republic 03

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No.9 Vol. 1/2009

MEET THE DESIGNER bEHIND THE

STuNNING RIN CHAIR FOR FRITZ HANSEN

hiromichiKonno

EAST

mEETSWESTKJRHOLMIN KYOTO

7 DESiGnErS7 coLourS

onE cLASSic

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RINThe Japanese word RIN means an appearance

that is stunning, elegant and courageous.

It also means a single fower - in a way, the chair

looks like a fower standing still. I think this relates

to the image o RIN chair.

Hiromichi Konno

RIN chair designed by Hiromichi Konno and A825 table designed by Arne Jacobs

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WWW.FRITZHANSEN.COM

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EDITORS NOTE 5Similarities in Danish and Japanese design.

CEO Jacob Holm introduces the issue.

NOTES 6Visit the Hiberus Hotel in Zaragoza, 50 years with the

Swan, new models, new colours and more...

TALENT 12Seven contemporary talents get colourful

with a modern classic.

HIROmIcHI KONNO 16Hiromichi Konno has created a stunning, newchair called RI N. Meet the shooting star.

THE RIN cHAIR 18Sense and simplicity. Have a closer look

at the new Fritz Hansen collection.

GRAND PRIX 28Fritz Hansen resumes production of Arne Jacobsens

fantastic Grand Prix chair from 1957.

THE GOLDEN AGE 30The inuence of Japan on Danish modernism.

KJRHOLm IN KYOTO 32Simple and exclusive. Architect Poul Kjrholms

furniture set in a traditional Kyoto home.

TEN QUESTIONS 34Rud Christiansen, the entrepreneur behind The Royal Caf

in Copenhagen, talks about the caf, travelling and collectables.

11

Repubic is pubished by Maing Pubicatins

32

8

34

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No.9 Vol. 1/ 2009

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5e d i t o R S N o t e

Aquestion that often comesup when talking withfriends, colleagues andthose random acquaint-ances you make with astranger on a long ightis this: what characterisesgood design? Offhand,

its an easy one to answer because for the last decadeIve been working to address that very question.What Ive discovered is that there is no specic

denition as to what constitutes good design, nor isthere some secret formula with which to create it.So I have to admit that my answer is often that worn-out expression, Its in the eye of the beholder.

Our philosophy at Fritz Hansen is to alwaysstrive for the timeless, the sculptural, the pureand the original in our progression towards gooddesign; our underlying history builds on the workof the modernist architects of the 1950s and 1960sin particular. Finally, theres the relationship thatarises between the designer and Fritz Hansensstaff along the way. In order to become wiser about

what constitutes good design, its important toenter a systematic dialogue with the architects anddesigners who are commissioned to design a pieceof furniture for Fritz Hansen. Were involved fromthe very beginning of the process, starting with theinitial brief, as we want to understand each architectsor designers vision and absorb their ideas, just asthey learn about our mindset.

In this issue of republic we have chosen to focus on Japan a decision that was easy to makebecause the design philosophy of Arne Jacobsen and Poul Kjrholm has always been popular andunderstood there. And because Danish and Japanese design philosophies resemble each other

with their focus on minimalism, clean lines, the use of natural materials and colour. And alsobecause the latest offering from Fritz Hansen was designed in Japan. On page 16 you can meetthe Japanese designer Hiromichi Konno. At the tender age of 36, he is already one of todays mosttalented designers. It gives me great pleasure to introduce his new nest chair, the RIN a chairwhich, in all its simplicity, appears to be drawn in a single movement and in doing so is a humbleaddition to the Republic of Fritz Hansen.

Enjoy reading!

Jacob Holm, CEO

Photo:aNNeMiedReVeS

TO bEcOmE wISER ONwHAT cONSTITUTES GOODDESIGN, ITS ImPORTANTTO ENTER A SYSTEmATIc

DIALOGUE wITH THEARcHITEcTS AND DESIGNERS.

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3 museumsorld

Danish Design in

Japanese cultureThe Japanese are very fond of Danish design, which is

why three of the countrys most prominent museums

have been furnished with products from Fritz Hansen.

At the circular 21st Century Museum of Contemporary

Art in Kanazawa, for instance, you can nd an entire

auditorium full of black Ant chairs and, of course,

the lounge classic, the Swan. The architect Kengo

Kuma is responsible for the beautiful Suntory Museum

in Tokyo where Denmark meets Japanese modernismin stylish harmony, and at the National Art Center

Tokyo there is similar close cooperation with Fritz

Hansen. Here, the combination of Danish design with

workshops and lectures make important connections

between the design traditions of the two countries.

The Eggn tu

The 50 patchworks of the Egg that Tal Rre-designed for Fritz Hansen on the occasion

of the chairs 50th anniversary, continue their

world tour. The exhibition, which began at

the Gallery Carla Sozzani in Milan in April

last year, has so far been through Seoul, South

Korea, Australia and Tokyo. The exhibition

is now on its way to Europe. First stop is Le

Bon March in Paris, followed by London and

Dsseldorf. And in April it will be possible to

see it at Illums Bolighus in Copenhagen after

which it will be moved to other cities

in Scandinavia.

