. The open light sources diffuse nearly 180-degree illumination, creating a multi-dimensional lighting effect across the levels, highlighting the room’s complexity and historical narrative. In most areas, SCAN fixtures serve as the primary general lighting.
In the café area, a dynamic installation of various pendant lights has been created.
The SCAN pendant is combined with the TRINITATIS and LYNG pendants, both designed by Inger and Johs. Exner. These pendants are suspended at varying heights from a lowered ceiling module, resulting in a harmonious collage. The polished brass surfaces unify the different designs and give the ceiling both a decorative and functional character.
Supplementary spotlights and shelf lighting ensure an optimal reading experience and make orientation easy.
The entire lighting concept has been carefully attuned to the site’s historical essence, where aesthetics and functionality go hand in hand.
Outdoors, the rustic Nymølle wall fixtures in copper and glass provide discreet, atmospheric lighting for the monastery’s facades.
The simple design of the lamps perfectly harmonizes with the building’s materials and historic architecture.
In 2020, the Predikherenklooster was honored with The Flemish Immovable Heritage Award, as well as the Audience Award, a testament to its impressive transformation.
Photos: Luuk Kramer
Products: Scan Pendant, Scan Ceiling, Trinitatis Pendant, Lyng Pendant, Nymølle Wall.
Client: City of Mechelen
Architect: Korteknie Stuhlmacher Architecten, Rotterdam
Photography: Luuk Kramer
Source: A variety of articles of Het Predikheren, and Korteknie Stuhlmacher Architecten
Website: ksa.nl/en
LIGHT IN DIALOGUE WITH ARCHITECTURE
Light is an indispensable part of architectural expression— a fourth dimension that connects spaces, materials, and people. Finding the right harmony between light and architecture is essential for creating experiences that enhance well-being and comfort. We live in a world where artificial light is a constant companion, and its role extends far beyond functionality—it shapes, inspires, and engages.
When the perfect fixture does not exist, the opportunity arises to create something unique—something that not only meets practical needs but also adds identity and reinforces the story of a place. The most visionary ideas often emerge from specific challenges and needs.
Through technology, deep material understanding, and a design language that respects and elevates its surroundings, ideas are transformed into reality. What begins as a solution for one project can evolve into an iconic design with relevance across time and place.
When technology, aesthetics, and sustainability come together in a shared vision, possibilities are created for light that not only illuminates but redefines, inspires, and paves the way for the design of the future.
Light is architecture’s dialogue with the project and the people who experience it. It creates atmosphere, strengthens well-being, and leaves a lasting legacy. Behind every lighting design are visionary individuals who create not just for the present but also for the future— with human experience and well-being as the focal point.
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