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GestureChair Chair Gesture

Designed Hans Olsen, 1957 Designed byby Hans Olsen, 1957 Prices 2.995,Prices fromfrom DKKDKK 2.995,-

A welcoming design A welcoming design Gesture Chair is available an abundance of stunning colours comes Gesture Chair is available in aninabundance of stunning colours and and comes upholstery on seat back, upholstery on seat; the seat; in pure wood. withwith upholstery on seat and and back, upholstery on the or inorpure wood.

Choose between or black lacquered beach.

Choose between oiledoiled oak,oak, teakteak oiledoiled oak oak or black lacquered beach.

warmnordic.com

William Morris

Have nothing in your house that you do not know to be useful, or believe to be beautiful.

ENTS

CON

10 WHAT GOES AROUND COMES AROUND 14 TREATS 18 NOTES FROM NATURE 20 GALLERY INSPIRED 22 THE PAUSTIAN STORE INDEX 26 SOFT TONES 28 VIBRANCE 30 LIVING WITH LEGENDS A LOVE STORY 34 SOMETIMES THINGS ARE BEST KEPT CLEAN AND SIMPLE 36 GRAPHIC 38 CHAOSING THE ORGANIZED 46 ICONS 60 MEET THE PARENTS 66 SOFT 68 TAKE A SEAT 70 AT THE TABLE 74 A NEW SHADE OF NORDIC 76 ZEN 78 SHORT STORIES 82 ART MEETS ARCHITECTURE 88 ENSEMBLE 90 RELAX 94 PLAYING WITH SHADOWS 96 LET THERE BE LIGHT

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The world needs a new mindset around design - now more than ever…

Every day humanity is writing cheques that our planet can’t cash. Natural resources are being used beyond repair and, as it is, we’re showing little signs of easing the pressure. One of the biggest pitfalls is our unsustainable consumer’s paradise. It’s high time we slam the brakes and reconsider the state of the planet we’re going to leave behind for future generations.

It’s inarguably a bold statement when you make a living off of selling material goods, but in the grand scheme of things it’s not about right or wrong, but rather do’s and dont’s. It’s about finding balance and taking part actively.

In our terminology, it’s handing down a chair when you buy a new one, funding your next dinner table by selling the old one. Buy less but better with the sentiment that whatever goes around comes around, or never goes out of style in the first place. The same values apply for the principles of good design; never defined by passing trends or tendencies, but always considerate, both in form, function and environment.

Ideals we’re not only preaching but practice. Our small empire is built on sustainable sourcing, time-tested design and long-lasting relationships with people and brands we admire, and who share our outlook on things. Not only because we feel that it is our duty, but because it’s simply the very backbone of what we do.

This first bi-annual issue of Paustian Magazine that you’re about to embark upon is a tangible extension of the above; a display of pioneer-ship told through resounding voices of the past, present and future, and a platform for engagement and a source of inspiration for the game changers of tomorrow.

Wishing you all the greatest things in life!

Frantz Longhi CEO, Paustian

T H E O T H E R C O N V E R S AT I O N

SCIGHERA SOFA DESIGNED BY PIERO LISSONI. Photographed at Atelier Rosa by Hermann Rosa, Germany discover more at cassina.com

Cover Photography Nicolaj Didriksen Styling Johanna Christensen Model ILETHIA SHARP, Scoop Models

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Make-up & Hair Stine Rasmussen, Scoop Artists Chair Fauteuil de Salon by Jean ProuvĂŠ, 1939 VITRA DKK 25.800 Dress COS

Publisher Paustian A/S Editor Johanna Christensen Art Director / Graphics Johanna Christensen Contributing Writer Daniel Alexander Fuglsang Ă˜stergaard Proofreader Laura Chabal Photographers Nicolaj Didriksen Anders Sune Berg Andy Price Christian Friis Johanna Christensen Mishael Phillip Styling / Art Direction Johanna Christensen Printed by CS Grafisk A/S Over Hadstenvej 84-86 DK-8370 Hadsten All Rights Reserved Reproduction without written permission from the publisher is strictly prohibited.

For inquiries please contact Johanna Christensen jbc@paustian.dk All products and prices are subject to availability and price errors, including, but not limited to typographical errors.

Make moments, give it history – let it become vintage.

ABOUT VINTAGE

A CLASSIC DANISH ADVENTURE

CASSINA MAESTRI COLLECTION

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A minimalistic Scandinavian approach, high quality and unique details are the hallmarks of the popular wristwatches from About Vintage. Since the Danish watch brand entered the market in 2015, it has not only taken Denmark by storm, but also the world.

The popular watch brand was founded by childhood friends Sebastian Skov and Thomas Andersen.

Their great passion for wristwatches and the desire to design timepieces of excellent craftmanship and classic design are the cornerstones of About Vintage. The vision of creating the alternative to the watch in the safety box – has proven to be very successful. About Vintage not only seeks to tell a story but to design timepieces where the customers themselves create the history.

LC 4, Chaise-longue by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928 CASSINA DKK 41.710

Cassina has been designing the future of interiors for 90 years. Founded by Cesare and Umberto Cassina in Meda in 1927, the company launched industrial design in Italy during the 50’s by taking an entirely new approach which saw a shift from handcraftsmanship to serial production.

The company was pioneering in research and innovation, combining technological skill with traditional craftsmanship.

For the first time, important architects and designers were involved and encouraged to envision new designs to be transformed into projects, a characteristic that still distinguishes the company from others. In 1964 the Cassina I Maestri Collection began with the acquisition of the exclusive worldwide rights to serially produce four models designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand. Over the following

years, this collection has brought together some of the most iconic furniture by the greatest 20th Century architects of modern classics with the aim of disseminating their cultural values. Faithful to its history, Cassina continues to build up a collection open to more contributions and different design languages. Creating harmonious settings that bring together the best of contemporary design. Representing new ways of living, giving space to research into products that are not merely new but also innovative in their use.

Flagship Stores

. COPENHAGEN .

COPENHAGEN AIRPORT

FOR STORE LOCATOR, VISIT

. PARIS . SINGAPORE . STOCKHOLM . SYDNEY . O L E L Y N G G A A R D . com

www

“Beauty is the harmony of purpose and form” - Alvar Aalto, 1928

UPCYCLE RECYCLE For the love of plastic

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Ecopixel is a new method for recycling plastics, it is composed of 100% Low-Density Poly Ethylene (LDPE) that melts at 120°C and can, therefore, be re-melted an infinite number of times without altering its properties.

Because of this low melting-point the ecological impact during its transformation is inferior to many other plastics. As it melts in different shapes and colours, not mixing the pigments of the “raw” waste-material, it shows an easily recognisable pixelated appearance.

ECOPIXEL is 100% made in Italy.

Every DELTA stool is a unique piece because the pixels melt together randomly in the production process. There are no standard colours, the tonalities depend on the shades of recycled material that are available in the factory.

Delta Stool ECOPIXEL DKK 1.199

HOW BIG IS SMALL?

Kiki Sofa by Ilmari Tapiovaara, 1960 ARTEK From DKK 20.320

Compact Living with Artek

Forget about the old-fashioned mansions. The new buzz is eco-friendly compact living. That doesn’t mean you need to let go of the quality, quite the opposite.

Compact living is a concern that was close to the hearts of Artek founders Aino and Alvar Aalto since the beginning. As cities are growing denser and space is becoming scarcer, the topic gains relevance again today. Since the 1930s, Artek has provided clever solutions for compact spaces that are suited to the current moment.