For more info: www.fritzhansen.com

sUntory mUseUm f art

21 Cu muu fCp a, kzw

t nil a C, t

ygiw Cpi

hiui sato

hiui sato

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50 yEarswiTh ThE swan

2008 was the year weprouDly celebrateD

the 50th anniversaryof arne Jacobsens

timeless swan chair.to commemorate the

event fritz hansenlauncheD a limiteDcollection of 1958white swan chairs,

each with a numbereDsilver swan ring

arounD its foot.

TribuT

Photo:karint

enGberG

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in a luxurious new hotel in Spain, Arne Jacobsens classic

pieces, the Egg and the Swan, await guests in the lobby.

Called the Hiberus, it was built for the 2008 World Expo

in Zaragoza, Spains fth-largest city. While its not quite

as well known as Madrid and Barcelona, it is nevertheless a

nerve center between the capital and Catalonia, about 300

km from both cities, only 90 minutes away on a high-speed

train. The ve-star hotels 176 rooms have fantastic views

over the historic town and the nearby river Ebro.

The Barcelona-based rm of architects Martnez Lapea-Torres

Arquitectos are behind the hotel construction. They chose the Danish

designers furniture as the central elements in the interior decoration

because its owing and organic forms matched the architecture. Eachof the rooms has at least one Egg and one Swan chair, and seem to be

inspired by Jacobsens restored Royal Suite 606 in Copenhagens SAS

Royal hotel. His classic works can also be found in the rest of the hotel.

Arne Jacobsens family of furniture is always modern, says Elias

Torres, one of the architects. To make the pieces work in a new situation,

all you have to do is just change the upholstery. In the lobby, the Eggs

and Swans seem like colourful personalities just waiting for new guests

of the building, while in the rooms, the furniture ows across the oor

so they do not disturb the view of the river and the landscape outside.

When it comes to great architecture, the Hiberus is in good

company. It is located right next to the area where Expo was held, and

a number of unique buildings were constructed for the occasion. The

theme for Expo 2008 was water and sustainable development, and sothe constructions included bridges like the River Pavilion, designed

by the award-winning architect Zaha Hadid, and the Third Millen-

nium Bridge, as well as Europes largest fresh-water aquarium, River

Aquarium. For the architects behind the hotel, the river was not the

only consideration: the strong winds that blow over Zaragoza from

the Moncayo Mountain also proved a problem. A 15 m high wall was

built in a zigzag construction protecting against wind and noise so

the guests can enjoy the sun on the hotels many terraces and palm

gardens undisturbed. The windshields geometry is reected in a

number of other forms in the hotel for example, the reception

area and the ve-storey high lobby both repeat the zigzag pattern.

The lobby is a construction that brings together the rooms open

corridors, explains Torres. Its i lluminated by natural skylights from

above and with large windows to the courtyards towards the north.The hotels long, horizontal facade faces south. Here, the permanent

white Venetian blinds in aluminium provide protection from the

strong sunlight. These blinds resemble awnings and hang in long

lengths over the narrow building. On the lowest oor, they help to

keep the restaurants wooden terrace in the shade, where you can sit

on the river bank and look over the town. The architects have tried to

integrate Hiberus with nature by, for instance, using natural light that

ows in through large glass sections and solar cells that gather energy

for the operation of the hotel. Meanwhile, on the northern side of the

hotel, the wall is painted in a blue-green colour, inspired by both the

water theme of the Expo and the nearby r iver Ebro.

The swan and theEgg n a fve-tar hotela new luxury hotel filled witharne Jcoben clic h

opened in zrgo, spin.

1

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1. the 15 m high wind

hield proec gin

Zrgoz' rong wind

2. all he room re

furnihed wih arne

Jcoben clic

3. the windhield'

zigzg pern i

repeed roughouhe complex.

4. Colourful swn

wi he gue

2

3 4

insid

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EwsFritz Hansen is glad to introduce

U-nite, a new dining table designed by

RNNAU + FURNID. Its characteristic

shape and modern styling capture the

design elements of a table that aspiresto bring people together and open up to

conversation. Fritz Hansen is launching

RNNAU + FURNIDs U-nite table

in a unique package with our Arne

Jacobsens Series 7 stacking chairs in

the original painted beech nish.

The table will later be available in

different sizes and surfaces.

t h a n k s t o

s P o t l i G h t

itdg theu-te tbe

salTos icE in nEw coloursDesigner Rikke Ladegaard has introduced a number of exciting new colour combinations to the Ice chair,

which in a single stroke makes Kasper Saltos contemporary masterpiece both versatile and more feminine.

Two of the colours, snow and volcano, are repeated from the last collection, but in addition come seven

completely new colours: int, mustard, chocolate, mud, deep red, arctic and lavender. These colours have

been carefully selected to complement many different interiors and result in exciting combinations when

placed together with the existing range from Fritz Hansen.

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nEws

alphbetNew letters for the exible sofa design Alphabet

gives you even more possibilities for combining

your very own expression. Make a small change

with the new colours and fabrics, and your sofa will

become a new experience. Theres only one rule: If

it feels right, it is spelled right.

a new aDDition

to the familyIn December 2008 Fritz Hansen introduced

the latest addition to their showrooms with a

new location in Belgium. At the opening Fritz

Hansen presented the limited edition 50th

anniversary Swan chair, the Alphabet sofa andthe T-No.1 table by Todd Bracher. The new show-

room is designed by architect Philip Mortelmans

and is located in a trendy and fashionable area

of Antwerp, one of Europes hotspots for fashion

and design. The showroom has been designed

to represent a real living environment, reecting

Fritz Hansens Scandinavian heritage with an

international twist. Natural materials full of

character have been included in the interior,

bringing out the best in Fritz Hansens furniture.

