Fredericia Furniture look book 13/14

Page 116

“FREDERICIA is one of the crown jewels of Danish design. Since the fifties when FREDERICIA started working with Børge Mogensen, Danish furniture design has become what we (Danes) are best known for internationally in the twentieth century. There is no published work on design that doesn’t feature Denmark. FREDERICIA has some of the iconic Danish designers, Børge Mogensen and then later Nanna Ditzel, brought in by Thomas Graversen. They’ve developed out of Danish Modern, and what is really interesting is that it’s

haus school did in Germany. However, he was radically different from them because he didn’t want to throw the baby out with the bathwater. Traditions needed to be carried on. Studying historic furniture types and developing them became the core of his work. Klint’s approach was a great idea as it gave the cabinetmakers the opportunity to create something new, which their production methods were geared towards.” “By choosing Danish wood types, Børge Mogensen used cheaper materials than his teacher,

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Chairs from FDB’s furniture design studio from 1942-1950

world-class. Børge Mogensen was the key to this. He was a student of Kaare Klint whose school was located where Designmuseum Danmark is today, and Børge Mogensen brought to life what was essentially Klint’s idea.” “In the 1920s the Danish master cabinetmakers ran into problems because the Germans were selling industrially produced furniture which they couldn’t compete with. This led to their autumn exhibition. At the same time, Klint became professor of the academy. Klint wanted to create furniture for the masses adapted to the function it had to fulfil, much in the same way as the Bau-

who preferred Cuban mahogany. In 1942 Børge Mogensen became the head of FDB’s furniture design studio where he designed furniture for every day life and Børge Mogensen took a certain degree of his social commitment with him to Fredericia.” You hear such a lot about Klint’s love of measuring ”Klint used the human body’s measurements and proportions as the basis for design. He used English units of measurement as he found they were more human. They are based on peo-


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