Intelligent and versatile, classic and contemporary designs serve

multiple purposes and take on diverse roles. A Kaari Wall Shelf doubles as a desk; a Stool 60 is both side table and display. Flexible, multipurpose, and highly functional, Artek solutions provide maximum efficiency in minimum space.

While scaling down may be a necessity, it can also be a lifestyle choice. At Salone del Mobile 2018 in a display of less than 10 m² Artek showcased the transversal functionality and small footprint of both classic and contemporary products, demonstrating that even spaces of limited proportions can be beautifully and intelligently furnished to serve different needs.

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MIRROR MIRROR 180, A FAMILY MEMBER TO THE AWARD WINNING MIRROR MIRROR 90 SERIES, DESIGNED BY MARIA BRUUN IN 2014.

The mirrors are made of high-gloss polished stainless steel and the massive steam bent oak frame is still the leading element in the simple and precise design.

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NOTES FROM NATURE

1. Akari 16A VITRA DKK 5.290 2. Mirror Mirror 180 PAUSTIAN FURNITURE COLLECTION DKK 4.875 3. Sutoa FRAMA DKK 38.700 4. GMG Chaise Longue GUBI Available February/March 5. Heia Scented Candle SKANDINAVISK DKK 499 6. M/S Escape MISMO DKK 3.470 7. Cape Sofa WARM NORDIC DKK 18.995 8. Luxury Plaid Mocca ELVANG DKK 1.599 9. Marble Circles KRISTINA DAM DKK 2.900 10. TriAngle KARAKTER CPH DKK 6.495 11. Dog Bag City Carrier Heather Brown CLOUD7 DKK 2.095

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skandinavisk.com

GALLERY

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THE ARCHITECT FRANK GEHRY IS KNOWN FOR HIS USE OF UNUSUAL MATERIALS. HE SUCCEEDED IN BRINGING A NEW AESTHETIC DIMENSION TO SUCH AN EVERYDAY MATERIAL AS CARDBOARD. Although surprisingly simple in appearance, it is constructed with the consummate skill of an architect, making it not only very comfortable but also durable and robust.

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1. Fronzoni Chair´64 CAPPELINI DKK 6.000 2. Cylinder Lamp KRISTINA DAM DKK 6.400 3. Aim FLOS DKK 3.225 4. Arrangements Round FLOS DKK 5.750 5. Arrangements Line FLOS DKK 4.125 6. Side Chair VITRA DKK 5.838 7. Wiggle Stool VITRA DKK 3.750 8. Lari Lamp KARAKTER CPH DKK 5.995 9. Rivet Side Table FRAMA DKK 3.950 10. 9.5° Chair FRAMA DKK 5.950

Grid Sideboard 15.000 DKK | Curved Pouf 3.500 DKK | Bowl Large 800 DKK Bowl XL 2.000 DKK | Wooden Sphere XL 1.375 DKK | Relief Mask 1.600 DKK

kristinadamstudio.dk

THE PAUS TIAN STORE INDEX Paustian is growing. As we speak (e.g. read), the small empire of carefully curated objects is doubling in size, as two becomes four.

UTZON HOUSE The mothership and pride of Paustian. Our flagship store in Nordhavn, Copenhagen, was penned by the award-winning architect, and friend of the house, Jørn Utzon in 1987 and is one of only a handful of publicly accessible Utzon-buildings on Danish soil. His son, Kim Utzon, tastefully added an extension the building in 2010. Paustian Utzon House offers the full range of what we have to offer and also serves as our HQ and administration. Swing by for the design, stay for the architectural beauty.

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ØSTBANEN The historic old train station, beautifully backdropped by Aarhus Harbour, has been the go-to destination for design in the city of smiles since 2000. Starting from January 2019, Paustian Østbanen is going to serve our growing number of contract clients exclusively as we continue to offer and add the patented Paustian-touch in public and private spaces.

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STRØGET CPH Paustian is back in the centre of Copenhagen, by ‘Strøget’ for the first time since 1987. Placed in a former bank, complete with the original armoured vaults, grandiose, column-supported arches and marble details, This new Paustian store is certain to turn heads for multiple reasons other than the inventory. This store will stock smaller design objects, as well as a curated selection of mid-century, modern and contemporary furniture.

LILLE TORV

Our new storefront, in the heart of Aarhus, is literally fit for a king. The historic Meulengracht’s Mansion which highlights the bustling square actually used to house the visiting King & Queen of Denmark up until 1900. Similarly to the new Paustian by Strøget, Lille Torv will offer a wide selection of fashion, accessories, lighting and interior design objects, mixed with the finest in mid-century, modern and contemporary furniture design.

ST. KONGENSGADE 50 1264 KØBENHAVN K

info@tableau-cph.com + 45 31 45 31 30

www.tableau-cph.com @tableau_cph

SOFT TOUCH

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1. Anoli 3 Opal NUURA DKK 7.499 2. HK GEORG JENSEN DKK 1.599 3. Tall Wall Mirror MOEBE DKK 3.295 4. Outline Poster Lounge Chair 43 ARTEK DKK 240 5. Freeform Sofa VITRA From DKK 63.800 6. Light Grey rough & soft box NTERINTERIOR DKK 550 7. Shelving System MOEBE DKK 7.995 8. Arctander Chair PAUSTIAN FURNIRURE COLLECTION DKK 39.595 9. Sintra Table FRAMA DKK 6.600

The Arctander Chair was designed by Philip Arctander in 1944. It is also known as the Clam Chair.

In 2016, Paustian reintroduced the chair into production in collaboration with Sofie Arctander Paustian.

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Comodo by Achille Castiglioni & Giancarlo Pozzi, 1988 Domo floor lamp by Joe Colombo, 1965

karakter-copenhagen.com @karaktercopenhagen

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Vibrance

1. Galore Sofa WARM NORDIC From DKK 19.995 2. Elodie Rose Twirl earring MARIA BLACK DKK 2.600 3. Delta Stool ECOPIXEL DKK 1.199 4. JU1 Jørn Utzon &TRADITION DKK 2.495 5. Gap WARM NORDIC DKK 129 6. 1815 Chronograph, Steel/Blue Sunray ABOUT VINTAGE DKK 2.499 7. Dainty puf WARM NORDIC DKK 2.995 8. Jean-Michel Basquiat NEW MAGS BOOKS DKK 1.649 9. Tea Trolley 901 ARTEK DKK 18.060

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THE TEA TROLLEY WAS INSPIRED BY BRITISH TEA CULTURE, WHICH AINO AND ALVAR AALTO HAD BECOME ACQUAINTED WITH THROUGH THEIR MANY TRAVELS, COMBINED WITH THEIR ADMIRATION OF JAPANESE WOODWORK AND ARCHITECTURE.

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Over the years, numerous variations of the Tea Trolley have been produced. Dutch designer and colour expert Hella Jongerius delved into Artek’s archives to offer her own take on one of Alvar Aalto’s most cherished products. Her subtle interventions resulted in a light and a dark version of the trolley, which plays with the shifting light on the product’s upper and lower trays.

raawii.dk

LIVING WITH LEGENDS

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THE ARTEK OFFICE IN BERLIN

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The name Artek is a synthesis of "art" and ‘technology’ It was Walter Gropius, a key proponent of modernism, who coined the motto.

‘Art and technology – a new unity.’