Fritz Hansen Showroom

De Burburestraat 7a, 2000 Antwerp, Belgium

Tel +31 (0) 20-3016688, fax +31 (0) 20-3016686

KJrholm

from a to zMichael Sheridan, the American architect and the

leading authority on Poul Kjrholm has written

a new book that examines Kjrholms furniture

in every detail. The Furniture of Poul Kjaerholm:

Catalogue Raisonn(Gregory R. Miller & Co.,New York) is the denitive reference work on one

of the most important and profound designers

of the twentieth century. The book includes 70

entries that document, analyze and describe all

of Kjrholm's realized designs, along with a

biographical essay that traces the development

of his formal vision. The book is designed by the

Japanese designer Takaaki Matsumoto, and is

printed entirely in black-and-white duotone.

www.grmandco.com

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3 museums

it: cee MzA decade ago Cecilie Manz, 36, honed her skills by completing her design studies in Copen-

hagen and Helsinki, then went on to found her own design company focusing on industrial

design as well as experimental prototypes and sculptural one-offs. In other words she is well

versed in the minimalistic Scandinavian design tradition. Now she is the designer behind the

latest addition to the Fritz Hansen famliy of tables to be introduced in Milan during the Salone

del Mobile furniture fair in April. The table is suitable for everyday use as well as seating your

dinner guests in style. The large table was conceived by Cecilie Manz to be a gathering point in

any living or dining room, and it is built from beautiful oak, maple and walnut wood, while its

discreet design makes it a perfect match for many existing Fritz Hansen chairs.

Maarten Baas,

7045 Telegrey

Based in the Dutch city

of Hertogenbosch the

designer chose a grey

primer, which he considers

a base for something yet

to come.

What does colour mean to you?

In art colour can sometimes be an addition to the

story being told.

7 chairs7 colours7 dEsignErsThe number 7 was the code, when seven

designers born ater 1958 were asked to choose

a color or Jacobsens classic Series 7 chair tobe introduced at the Salone del Mobile urniture

air in Milan this spring. Here is a chance to get

to know the talents behind the color.

Jaime Hayon, a reec-

tive mirror material

Born in Madrid and now

based in London, the designer and artist thought it

would be interesting to propose a nish more than

a colour, so he chose a reective mirror material.


Colours represent variety, joy, music, life.

Describe the nature o your work?

My work is difcult to put a label on. As I design or

make art, products, interiors, anything that allows

me to express myself. You could say I am a creator.What were your inspirations or the collabo-

ration with Fritz Hansen?

The task was to choose a colour to represent a

personality trait for the Seven chair, I found it

interesting to propose a nish.

Why did you choose this specifc colour?

The reective mirror type of material is symbolic

of all the colours. It is reecting a moment, and I

found this idea interesting.

What reaction should your design make

to the user o the chair?

It gives another personality to such a

beautiful design. I feel it accentuates the features

of the chair.

Photo:annemiedreves

alEnT

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Describe the nature o your work?

I work intuitively, always searching for new,unexplored areas.

What were your inspirations or the

collaboration with Fritz Hansen?

I like the brand as it stands for good qualityand evergreen products, which is something

that I miss right now, where everything seemsto only be trendy hits.Why did you choose this specifc colour?

It is neutral, almost boring and it invites youto change it, to do something more than justaccept it as it is.



Its up to the user.

Sebastian Bergne,

Pantone 377U

Born in Tehran, andnow based in London,he has chosen thecolour green whichrepresents the future

and a little something inspired by nature inour living environment, or perhaps even thegrass that is greener on the other side.

What does colour mean to you?Colour is an extra layer of information whichcan completely alter the perception of an object.Describe the nature o your work?

I design ordinary things that live.What were your inspirations or the


It was the incredible colour of the English coun-tryside that caught my interest. I have realizedwhat a versatile color it is, and how well it canbe put together with others in a composition.


It means freshness, freedom and deliciousness.

What reaction should your design maketo the user o the chair?

A discreet sense of satisfaction each time itis used.

Fabio Novembre,

Pantone Violet U

Fabio was born inLecce, Italy, and is nowbased in Milan. Hesays he is in an ultra-violet period of his life,which is why he choseto introduce the violet

U colour.What does colour mean to you?

Colours are frequencies of light.Describe the nature o your work?

Human.What were your inspirations or the


To go beyond.Why did you choose this specifc colour

Because it is an ultra colour.What reaction should your design make


Violating with violet.

Arik Levy,

Pantone 812c

Born in Israel andliving in Paris. Arik

Levy chose a glossy,uorescent fuchsiafor the iconic chair.He believes the colourrepresents borderline

and transition of every day life.What does colour mean to you?

It means all, and nothing.Describe the nature o your work?

My work is a metaphor. This colour representsthe borderline and transition of everyday life.I see this integrated in every di fferent environ-ment as a statement and/or as an alert.


collaboration with Fritz Hansen?Everyday life and recognizing todays realityof contract, corporate globalization and urbanexplosion.


For contrast.What reaction should your design make


I would like to evoke a ying impression.

Autoban, 7034

Yellow Grey

Autoban consistsof Seyhan zdemirand Sefer Caglar. Thedesign team operatesfrom an ofce in

Galata, Istanbul. Theyhave chosen a grey tone for the chair, which theyfeel represents an industrial expression.


Nature, sense of raw materials, hard geome-trics and organic forms are our inspirationand colours generally balance our approach.Describe the nature o your work?

Industrial expressionism.What were your inspirations or the


The material and colour create an industrialfeel and at the same time they are harmonious.


We wanted to shift the soft effects of the ovalform of the chair by using cold and industrialcolors which in return created a concrete effect.



It should be functional, comfortable and atthe same time have a hidden effect. We thinkthe actual beauty is modesty.

nendo, 677C

Cherry Blossom

Canadian born

designer nendo, alsoknown as Oki Sato, isa shooting star in theinternational world of

design. He is based in Tokyo and has alreadywon numerous awards and recognition allover the world.


Abstracted nature.Describe the nature o your work?

We would like the people who encounter ourdesigns to feel this small and special momentintuitively. That is our job.


collaboration with Fritz Hansen?The products seem closely related withnature.


I chose cherry blossom as a color as they stilloccupy an important role in Japanese culture.They are slightly cloudy, light pink and thecolour has been used for centuries in pain-tings and clothing, and continues to representJapan itself.What reaction should your design make


Warmth and fr iendliness.

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3 museums

urnishEs

1. Cutoer re - wood

d yight d serie 7

chir by are Jcobe

2. mrbe covered foyerwith beveed g o

the eft d two Pk22

chir by Pou kjrho

o the right

3. street view through

por widow.

notice the broe ie

i the rbe

4. louge re with two

sw chir by are

Jcobe, beutifuy iu-

ited by tur ight

1

2

3

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a

t Caja de Arquitectos savings bank in

Pamplona, they were bent on adding an

attraction to a city best known for its annual

bull run. Because Caja de Arquitectos is a

bank chain for architects, opening a new

branch means going the extra design mile.

Caja de Arquitectos is famous for building

spectacular banks throughout Spain andthe branch in Pamplona is no exception. The new branch is lled with

Arne Jacobsen, Poul Kjrholm and Kasper Salto furniture. Glass,

wooden walls and skylights ood the interior with natural light. As

work began on the interior design, it was agreed it needed to convey

a clear sense of qualit y, as architects were to be the customer base.

So this meant being particular about what to choose. The bank

therefore discarded the usual demands and corporate guidelines that

are imposed on architects. With the creative freedom of the architects

unleashed, they pursued their ambition to create a good-looking

and functional piece of architecture. Because Pamplona is a city

with proud traditions, they didnt want the aesthetics of the bank

to express a passing fad or seasonal design whim. Instead, expres-

sive and solid materials, simplicity and an appreciation of the space

were at the top of their list. The result is an attractive and distinctivearchitectural achievement. The task for the architects was to t

customer area, ofces, a conference room, a lounge area and toilets

into a relatively limited space. They also needed to unite the separate

levels in a natural and unobtrusive way. The design is built around a

square centre with sharp edges that give the space a powerful feeling

of volume. On the top level, bevelled glass ensures that the building

makes the most of the natural light emanating from the skylights. Its

worth remembering that Hemingways novel The Sun Also R ises was

inspired by Pamplona. And who knows, perhaps the old master would

have put his money in Caja de Arquitectos?

architecturldrems in Pmplonwood, gla and Danih

deign claic: spanihtemperament meet tringentscandinavian tradition.

the foyer exends well

ino he house. the

foyer and he res of

he banks levels are

conneced by he glass

saircase.

4arChiteCts:CarlosPereda,osCarPreZ,FranCis

Co

manGado,CaJa

de

arqUiteCtos,itUrraldeysUit5dePamPlona,sPain

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Fukushima, Japan, 1978.Hiromichi

Konno is visiting his grandmother

in northern Japan as he has done

so regularly a couple of times every

year. The grandmother is a true

creator in origami, the antique

Japanese art form of paper-folding,

Hiromichi sits for hours watching

her while she time and time again, precisely anddelicately folds the square pieces of paper into small,

unique pieces of art. This is where the rst seed was

planted in the young mind of Hiromichi Konno,

that design in one form or another could be exactly

what he could dedicate his life to. Since childhood,

Konno has been good at using his hands and when

the International Expo visits Japan in 1985, the

young boy walks around the Expo with big eyes

and absorbs everything. But, like so many other

Japanese youngsters, there is something else more

down-to-earth that tugs at him. So for the following

ve years he focuses less on design and other

things with his hands and instead focuses on being

a teenager exploring many different aspects of life.By his last year in high school he starts dreaming

about becoming a designer again.

Copenhagen, Denmark, 1996. I reached a

point where I thought that if I didnt do something

with my hands and begin to design, then I would

regret it. I thought that when I die, then some of

the things I have created will live on, he explains.