Marianne Goebl MANAGING DIRECTOR OF ARTEK

We visited Artek’s office in Berlin and spent the day with their managing director Marianne Goebl. The office was of course furnished with Artek’s classics, light and airy. Combined with a breathtaking 360° Berlin view it was impossible not to fall even deeper in love with the Finnish brand, even before Marianne sealed the deal for good with her knowledge and charm.

THE HISTORY

Alvar Aalto originally designed the Golden Bell pendant for the Restaurant Savoy in 1937; it combines Alvar Aalto’s typical streamlined design and the characteristic diffused light. Golden Bell Savoy is a new version, launched in 2017 for the 80th anniversary of the Restaurant. Like the others, Golden Bell Savoy is made of one single piece of brass, but its polished surface has been left uncoated, so over time, it will develop a beautiful and unique patina which I like. It is so authentic.

WHY

Lighting has a significant impact on our lives, especially in the darker months and that is why I chose the Golden Bell. Lighting doesn’t have to be so complicated and technical as many people believe it to be. I feel that people are sometimes afraid to try things out because they think lighting has to be done in a certain way, but that isn’t true even though it plays a key role in every home and architecture. The Golden Bell is a beautiful pendant, straightforward and can work everywhere. You notice it but it doesn’t overtake the room, and the diffused light is gorgeous.

WHAT TURNS YOU ON

The story, it is always the story. The more I learn about things, the more I fall in love with the object.

Artek has always operated at an intersection between furniture, technology and art. Hence the name and I find that inspiring and meaningful. Artek products have a very no-nonsense quality to them which I like. They are what they are, and nothing is hidden.

The much-loved Arctander chair was designed in 1944 by Philip Arctander, a Danish architect.

“I grew up in a home filled with Danish design and I really appreciate the beautiful craftsmanship and the minimalistic feel that makes Danish style spectacular”.

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Pernille Teisbæk STYLIST AND CREATIVE DIRECTOR

There are influencers, and then there is Pernille Teisbæk, a social media powerhouse, stylist and creative director at Social Zoo. Teisbæk is known for her impeccable taste both in fashion and interior, so she was definitely on the shortlist for this article. We met her in her beautiful house in Frederiksberg in Copenhagen were the Arctander chair plays a significant role in her everyday life.

THE PERSONAL HISTORY

I’ve been eyeing the chair for many years without knowing it was a purely Danish Design. When I found out I instantly knew that this was a piece I needed to invest in and that I would keep forever. I have a big passion for chairs and love to collect different kinds, especially the ones made in Denmark.

THE ROLE

We choose to place the chair in our bathroom, which for some sounds a bit particular, but for us, it makes the room soft and cosy - brings in the Danish “ hygge “ feel and creates the perfect contrast in the otherwise minimalistic space. We use it on a Daily basis as it’s a comfortable place to sit and relax while our son takes a bath in the tub.

THE MEANING OF GOOD DESIGN

I grew up in a home filled with Danish design and I really appreciate the beautiful craftsmanship and the minimalistic feel that makes Danish style spectacular. Many of these pieces never run out of style and often stays in families for centuries, which adds an environmental note that I really care about.

Sometimes things

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1. Oh My Darling wavy gold Ring SIGRUN DKK 800 2. Gatto FLOS DKK 3.750 3. Twirling Bird WARM NORDIC DKK 249 4. Cork Family, model B VITRA DKK 3.400 5. Candle Holder Chrome STOFF NAGEL From DKK 299 6. Resting Cat VITRA DKK 1.590 7. Carved Wood Tray WARM NORDIC DKK 499 8. Eleventh Hour BYREDO 9. Wooden Sphere, Oak KRISTINA DAM DKK 950 10. Soft Pad Chaise VITRA DKK 45.600

GO ANYWHERE YOU WANT TO GO, BRING ANYONE YOU WANT TO BRING,

AND DISCOVER THE MOST EXHILARATING DRIVE EVER, AT HOME AND ON THE ROAD. Tesla can get you anywhere you want to go with its rapidly expanding number of Supercharger locations, and I have enjoyed their destination chargers while away from home. However, Tesla’s vision for the environment is more important to me. Tesla is one of the most innovative and impactful companies tackling climate change. They use clean electricity in their production, and their batteries have a low environmental impact. This is the reason why I am a Tesla owner.

Frantz Longhi CEO of Paustian

EXPERIENCE A TESLA FOR A WEEKEND. ENTER HERE: www.tesla.com/paustian

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GRA PHIC 1. Pendant Light A110 “Hand Grenade” ARTEK DKK 3.620 2. Pulsar Cushion, Raf Simons KVADRAT DKK 1.810 3. Lumio Lumio DKK 2.295 4. Grid Sideboard KRISTINA DAM DKK 15.000 5. Coat Rack MOEBE DKK 795 6. Artek 80 Anniversary Poster ARTEK DKK 240 7. Sferico KARAKTER CPH DKK 249 8. The Orange WARM NORDIC DKK 7.995 9. PK25 FRITZ HANSEN DKK 67.638 10. Cotton Poplin Candle BYREDO 11. Lab Light Floor KARAKTER CPH DKK 5.495

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CHA OSING THE ORGA NIZED WORDS BY

DANIEL ALEXANDER FUGLSANG ØSTERGAARD

PHOTOGRAPHY BY

ANDY PRICE & MISHAEL PHILLIPS

ABSTRACT YET

CONCRETE

DISGUSTING YET DELICIOUS

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REAL YET

UNREAL

PERFECT YET FLAWED

What you’re about to see is hard to define, but impossible to ignore.

Step inside the wonderful and wicked world of Wang & Söderström.

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WANG & SÖDERSTRÖM

THERE’S JUST SOMETHING ABOUT THE WORKS OF WANG & SÖDERSTRÖM. IT’S HARD TO PUT YOUR FINGER ON EXACTLY WHAT IT IS, BUT IT LEAVES YOU WITH AN OVERPOWERING URGE TO DIVE HEADFIRST INTO THEIR ALTERNATIVE UNIVERSE OF SHAPES, SIZES, COLOURS, ANTI-GRAVITY, ET CETERA. THE SWEDISH DUO IS TIGHTROPING THE FINE LINE BETWEEN CHAOS AND CONTROL, AND SO FAR THEY’RE KEEPING PERFECT BALANCE BY QUESTIONING EVERYTHING, BOTH IN THE ‘REAL’ AND DIGITAL WORLD, CREATING A PERFECT, UN-PERFECT BLEND OF HYPERREALITY. IT ALL MAKES VERY LITTLE SENSE IN ALL THE RIGHT WAYS. Assuming the roles of puppet masters, pulling the three-dimensional strings, are Anny Wang & Tim Söderström. Since setting up shop together in 2016, the visionary pair have created their very own, idiosyncratic style that is set in a hyperrealistic (the inability to distinguish reality from a simulation of reality) world without rules or limitations, but often inspired by the imperfections of the ‘real’ one, inhabited by you, me and anyone but Anny & Tim, who still visit occasionally.

Putting the abstract into words is obviously no easy task. In the dynamic duo’s own words, they aim is to be “relatable but hard to comprehend at the same time”. It may sound somewhat oxymoronic, but according to Tim & Anny, being “in between” is forcing the viewers to question what they see; “Everything we do should feel both real and surreal at the same time. We always add an element of surprise to our work to make the viewers question what they see. It could be that movement is distorted, gravity is out of play details that feels slightly off. We’re never trying to confuse people, but we always hope to change the perception of what’s real”.