So, while studying design at the Chiba Institute of

Technology in Japan, Hiromichi Konno travels

to Denmark. This is his rst trip outside of his

home country. He arrives in Copenhagen and the

rst thing he does is to go for a long walk.He passes a bank and sees through the windows

- something draws him to go in and take a closer

look. When inside he admires the chairs and

tables done by Poul Kjrholm and also leans

his head back and looks up at the ceiling where

countless PH lamps are hanging down. Right

then and there he has somewhat of an epiphany.

Previously, at exhibitions in Tokyo, Konno has

seen Scandinavian furniture design by Wegner,

Arne Jacobsen and Poul Kjrholm, but neverthe-

less he walks around spellbound in the bank for

half an hour and straight away starts taking photos.

Hes sold.

Ume, Sweden, 1998. After the eye-opening

trip to Copenhagen, Hiromichi Konno has decided

that he wants to study design in Scandinavia. He

applies to the two best design schools in Scandi-

navia - the Danish Design School and the Institute

of Design at the Ume University. Shortly after-

wards, the university in Ume becomes the rst to

accept his application, which Konno immediately

takes up. Ume is located close to the polar circle,

and Hiromichi Konno deals with the cold and the

darkness and for the following months he lives

in a snow-white urban landscape where candle

ames light up the windows in the houses. In the

The Japanese designer, hiromichiKonno has creaTed an eleganTchair for friTz hansen; The rin.

We meT Konno for a chaTabouT The arT of folding paper

and The meeTing beTWeen Japanese

and scandinavian design.

Feelings that

emain

Hiromichi Konno, the

designer behind RIN

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Swedish town, the Scandinavian design traditions gradually get under

the skin of the young Japanese man, who as a designer is nding his own

style as a creator of furniture. Hiromichi Konno begins to develop several

pieces of stylish designs. Even though there is an energy and something

almost teasing about the design, he feels the clear references to classic

Danish and Swedish furniture pieces. He begins to design furniture and

other designs for indoor use in simple lines with an architectonic look.

His work begins to be noticed. Ross Lovegrove, one of the great pioneers

within industrial design is impressed with what Hiromichi Konno cancreate with his hands. Lovegrove invites him to London, which for the

next three years is Hiromichi Konnos base while he rises fast and steadily

into the international sphere of design.

London, England, 2002. Hiromichi Konno has gone solo and now

works for large companies and manufacturers around the world, but

he is particularly in demand in Scandinavia. He has designed a business

card holder and the ower vase Sakura (which means cherry blossom in

Japanese) in stainless steel for Georg Jensen. In the same period the rst

ideas of a new chair for Fritz Hansen begin to appear as sketches on Hiro-

michis work table. The idea is to create a new kind of chair design that is

in harmony with Japanese and Danish design traditions, but at the same

time completely unique.

Allerd, Denmark, 2008. Four years have passed and in Fritz Hansens

headquarters north of Copenhagen, Hiromichi Konnos chair RIN

stands ready to meet the world. In the course of the last years, Konno has

added and detracted from the design. It now appears as an exceptionally

qualied proposal of what we will furnish our working life with in the

future. At rst glance, the chair is elegant but if you look closer you will

notice the innovative design and the sophisticated details. It invites you to

sit in it for hours and at the same time takes the traditional chair design

off into a new direction. With its round shell and integrated arm rest,RIN is light and aesthetic. But there is more to the chair than that.

The Japanese word RIN means an appearance that is stunning, elegant

and courageous, which I think encompasses the chair very well. My chair

should preferably radiate a sophisticated, simple beauty but I think that

people will experience many different things when they sit in the chair;

because a chair is not just a form. The most important element by far

in furnit ure design is that it can create communication and emotions

between people, says Hiromichi Konno.

There is a big difference between looking at a chair and sitting in it .

With this chair, I would like to create a feeling that people can remember.

The chair is at one time new, different and more than just comfortable.

I hope that my chair can create a pleasant feeling, that will remain with

people long after they have left the chair, says Hiromichi Konno.

17I N t e R v I e w

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c o l l e c t i o n18

Like an eLegant fLower, the newkey piece for fritz hansens coLLection seems

precise and symboLic. the rin chair by

hiromichi konno is a brisk yet eLegant newcomer.

enseandimplicity

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HK10, wh/back PP w.

back ahr & A825, wh

ama/back um

19C o l l e C t i o n

PHoto:AndreAFerrAristylist:tAmiCHristiAnsen

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HK10, white PP w. beige fabric

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HK10, back PP & B638,

back um

in everyday life, our jobs, our private lives, our personal

and professional relationships and networks often ow

together, so theres a need for furniture that allows the

informal and formal to melt together and meet without

limiting the expression in terms of design. This was the

challenge presented to the young Japanese designer Hiro-

michi Konno when he was invited to create a new piece of

furniture with Fritz Hansen. The result of Hiromichis hard

work, the RIN chair, is now the backbone of the 2009 collection.The RIN chair fullls the needs of a modern company and lifestyle.

Its open and inviting design makes it suitable as a meeting, dining

or conference chair, as the comfort provides the option of sitting

for long periods and letting ideas and inspiration ow freely.

the Japanese word rinmeans an appearance

that is stunning,eLegant and

courageous. itaLso means a singLe

fLower - in a way,the chair Looks Like a

fLower standing aLone.

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RIN is innovative and progressive and at the same time allows you

to sit in it for hours and hours.

Produced in pure plastic, its comfortable shell has a soft and

welcoming appearance and texture that invites you to sit down

and enjoy it; it is slightly exible to increase comfort, and the

turning star-shaped foot makes it possible to communicate easily

with others. All this makes the chair very versatile and perfect

for modern working methods where brainstorming, creative

sparring and meetings often take place in informal and non-

hierarchical settings.

The name was suggested by the designer and embraces a double

meaning. RIN is the Japanese expression that is used to indicate

when a persons appearance is stunning, elegant and courageous.

HK10, whie PP w. whie

fabric & tB1, whie

laminae

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HK10, gry PP & P930,

gry gass

C o l l e C t i o n 23

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HK10, black PP & Ks11,

black compact laminate

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rin is innovative andprogressive and at

the same time invitesyou to sit in it forhours and hours

B638, black linoleum

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HK10, green/red/light

blue PP

It can also refer to a single ower a ower that is isolated in

contrast to being part of a bouquet. One ower on its own does

not look as gorgeous or luxurious as a bunch of owers, but its

existence is nevertheless very strong and real as it has to stand

with condence and elegance. With its similarity to an elegant

ower underlined in this way, the chair is simultaneously precise

and symbolic.

For all its modernity, the chairs aesthetic ts perfectly in line

with Fritz Hansens range of modernist furnit ure classics, as manyof the great Danish designers from Poul Kjrholm to Arne

Jacobsen were inspired by Japanese minimalism. Alongside the

RIN chair, the new collection includes tables from Arne Jacobsen

and Piet Hein, Pelikan Design, Kasper Salto and Todd Bracher.

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HK10, gr/rd/gh

bu/gry/back/wh PP


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The greaT demand for arneJacobsens design has led friTzhansen To resume The producTionof Jacobsens fanTasTicgrand prix chair from 1957.

grandprix

evived

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29c o l l e c t i o n 29

in the 1950s, the designer Arne Jacobsens long-

awaited breakthrough came with the stacking chair;

the Ant in 1952 and Series 7 in 1955. The popular,

light and exible stacking chairs have since been

building in strength around the world, in particular

the Series 7 has become a modernistic icon that

is seen in prestigious locations everywhere from

Tokyo to New York. Apparently, the demand for the

stacking chairs has no end because today, it is difcult to nda chair that possesses the same qualities with regard to exi-

bility, comfort and design. Therefore, Fritz Hansen has also

decided to resume production of one of Jacobsens less-known

stacking chairs, the Grand Prix. The design was introduced

at the Designers Spring Exhibition at the Danish Museum of

Art & Design in Copenhagen in 1957. Later that year, the chair

was displayed at the Triennale in Milan where it received the

Grand Prix the nest distinction of the exhibition. After

this, the chair has always been called the Grand Prix chair.

In 2009, the chair will be available again as a standard product

in different nishes such as veneer, coloured ash, painted beech

and upholstered in fabric and in leather.

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JAPANS INFLUENCE ON THE DANISH GOLDEN AGEOF DESIGN CANNOT BE OVERSTATED. ARCHITECT AND

AUTHOR MICHAEL SHERIDAN EXPLAINS WHY.

imber and Tea:The SourceS ofa Golden aGe

PK 22 and PK 61

(Poul Kjrholm, 1956)

Gunnlgsson House(Halldor Gunnlgsson,

1958-59)

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31J a P a n i n f L u e n C e 31

during the 1950s, Danish

architects and designers

fused native traditions

with ideas from abroad to

produce masterpieces of

international importance.

Now acknowledged as a

Golden Age, and one of

the highpoints of 20th-century culture, the periodspawned a wave of buildings, furniture and applied

art that retain their beauty and meaning after more

than 50 years. Foremost among the foreign inu-

ences were ideas from Japan. Through a combina-

tion of travel and publications, Danes absorbed

Japanese principles, including modular planning,

exposed timber structures and direct engagement

with Nature, which resonated with their own

cultural heritage and sense of beauty. Japanese

principles were also absorbed indirectly, through

the work of Frank Lloyd Wright and the California

modernists, all of who were touched by Japanese

aesthetics. In fact, the inuence of traditional

Japanese culture was so pervasive, that it shouldbe recognized as one of the essential sources of

Denmarks Golden Age of Modernism.

In 1935, two events occurred that would change

the course of Danish architecture and echo across

the decades. In Stockholm, a Japanese teahouse,

Zui Ki Tei (The Cottage of Auspicious Light), was

constructed on the grounds of the Ethnographical

Museum under the sponsorship of the Sweden-

Japan Society. In Berlin, the Wasmuth Press

published Tetsuro Yoshidas book on traditional

Japanese houses as Das Japanische Wohnhaus, in

a language that Danes could easily read. Five yearslater, following the Nazi occupation of Denmark,

an entire generation of Danish architects ed to

Stockholm, where they encountered both Zui Ki Tei

and Yoshidas manual of construction. The exiles

included Jrn Utzon, Halldor Gunnlgsson, Eva

and Nils Koppel, Karen and Ebbe Clemmensen,

Finn Monies and Erik Christian Srensen, all of

who admired Japanese culture and emerged as

important gures during the 1950s.