“We know, we can’t control the individual takeaways, but we’re sure that our animations, simulations and sculptures are able to activate and stretch the senses through space, colours, shapes and even things such as childhood memories.”

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The level of abstraction is through the roof, but the weird feeling you get is comfortingly familiar in a delicious and disgusting combo. “Weird is good for humans. We like to weird things up as a contrast to the constant strive for perfection.”

The inverted nature of Wang & Söderström’s work is apparent, not only through their visual expression but their entire practice.

Putting it into the words that “real-world’ers” are better able to understand, Anny & Tim compare their approach to other traditional crafts. Well, Sort of; “Like a ceramist who starts with a lump of clay, we do the same but in a digital way. But where the ceramist’s starting point is a chaotic mess of clay, ours is the exact opposite. We set out with the ultimate perfect sphere. It’s so mathematically perfect that it could never be found in nature. But it’s actually too perfect in a way that you can’t relate to at all”.

The signature Wang & Söderström treatment is all about flawing the perfect to create some sort of chaotic mess that’s somewhat relatable, whether they are exploring the digital or physical side of 3D. “The ceramist’s goal is to try and organise the chaos. We, on the other hand, want to chaos the organized. We add noisy surfaces, push and pull away from perfection in order to make the digital look natural”.

The role of the undisputed poster-couple of mind-boggling 3D animations wasn’t exactly in the cards for neither of the two. Both Anny & Tim applied their creative talents in a far more hands-

Their fast and substantial success has allowed the eye-catching duo to venture into the more rigid realms of commercial work, realising large-scale projects for international clients such as Nike, Rimowa, New York Times, Swedish National Television and Selfridges London. Right now, everybody wants what Wang & Söderström has to offer, and the duo is riding the wave as the new, exciting flavour.

“We’re in a great position. We’re in demand with means that we can fund our practice exclusively through commercial projects that we really want to work on. That kind of monetary freedom allows us to experiment without having to worry about how to pay the bills next month. It keeps our approach fresh and exciting and it spills over into our work. It also allows us to take on bigger and better commercial projects”.

On the topic of creative freedom, Tim further adds perspective to the liberation that comes from doing great work on big projects.

“Growing up, I used to love the TV commercials by the Swedish director Roy Andersson. He had a very distinctive, very recognisable style and he used to do commercials for things like ketchup, insurance companies and Volvo. This allowed him to fund his own, totally uncompromised feature films without abandoning his own vision. I really admire that approach, and it’s something Anny, and I try to mirror to an extent.”

“Weird is good for humans.

We like to weird things up as a contrast to the constant strive for perfection.”

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Somewhere between the disgusting and delicious. The actually often touch. Weirding it up. Contrast is good. The new and weird is good for humanity. Playing around with blurriness, weirdness.

on and concrete manner before stumbling upon the limitless possibilities of 3D software in Narnia-esque fashion. Anny, who has an educational background as a Spatial & Furniture Designer, began to tinker with 3D software after hours and posted her simulations to her growing amount of Instagram followers, while Tim, an architect by education, found 3D tools to give him a much needed instant payoff during initial work on architectural projects.

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There’s no denying the enormous possibilities of technology like 3D software and 3D printing, and even though Anny & Tim are on the frontline of the development and actual use of the tools, the two don’t consider themselves pioneers. However, they’re both convinced of the real-world usability and overall potential as a premier problem solver of the future. Most recently, Wang & Söderström collaborated with material researchers from the University of Lund on a project to “visualize and communicate nanowires”. an extremely small (It takes 50.000 nanowires to reach the thickness of a human hair) property with great potential, used in solar cells and electronic devices which can be grown in labs.

“The amazing thing with digital tools is that you can simulate different scenarios things without building it in real life. As the technology evolves, you can do even more precise digital simulations on how something will be in the real world, and that minimises mistakes greatly and adds efficiency.

And the closing advice to any aspiring 3D-explorers?

“Never stop using the tools incorrectly.”

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IC ONS PHOTOGRAPHY BY

NICOLAJ DIDRIKSEN CREATIVE DIRECTION & STYLING

JOHANNA CHRISTENSEN

MODEL

ILETHIA SHARP, SCOOP MODELS

MAKEUP & HAIR

STINE RASMUSSEN, SCOOP ARTISTS

Modular Sofa by Erik Rasmussen, 1969 PAUSTIAN FURNITURE COLLECTION Coat STELLA MCCARTNEY MyTheresa Pants MUNTHE

Armchair 41 “Paimio“ by Alvar Aalto, 1932 ARTEK DKK 29.690 Suit MANGO

Gesture by Hans Olsen, 1957 WARM NORDIC DKK 2.995 Triangolo Chair by Per Holland Bastrup, 1989 FRAMA DKK 7.800 Earring Sadie MARIA BLACK DKK 700 Rings Harold MARIA BLACK DKK 1.200 Bodysuit LIVE THE PROCESS MyTheresa Pants STELLA MCCARTNEY MyTheresa Boots VINTAGE

Fauteuil de Salon by Jean Prouvé, 1939 VITRA DKK 25.800 Dress COS

Arctander Chair by Philip Arctander, 1944 PAUSTIAN FURNITURE COLLECTION DKK 29.995

1. Bertoia Diamond Chair by Harry Bertoia, 1952 KNOLL DKK 14.500 2. Balloon chair by Hans Olsen, 1955 WARM NORDIC DKK 7.995 3. Prismatic Table by Isamu Noguchi, 1957 VITRA DKK 4.450 4. Navy Chair by Wilton C. Dinges, 1944 EMECO DKK 5.600 5. LC2 by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928 CASSINA DKK 50.824 6. All Plastic Chair by Jasper Morrison, 2016 VITRA DKK 2.050 7. Plywood Group LCW by Charles & Ray Eames, 1945-1946 VITRA DKK 18.700 8. Pebble by Welling/Ludvik, 2018 WARM NORDIC DKK 2.995 9. 9.5° Chair by Rasmus B. Fex, 2014 FRAMA DKK 5.950

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637 UTRECHT by Gerrit Thomas Rietveld, 1935 CASSINA DKK 32.320

Arctander Chair by Philip Arctander, 1944 PAUSTIAN FURNITURE COLLECTION DKK 29.995 Blazer ISABEL MARANT Bodysuit LIVE THE PROCESS MyTheresa

Lobby Chair ES 108 by Charles & Ray Eames, 1960 VITRA DKK 49.100 Dress COS

LC3 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928 CASSINA DKK 82.585 Dress NANUSHKA MyTheresa

MEET THE

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Behind every great brand is a great story. In the curious case of Ole & Monika Paustian, there are probably hundreds.

Armed with a foolproof eye for the future design classics and a personal approach above all, the trailblazing couple shaped a successful furniture business on gut feeling rather than spreadsheets.

WORDS BY

DANIEL ALEXANDER FUGLSANG ØSTERGAARD

PHOTOGRAPHY BY

JOHANNA CHRISTENSEN

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The man with the plan is Ole Paustian and, surprisingly, his here-goesnothing bike ride into the wealthy suburbs, trying to impress the who’s who of architecture, isn’t in vain. The heralded architect is impressed by the tenacity of the young salesman, but other engagements prevent him from taking on the project.