After the end of World War Two and years of

enforced isolation, the young Danes were hungry

for new ideas and exposure to the outside world. In

the United States, particularly in California, emer-ging architects were combining Japanese models of

structure and space with lessons from Mies van der

Rohe and Frank Lloyd Wright. These developments

were chronicled in the pages of Arts and Architec-

ture magazine, which had a devoted readership in

Denmark. As a result, Los Angeles luminaries such

as Rafael Soriano and R ichard Neutra are still fondly

recalled by Nils Koppel and Erik Christian Srensen.

The young Poul Kjrholm would frequent Sren-

sens ofce and devour each new issue of Arts and

Architecture, studying the latest furniture by Charles

and Ray Eames, and developing his own ideas about

construction and materials. In 1949, Utzon traveled

to the American Midwest and met with Wright andMies van der Rohe, before heading south to Mexico.

In the following years, Gunnlgsson, Srensen and

Vilhelm Wohlert all enjoyed teaching appointments

in the U.S., where they gained rst-hand knowledge

of the latest Japanese-inuenced architecture.

It is hardly surprising that Japanese aesthetics

found such fertile ground in Denmark. The use

of lightweight timber framing, the respect for

craftsmanship and a profound attention to details,

were all familiar concepts to Danish architects, who

had been trained in bygningkunst (Building Art)

at the Royal Danish Academy and were heirs to the19th-century Arts and Crafts movement known

as sknvirke (Beautiful Work). Finally, there is

the matter of the traditional Danish farmhouse, a

half-timbered structure with an exposed frame of

posts and beams, which was lled with sticks and

clay, and whitewashed. Looking at the Japanese

examples, the Danish architects recognized

elements of their own heritage realized in an expo-

nentially more elegant manner, with sliding paper

screens taking the place of solid, whitewashed walls.

At the same time, Japanese architecture seemed to

foreshadow so many tenets of modern architecture

that it provided the Danes with an example of

building that was both contemporary and tradi-tional. So inspired, a generation of young talent

unleashed a wave of creative energy and created the

monuments of the Golden Age. The best of these

buildings and furnishings arrive at a state of pure

construction, in which materials, space and str uc-

ture are joined into a framework for a way of life

that is, essentially, timeless. Michael Sheridan

Michael Sheridan is an architect in New York and a

leading authority on the modern architecture and

design of Denmark. His forthcoming book,

Landmarks The Modern House in Denmark, will

be published in the spring by Gyldendal.

Los ms o

mor art,(Jrg Bo Vlhl

Wohlrt, 1958-91)

Ktsr dtch Plc

(Hchjo-o-y l,

1615-62)

Kjrhols Hos

(H Kjrhol, 1960-62)

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When the Danish architectPoul Kjrholm designed

his furniture, he probably

did not imagine that his

designs would one day

grace a Japanese wooden

house. But they sit super-

bly within the tradition,

which Japanese carpenters have followed for generations.

Harmony is the key word in traditional Japanese houses, which

are made of wood, clay, bamboo and paper, and assembled

without using so much as a single nail. The transition between

indoors and outdoors is a uid line and the houses are structured

around visible beams almost like an ingenious puzzle where

Japanese and scandinaviantraditions come together

in a simple and stunninghouse in Kyoto. the passionate

property entrepreneur hasrenovated a traditional

Japanese house and furnishedit with minimalist danish

furniture classics

anish Design ina Japanese house

PK61, PK31

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33K y o t o h o u s e 33

each brick is a signicant and necessary part of the

whole. These buildings are designed for a climate

where the summers are very hot and humid, so small

roofs and broad roofs are favoured, to provide plenty

of cool, dry shade. They are also small and sparingly

furnished. Instead of having rooms with specic

functions like a living room and a work room, the

borders between the areas ow. Sliding doors made

of paper make it possible to split the houses up accor-ding to changing needs. The oor oats between 50

and 100 cm above the ground and was traditionally

covered with tatami mats made of rice straw.

Old houses are being demolished in many places in

Japan, to be replaced with more modern, Western-style

houses in stone and concrete. But for the owner, there

was no way he was going to abandon this traditional

structure. I have seen many buildings around the

world, says the contractor, and to this day, there is still

nothing out there that can transcend the traditional

Japanese wooden house. I can feel the joy, the pleasure

and the beauty from the elaborate buildings made by the

carpenters and bricklayers who built Japanese sanctua-ries. They leave an impression that lasts for generations.

His house in Kyoto has been lovingly restored to

accommodate modern needs such as heat and

electricity, but without destroying the harmony and

simplicity the traditions provide. The architecture

and furnishing of the house is a tribute to the beauty

of the Japanese lifestyle and traditions, he explains:

the materials used are original Japanese wood

species like cypress, cherry, plum, pine and bamboo,

and there is a painting hanging on one of the walls

by the famous international Japanese artist, Hiroshi

Senju. Here, you experience the joy of purity and atthe same time are surprised by the wow factor.

Poul Kjrholm, who was also a trained carpenter,

aimed to let the materials he used speak for them-

selves. And it is precisely his simple mode of expres-

sion and the high quality of materials that have

moved the building entrepreneur to furnish both his

wooden house in Kyoto and his ofce with furniture

from Fritz Hansens Poul Kjrholm Collection:

the simple lines merge into the houses harmonic

structure. The Scandinavian and Japanese aesthetics

have more in common than rst meets the eye. It is

not just a question of minimalism, but also of design

that is close to nature and its given resources.

In the old days, during business meetings in Kyoto

you sat on the oor at low tables, explains the owner

whom prefers to be anonymous in this article.

Chairs were not used to any great extent, which

coincided with the simple style and the limited size

of the buildings. Therefore, it felt quite natural to

choose Poul Kjrholms furniture, as it is designed

simply and nished to a good quality. At the same

time, the pieces are very functional and easy to use,

and they are in keeping with the principles that are

the basis for this house. On the whole, Scandinavian

design has an ability to unite old lifestyles with new.

PK22 in black lar

PK22 in wickr

t arm i frnid

wi PK80 and PK31

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34 t e n Q u e s t i o n s

There is something almost Hemingway-like about the well-travelled

entrepreneur, Rud Christiansen. Take his upbringing with cowboys and

Indians in Arizona or his younger years where he almost became the owner

of a shipyard by accident. Since then, he has become a self-taught expert in

Italian delicacies and today, together with his business partner, Lo ster-gaard, he is about to take The Royal Caf and its famous combination of

sushi and smorgasbord, the so-called smushies, to Japan. We took our seats

in the cafs commissioned Ant chair between royal porcelain gurines,

Georg Jensen cutlery and soft toys to hear about the pleasure of collecting

knick-knacks, Japanese inspirations and the caf on Amagertorv.

How has The Royal Caf been welcomed?

Extremely positive. The biggest praise we have had so far was a critic

that described the caf as total style confusion. I love style confusion

and we have gone out of our way to mix all kinds of things together into

something that has never been seen before. We have wallpaper on the

ceiling, pink walls; here is fun-fur, commissioned Ant chairs and herring-

bone parquet ooring in porcelain from Royal Copenhagen.

Why smushies?

If you take a look at the Danish smorgasbord, it is the worlds mostbeautiful food. The problem is that it often is too much. A single piece

and you have to go on a diet for the rest of the week. Therefore, small

pieces make good sense.

When you look at the smorgasbord you serve, your mind is led

to Japanese traditions. What do you like most about Japan?

I love going into the big department store, Tokyu Hands, in the middle of

the Shibuya quarter. Here you have nine stories lled with knick-knacks

where, for instance, you can choose between 200 tweezers. There are

several metres of shelves with different kinds of gold that can be used in

cooking and on the whole there are bits and bobs in volumes you cannot

nd anywhere else in the world.

How often do you visit Tokyo?

Currently, I visit the city once a month because we are about to open a

number of Royal Cafs over there.

One of the themes in this edition of the magazine is the

common characteristics that exist between Japan and

Scandinavia. Is this something you have noticed?

This is about a circle. Look at the architecture. Initially, all the bigEuropean architects came to Japan to take a closer look at the Japanese

ways of furnishing. Since then, the Japanese have travelled to Scandinavia

and today we see architects going to Japan to study. There is a meaningful

exchange of ideas that has been going on for decades.

What can we learn from the Japanese?

In Japan you cannot make anything without it being of good quality.

Everything that is not quality falls immediately through the cracks.

Your establishment is known as a lunch restaurant. What

characterises the perfect lunch?

Danish smorgasbord in a smaller format like our invention, smushi, as

well as a small schnapps and a cold beer.

Where do you dine?

When I have the opportunity, I like to eat Japanese food in Japan or

Italian food in Italy. If Im in Denmark, then I choose a good smorgasbordrestaurant or some of our fantastic Danish Michelin restaurants.

What would be your biggest extravagance?

To travel far away and to spend a weekend in our little wooden house

near Bstad.

Do you have any role models in your work?

Maria, who taught me to make Mexican food when I was a child in

Yuma, Arizona.

Finally, which Fritz Hansen piece of furniture is your

personal favourite?

The Ant, as a bar stool. Or the PK 80.

Visit The Royal Caf on Amagertorv 6, 1160 Copenhagen K. Read more at

www.theroyalcafe.dk

Rud ChristiansenWe met Japan enthusiast,entrepreneur and gourmet, Rud

Christiansen, at The Royal Caf inCopenhagen. The place

where smushies were invented.

th ryal caf, h

hm f smh

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35

ifrma:

Ara tl: +49 211 586709-0

Blgm tl: +31 20-3016682

dmark tl: +45 48 17 23 00

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Frac tl: +33 142851764

Grmay tl: +49 211 586709-0

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u Kgm tl: +44 0 844 800 8934

or cr tl: +45 48 17 23 00

Wsh t sty u-t-dt wth th ltst trds d dss fr Frtz Hs? Th s u fr ur

wslttr tht wll currtly k yu frd f th ws fr ur wrld. Wh yu rstr yu uttclly tr

ctt t w ftstc ds; th rzs y b furtur, bks, ld rt tc.; w drw lts fur ts yr.

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S u fr th ltst f th ltst t www.frtzhs.c

KnoW THe SHape oF THingS To Come

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t e n Q u e s t i o n s36

GRAND PRIXBroad shouldered and angular. The 3130 diers rom Arne Jacobsens

organically shaped chairs. It became known as the Grand Prix chair ater

having received the fnest distinction at the Milan Triennale in 1957.

Grand Prix chair and A825 table designed by Arne Jacobsen

republic 03

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