Looking back, Ole may have lost the initial battle, but he eventually won the war. The bold encounter in Gentofte has since turned into a life-long friendship with Børge Mogensen and it essentially went on to epitomize the alternative, very personal style that Ole & Monika Paustian conducted through parties, exhibitions, jazz concerts and great furniture. Today, Ole, Monika and their well-fed yellow Labrador, Herman are enjoying retirement in the late Børge Mogensen’s former villa in Gentofte, completing the circle on a remarkable journey.

This is the story of the remarkable events that transpired between then and now, retrospectively anecdoted by the pioneering Paustian’s.

“The combination of contemporary furniture and quirky events differentiated us from the competition.

It wasn’t a defined strategy, but rather a natural extension of us and our personalities”.

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It’s 1964, and a young man in an old business is about to embark on a kamikaze mission. With nothing but ideas and persistence in his pockets, he’s on his way to Gentofte, a posh suburb on the outskirts of Copenhagen, to cold call at the front door of the Danish mid-century architect, Børge Mogensen. Shooting for the stars, he’s hoping to persuade Mogensen into decorating his newly opened furniture store on Vesterbrogade.

Finishing up on the aspiring young man from the scene above, he eventually found someone to decorate his furniture store. As recommended by Mogensen himself, Ole pegged the architect John Vedel-Rieper to orchestrate an organic shopping experience in Paustian on Vesterbrogade, rather than the glorified warehouses that most furniture stores resembled at the time.

“It was just rows upon rows of chairs, tables and sofas, without any context. in collaboration with Vedel-Rieper, we strived to create living environments, as you see in any respectable furniture store today”.

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The aesthetically pleasing furniture store on Vesterbrogade 67 quickly gained a reputation among the artists and architects at the time. Firstly, the young couple knew how to peddle furniture, but perhaps more importantly, they excelled in the role as hosts, creating a retail space unlike any other at the time. One that reached far beyond tables and chairs. A buzz was starting to build around the dynamic duo with the up close and personal approach.

Acting as the young hip counterweight to the establishment, Ole & Monika continued to break down the existing boundaries of how to run something as mundane as a furniture store.

“We had a natural desire and an ambition to do things differently. To be perfectly honest, selling furniture isn’t the most exhilarating thing in the world. We invited avantgarde performance artists such as Kirsten Dehlholm and Erik Nørgaard to exhibit in our store, and the press absolutely loved it”.

“The combination of contemporary furniture and quirky events differentiated us from the competition. It wasn’t a defined strategy, but rather a natural extension of us and our personalities”.

“We had a natural desire and an ambition to do things differently. To be perfectly honest, selling furniture isn’t the most exhilarating thing in the world. We invited avantgarde performance artists such as Kirsten Dehlholm and Erik Nørgaard to exhibit in our store, and the press absolutely loved it”.

The Paustian’s represented a fresh and familiarised way of running a business, focused on building relationships rather than boosting the bottom line. Four years in, the store was barely breaking even, and the modest profits were used to boost further and personalise the unique profile of Paustian. The commercial breakthrough eventually presented itself in the strangest of places.

“It occurred to us that traditional horse covers could double as carpeting. We commissioned an Italian weaving mill called Prado

to manufacture the prototypes from military cloth, and back home it was a booming success. Our in-house designer Erik Rasmussen made a newspaper add for the horse cover carpets, and we ended up selling 16 kilometres worth.”

“Eventually the bug caught on, and other stores began to sell their own version of horse cover carpets which prompted us to turn our attention elsewhere.”

In retrospect, it’s evident that Ole & Monika were continuously ahead of their time. First and foremost through their adventurous attitude, but also due to an infallible eye for the trends and tendencies of tomorrow. The visionary couple was among the first to venture beyond Danish design, introducing future icons like Charles & Ray Eames and Alvar Aalto exclusively at Paustian.

“If we like it, the chance is that others are going to like it as well.

That was essentially the simple approach we had when we were looking for new inventory. There’s no secret formula, but for us, a keen eye and solid gut feeling proved to be just right.”

“Whenever we found something we really believed in, it was always important for us that we had exclusive distribution rights to brands we helped popularise in Denmark and, among others, we managed to obtain the exclusive rights to distribute products from Artek and Vitra in Denmark. Ironically, the only one we didn’t have exclusive rights on was Børge Mogensen.”

Increased popularity and a growing assortment of Danish and international furniture meant that empty square meters were getting scarce on Vesterbrogade 67. Paustian had gradually swallowed up every floor of the building, even expanding the store turned cultural hub with a makeshift cinema. Ole & Monika eventually decided it was time to move on to bigger and better things and the choice of location wasn’t exactly obvious.

At the time they were renting a warehouse in a remote industrial area in Copenhagen’s North Harbour, and they had gradually been falling in love with the waterfront plot. Space wasn’t premium and it was cheap compared to central Copenhagen. Now all they needed was an architect to carry out their vision of the retail space of tomorrow and beyond.

“We obviously knew a number of great architects but didn’t feel comfortable choosing one friend over another. That’s why we approached Jørn Utzon, who was in a league of his own at the time we asked him to take on the task. We had previously worked with Utzon when he designed and decorated the interior of Bagsværd Church with pieces of Alvar Aalto furniture which was sold exclusively in Paustian at the time, and he was both a great guy and a brilliant architect. Nobody frowned when we chose Utzon, and now the house is deemed worthy of preservation.

Rightfully so”.

It’s now been 8 years since Ole & Monika handed over the keys to the iconic Utzon House, but Paustian remains. And to be honest, with the true and tested foundation Installed by the pioneering parents, it’s destined to be a longlasting foundation.

PAUSTIAN INTRODUCES SOFT, A COLLECTION OF THROWS AND PILLOWS DESIGNED EXCLUSIVELY FOR PAUSTIAN BY DANISH TEXTILE DESIGNER HELENE BLANCHE. THE COLLECTION TAKES ITS POINT OF DEPARTURE IN THE CLASSIC ‘HORSE CLOTH’ TEXTILE, THAT THE FOUNDER OF PAUSTIAN, OLE PAUSTIAN, STARTED USING BACK IN THE 1960’S IN INTERIORS AND FOR FURNITURE. SOFT UNFOLDS IN A GEOMETRIC EXPRESSION AND PAYS HOMAGE TO THE DANISH WEAVERS KIM NAUER, VIBEKE KLINT AND LIS AHLMAN, WHO ALL CONTRIBUTED TO THE GOLDEN ERA OF DANISH TEXTILE DESIGN IN THE 20TH CENTURY.

SOFT plaid Striped Creme by Helene Blanche, 2018 PAUSTIAN FURNITURE COLLECTION DKK 1.999 KIILA Coat Stand by Daniel Rybakken ARTEK DKK 3.575

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BY HELENE BLANCHE

“I enjoy working with such basic, yet highly sophisticated patterns and I feel at home in the sphere between Cubist art and my historical Parisian textile samples”

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Helene Blanche is a Danish textile designer who graduated from Central Saint Martins College of Art and Design in London. Intrigued by woven fabric and the way a single thread moves to create a Structural repetition, it is this textural rhythm and vibrant dynamic that inspires her: “I enjoy working with such basic, yet highly sophisticated patterns and I feel at home in the sphere between Cubist art and my historical Parisian textile samples”.

Helene Blanche is responsible for the creative direction of Tapet-Cafe alongside designing their in-house textile and wallpaper collections. Her collections are sold exclusively at Tapet-Cafe in Denmark, and from a selection of handpicked international showrooms, particularly in Paris, London, Stockholm, Moscow and Sydney.

Plain Orange DKK 1.999

Plain Rust DKK 1.999

Checks Multi DKK 1.999

SOFT is woven in pure baby alpaca wool from Peru. Using a minimalistic and sophisticated take, Helene Blanche has redefined the softly textured throws by creating two new patterns, “Stripes” and “Plain“, while still maintaining the classic “Checks”. All three designs in the SOFT collection emit classic elegance and have a simple, yet luxurious feel. The throws are suitable for use in a wide variety of interiors and work beautifully together in a multitude of combinations due to the subtle colour scheme, which emanates freshness, yet establishes an emotional depth. The patterns have a modern look with an artisan finish, the substance of which becomes exceptionally clear when the patterns are viewed and used together.

Checks Rust Creme DKK 1.999

Checks White DKK 1.999

Striped Blue DKK 1.999

Striped Creme DKK 1.999

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THE FIBERGLASS CHAIRS WERE LAUNCHED ON THE MARKET IN 1950, INTRODUCING A NEW FURNITURE TYPOLOGY THAT HAS SINCE BECOME WIDESPREAD: THE MULTIFUNCTIONAL CHAIR WHOSE SHELL CAN BE COMBINED WITH A VARIETY OF BASES TO SERVE DIFFERENT PURPOSES. Eames Fiberglass Side Chair DSW

by Charles & Ray Eames, 1950 VITRA DKK 6.060

TAKE A SEAT

Standard SP VITRA DKK 3.750

Drop Chair REPUBLIC OF FRITZ HANSEN DKK 6.629

No1 by Nendo REPUBLIC OF FRITZ HANSEN DKK 5.000

PK1 POUL KJÆRHOLM, CARL HANSEN & SØN DKK 2.495

Navy Chair EMECO DKK 5.600

Chair 69 ARKET DKK 3.180

“A chair must be really important as an object, because my mother always told me to offer my chair to a lady.”

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- Ettore Sottsass

Cow Horn Chair WARM NORDIC DKK 5.995

CH33 CARL HANSEN & SØN DKK 4.826

413 Cab CASSINA DKK 16.975

ASAP Chair PAUSTIAN FURNITURE

Collection DKK 3.125

Be My Guest WARM NORDIC DKK 5.995

Chair 66 ARTEK DKK 3.190

Gesture WARM NORDIC DKK 2.995

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1. Tulip Armless Chair by Eero Saarinen, 1957 KNOLL DKK 13.400 2. Thonet 209 by Gebrüder Thonet, 1859 THONET DKK 8.150 2. Vidun by Vico Magistretti, 1987 DEPADOVA DKK 24.060

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AT THE

TABLE

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1. Naan CASSINA DKK 52.266 2. Asap PAUSTIAN FURNITURE COLLECTION DKK 6.150 3. EM Table VITRA DKK 30.100 4. Noguchi VITRA DKK 29.600 5. Evermore WARM NORDIC DKK 19.995 6. A-Table VITRA DKK 32.600 7. Asap PAUSTIAN FURNITURE COLLECTION DKK 8.750 8. Saarinen KNOLL From DKK 77.200 to 138.900 9. Trestles FRAMA DKK 18.600 10. Herringbone Tile WARM NORDIC DKK 19.995

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When you recycle a plastic bottle, you’re doing something good.

When you recycle 111 of them, you’re doing something great.

Help your bottle become something extraordinary again.

We make chairs.

In America.

Often by hand.

Mostly from recycled stuff.

But always to last.

Navy Chair EMECO DKK 5.600

111 Chair EMECO DKK 3.200

IN 2006, COCA-COLA APPROACHED EMECO WITH A PROBLEM: BILLIONS OF PLASTIC BOTTLES WERE BEING SENT TO LANDFILLS EVERY YEAR. ONE SINGLE PLASTIC BOTTLE TAKES 500 - 1000 YEARS TO FULLY BREAK DOWN, WHICH MAKES FOR A PRETTY DEPRESSING MATH PROBLEM ON BEHALF OF OUR PLANET. Thanks to the stagering number of plastic bottles being used and disposed every year, Polyethylene Terephthalate (PET) is probably the most common plastic on earth. It takes a lot of thinking and testing and work hours to turn PET into something structurally sound enough to sit on. But well worth the time.

Through upcycling, Emeco transformed plastic waste into a new material, made from recycled plastic bottles from Coca-Cola. The chair is aptly named the 111 Navy Chair because every chair keeps 111 plastic bottles away from landfills.

Since its launch in 2010, more than 30 million plastic bottles have been reincarnated as chairs, and that number is growing every day as Emeco is working their way toward zero waste.

Talk about changing the notion of ‘plastic furniture’.

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ONE MAN’S TRASH IS ANOTHER LAND’S TREASURE

Uffe Buchard, Founder & Creative Director of Darling Creative Studio Editor in Chief & Publisher of DANSK Magazine

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A NEW SHADE

OF NORDIC Messing around with classics is a dangerous game, but the new Danish design brand, Warm Nordic, is more than up to the task, with their tasteful line-up of overlooked icons mixed with today’s aesthetics. The concept of Warm Nordic is dubbed ‘classic meets contemporary’ and the young brand is out to prove that there’s plenty more to the golden age of Danish design than Wegner, Juhl & Jacobsen. The Danish style-guru and all-around creative, Uffe Buchard, directed the launch of Warm Nordic earlier this year and we caught up with him for a chat about design then and now, and how to tie the two eras together.

Photography by CHRISTIAN FRIIS

HOW DID YOU GET INVOLVED WITH THE LAUNCH OF WARM NORDIC?

Our initial role at Darling Creative Studio was to put Warm Nordic into words, and discuss how to differentiate Warm Nordic from all the other furniture brands on the market and how to communicate this. We ended up talking more about lifestyle than design, and our early talks were centred around values, opinions on design and Frantz’ interesting take on cool Nordic design. The general philosophy behind the brand was both different and visionary right from the start. After Frantz decided on the name, Warm Nordic, we began working on a logo, followed by a careful process of curating products and picking out textiles, types of wood and other materials in accordance to our range of products.

The most important part of our work at Darling Creative Studio was to fully understand Frantz and his visions for the brand. This process was actually fairly uncomplicated because of Frantz’ straightforward manner and an often shared opinion on Nordic style and its heritage, and one of our main tasks was to make sure that these visions were carried out in the right blend of tradition and innovation. This turned out to be an extremely effective process that was completed over a few, but very long days in Aarhus with Frantz and his talented employees where we discussed and talked back and forth about the details of Warm Nordic. The result is warm, playful and Nordic but with a vital twist.

You start by altering some of the apparent details that can add relevancy to the older design. It could be textiles with more quirky colours, using different types of wood which can alter the look from dusty to funky, and then there’s the general use of colours which can elevate vintage design into the future if done right. You also have to reach beyond the common idea of ‘good taste’. It can’t be too safe. There has to be something appealing and different for the style and decor magazines to write about and for the bold and eccentric buyers to fall in love with.

HOW DOES WARM NORDIC ALIGN WITH THE CURRENT, OVERALL EXPRESSION IN DESIGN?

In my opinion, Warm Nordic hits right in the heart of the current design climate. The style right now, and in the immediate future, can’t be too pretentious and afraid of colours but has to be playful and harmonious. It has to be a mix of innovative, young design and classics with a vintage feel that adds personality and a narrative to interior design.

Last but not least, there has to be an element of cosiness. That’s the buzzword of design right now and has been for quite some time.

WHAT’S THE ESSENCE OF WARM NORDIC? CAN IT BE CAPTURED THROUGH A HANDFUL OF THE PRODUCTS?

If you put five quintessential Warm Nordic styles into a huge centrifuge, you would end up with the perfect Warm Nordic mixture. Tasteful and good looking. My five personal favourites are The Fried Egg by Hans Olsen, Herringbone Tile Dining Table

by Charlotte Høncke, Cow Horn Chair by Knud Færch, Ambiance Table Lamp by Svend Aage Holm-Sørensen and the Secant Sofa Table by Sara Wright Polmar.

Warm Nordic is available to purchase in all Paustian Stores, at Warm Nordic Pop-up in Aarhus, and on warmnordic.com.

WHERE’S WARM NORDIC POSITIONED IN THE OVERALL CONVERSATION OF DANISH DESIGN?

The overall expression of Warm Nordic is both warm and cosy, with deep roots in Scandinavian mid-century design. But the brand also embraces the design ideas of the future for homes inspired by then Nordic feel. The contrast between classic and innovation is the essence of Warm Nordic and the overall expression has duality and a playful feel to it. To me, Warm Nordic symbolises a brand new direction in Nordic design, representing the new kid on the block that is difficult to place in the timeline of Danish design.

Fried Egg by Hans Olsen, 1956 WARM NORDIC DKK 19.995

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WHAT’S THE PROCESS BEHIND BUILDING A NEW BRAND?

HOW DO YOU ADD A RELEVANT PERSPECTIVE TO DANISH MID-CENTURY DESIGN?

Herringbone Tile Console table by Charlotte Høncke, 2017 WARM NORDIC DKK 6.995

You also have to reach beyond the common idea of ‘good taste’. It can’t be too safe.

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Photo: Mies van der Rohe Pavilion

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IN 1951 THE JAPANESE-AMERICAN ARTIST ISAMU NOGUCHI BEGAN TO DESIGN THE AKARI LIGHT SCULPTURES, A GROUP OF WORKS HANDCRAFTED OUT OF WASHI PAPER THAT EVENTUALLY COMPRISED OVER 100 LUMINAIRES TABLE, FLOOR AND CEILING LAMPS. He chose the name ‘akari’ for these objects, a word that means ‘light’ in Japanese, connoting both illumination and physical lightness. ‘The harshness of electricity is transformed through the magic of paper back to the light of our origin – the sun

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1. Akari 33N VITRA DKK 7.150 2. Akari 23A VITRA DKK 2.650 3. Akari 15A VITRA DKK 7.890 4. Akari 16A VITRA DKK 5.290 5. Akari E VITRA DKK 17.900 6. Akari 45X VITRA DKK 2.550 7. Akari 45A VITRA DKK 2.250 8. Akari 120A VITRA DKK 22.400 9. Butterfly Stool VITRA DKK 4.950 10. Apothecary Hand Wash 500 ml FRAMA DKK 290 11. Apothecary Hand Lotion 500ml FRAMA DKK 650 12. Day Bed 710 ARTEK Fra DKK 29.170 13. Cicognino 834 CASSINA DKK 9.160 14. Barcelona Chair KNOLL DKK 50.600 15. Console Table KARAKTER CPH DKK 60.000

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1815 CH RONOG R AP H

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7 M ODE L L E R / UN I SEX

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9 M ODE LLE R

ABO UT VINTAGE x F REDERIQ UE CO NSTANT

1 . 699 DKK

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3.84 9 DK K

6 .9 9 9 DK K

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LI MI T E D E D I T I ON

LIMITED ED ITIO N

WWW.ABOUTVINTAGE.COM

STORIES

PHOTOGRAPHY BY

JOHANNA CHRISTENSEN Small Vase Grey by Nicholai Wiig-Hansen RAAWII DKK 350

SHORT

RAAWII LIVES AND WORKS BY THREE GROUND RULES: PRODUCTS WITH A SENSE OF PROPORTION. ROOM FOR DESIGNERS. AND PRODUCTION WITH RESPECT FOR PEOPLE AND SOCIETY.

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LUMIO HAS ONE OVERALL PURPOSE AND THAT IS TO MAKE LIFE BETTER BY DESIGNING SIMPLE, BEAUTIFUL AND FUNCTIONAL PRODUCTS. LUMIO CREATES PRODUCTS THAT MAKE LIFE EASIER AND MORE PLEASURABLE. Mini Lumio+ by Max Gunawan LUMIO DKK 1.895

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THE CLASSIC ZEBRA FABRIC WAS ORIGINALLY DISCOVERED BY AINO AALTO DURING HER EUROPEAN TRAVELS. INCORPORATED IN ARTEK INTERIORS AS EARLY AS THE 1930S IT IS CHARACTERISED BY A SOFT, SENSUAL FEEL AND STRIKING VISUAL DEPTH. Zebra Pouch by Aino Aalto ARTEK DKK 440

IN 1972, LINDA WOLFARD RECEIVED A HANDBLOWN GLASS OIL LAMP AS A PRESENT FROM HER HUSBAND JON, A LOCAL GLASSBLOWER. THE ORIGINAL OIL LAMP BECAME A CENTREPIECE IN THEIR HOME, AND DUE TO THE DEMAND FOR THE UNIQUE DESIGN, THE COUPLE FOUNDED THE COMPANY WOLFARD Oil lamp WOLFARD from DKK 650

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REDUCING AND REUSING SHOULD BE THE FIRST STEP IN TACKLING WASTE. DANISH BUSKGROUP IS MAKING TOTE BAGS AND PILLOWS FROM “RECYCLED DEAD STOCK”, LEFTOVER FABRICS FROM RICK OWENS’ LATEST COLLECTION. Totebag RECYCLE DEAD STOCK

by BuskGroup DKK 200

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ART MEETS ARCHI TEC

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Fjordenhus (Fjord House) is no ordinary building. The architectural landmark, rising from the depths of Vejle Harbour as a Loch Ness-ian foreign entity of bricks and mortar, is rather an inhabitable work of art with its sculptural body, spectacular setting and extraordinary attention to detail. Then again, you probably wouldn’t expect anything less from a building created by the innovative Midas touch of Olafur Eliasson.

WORDS BY DANIEL ALEXANDER FUGLSANG ØSTERGAARD PHOTOGRAPHY BY ANDERS SUNE BERG

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Fjordenhus is the first building designed entirely by artist Olafur Eliasson and architect Sebastian Behmann with Studio Olafur Eliasson. As commissioned by Kirk Kapital A/S, the ambition was to merge art and architecture to create something third, not easily defined.

Every decision throughout the process is approached like a piece of art, further blurring the lines between the two fields.

This alliance of expressions carries on throughout the building. The majority of the interior is site-specific and tailormade to fit the complex shape and narrative of Fjordenhus, with a special emphasis on materials, light and usability. Paustian’s Workshop and Chief Furniture Architect, Ole Flyvholm worked closely with Studio Olafur Eliasson to embody Eliasson’s visionary ideas for the custom-made interior of Fjordenhus.

THROUGH THE EYE OF THE CRAFTSMAN

Olafur Eliasson

Ole Flyvholm, Chief Furniture Architect, Paustian Contract

THE PROCESS Solving the complexity of Fjordenhus, both in regards to the setting and the structural shape, was achievable through years of research and development. To realise a project of this magnitude, you need a courageous client, whose mindset and outlook is not just limited to creating an office building. From the very early design stages, the building was placed in the water, framing the surrounding elements such as the wind and the natural light, enhancing these qualities that we usually don’t pay attention to, creating a foyer of the elements and establishing the narrative for the building.

THE PROCESS Studio Olafur Eliasson commissioned us as a local contractor to conduct and coordinate the production phase of the ten unique designs, 195 pieces in total explicitly made for Fjordenhus by Olafur Eliasson.

I approached the design from a strictly technical point of view, helping to carry out the artistic vision of Olafur Eliasson.

THE VISION The central idea of the building is its unique setting within the environment, extending Vejle into the fjord and creating a relation to the city, the harbour, the water and all the other surrounding elements. Fjordenhus is conceived like a work of art, so to me personally, it is a work of art. I think that art and architecture can co-create what’s almost a third thing.

It’s really about doing something which allows these two different fields to merge into something stronger that they can’t achieve separately and I really think Fjordenhus is an example of that.

THE TAKEAWAY Fjordenhus is an artistic approach translated into an architectural discipline in which the latter needs to present the answers to the questions imposed by the former.

Being in the building is about having a dialogue with the surroundings. As we use it, we automatically become coauthors of the experience, art and architecture aside.

The massive 6mm thick, double curved steel base for the unique Executive Desks and Lounge Tables were manufactured in New Zealand and then shipped all the way to Denmark, underlining the enormous complexity involved in the production of the unique tables.

THE CHALLENGE There’s natural friction when you combine an artistic vision with the physical restrictions of craftsmanship, production methods and serial production. Olafur Eliasson’s site-specific tables were designed as an individual work of art with a tolerance level of 0 mm, which is virtually impossible to achieve in serial production.

Add in the fact that Olafur’s tables are composed of both sheet metal and wood, both materials reacting entirely differently under duress, and you’re looking at a Sisyphus Job. Convincing a manufacturer to take on the job under these ultra-strict requirements, way off the industry standard, wasn’t an easy task.

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THROUGH THE EYE OF THE ARTIST

Art

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architecture

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“ Art and architecture can co-create what’s almost a third thing.

It’s really about doing something which allows these two different fields to merge into something stronger that they can’t achieve separately”.

PAUSTIAN INTRODUCES ENSEMBLE - A MODULAR SOFA, A LOUNGE CHAIR AND COFFEE TABLES DESIGNED BY THERESA RAND. THE ENSEMBLE SOFA CONSISTS OF EIGHT DIFFERENT SOFA MODULES, THAT CAN BE COMBINED IN MANY WAYS – AS CORNER SOFAS, 2-SEATER SOFA, 3-SEATER SOFA, WITH ROUNDED SIDES OR WITH AN INTEGRATED OTTOMAN, ETC. THE ENSEMBLE SOFA IS COMPLEMENTED BY A LOUNGE CHAIR AND 3 COFFEE TABLES THAT ARE ALL REFLECTING THE EXPRESSION OF THE SOFA.

Ensemble Sofa by Theresa Rand, 2018 PAUSTIAN FURNITURE COLLECTION DKK 38.985

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EN SE MB LE

BY THERESA RAND

Theresa Rand is an architect, educated in both Germany and Denmark. After graduating from the School of Architecture in Copenhagen she concentrated on furniture design.

Her approach is very intuitive: “Although functionality is very important too, the atmosphere, which furniture and objects create and the impact, which they have on a space and on people using this space, is crucial.” Studio ‘Theresa Rand’ is based in Copenhagen and works on functional yet poetic furniture, living accessories and lighting, characterized by pure lines with a sensual expression. The focus of the studio’s work is on the use of natural, authentic and lasting materials, their tactile qualities and on the way in which they are combined.

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“Although functionality is very important too, the atmosphere, which furniture and objects create and the impact, which they have on a space and on people using this space, is crucial.”

The idea behind the Ensemble sofa was to wrap comfort in elegance and a light expression.

The Ensemble sofa is flexible and customizable without having a bulky look. The rounded edge elements and the ottoman have the shape of a half-circle, which gives the sofa a more curvy, cosy, and inviting appearance. It is playing with basic geometrical shapes but has a soft feel. The name Ensemble refers to one of the meanings of the word in French: together.

The inspiration for the Ensemble coffee table comes from Brazilian mid-century architecture and design and has been reinterpreted in a contemporary Scandinavian way.

The construction of the coffee table is simple and geometrical, playing with the half circle shape that the sofa is also based upon.

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RELAX

LC3 Sofa by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1934 CASSINA From DKK 72.307

Outline Sofa Series 3 seater by Anderssen & Voll, 2016 MUUTO From DKK 39.900

202 8 by Piero Lissoni, 2014 CASSINA From DKK 95.235

William by Damian Williamson 2010-2015 ZANOTTA From DKK 85.500

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A RE-DISCOVERED

Candle holder, chrome, per piece - DKK 299,00

The STOFF Nagel candle holder was a design icon in the 60’s – a personal piece of art that could be stacked into endless beautiful sculptures. Designed by Werner Stoff for Hans Nagel the candle holder was a collector’s item for many years. Today the candle holder has been re-introduced by the Danish design company STOFF Copenhagen and comes in chrome, black and solid brass

CLASSIC

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Polder Sofa by Hella Jongerius, 2015. Limited Edition VITRA From DKK 50.60

206 8 Cube by Piero Lissoni, 2017 CASSINA From DKK 51.057

Grand Sofa by Antonio Citterio, 2017 VITRA From DKK 84.300

Soft Modular Sofa by Jasper Morrison, 2016 VITRA From DKK 59.100

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Baseline by Jens Juul Eilersen EILERSEN From DKK 40.129

Galore, Rikke Frost 2017 WARM NORDIC From DKK 19.995

Paustian Modular Sofa by Erik Rasmussen, 1969 PAUSTIAN FURNITURE COLLECTION From DKK 32.600

Square 16 by Studio De Padova DEPADOVA From DKK 42.221

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ALWAYS LISTEN TO YOUR DOG. Paustian presents exclusive German dog accessories brand Cloud7. DOG beds, carriers, collars, leashes, coats, bandanas, bowls, toys...

Cloud7 Finest for Dogs & Dog Lovers

ÂŽ

WITH

1. Nuage Métallique by Ronan & Erwan Bouroullec, 2016 VITRA DKK 1.310 2. Stool E60

by Alvar Aalto, 1934 ARTEK DKK 2.320 3. Screen 100 by Alvar Aalto, 1936 DKK 17.920

LC1 by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928 CASSINA DKK 23.390

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PLAYING PHOTOGRAPHY BY

NICOLAJ DIDRIKSEN

1. Ohio Vase by Hugau & Larsson, 2017 REFLECTIONS COPENHAGEN DKK 2.650 2. Alfredo Vase by Alfredo Häberli, 2015 GEORG JENSEN DKK 999

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SHA DO WS

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LET THERE BE LIGHT FRINGE, AN ICONIC TABLE LAMP WITH SOPHISTICATED FRINGES, CREATED IN 1960

BY THE ACCLAIMED SWEDISH LIGHTING GENIUS, HANS-AGNE JAKOBSSON, AND NOW FINALLY AVAILABLE FOR ALL THOSE DESIGN LOVERS WHO WERE UNSUCCESSFUL AT AUCTIONS. FRINGE IS A TIMELESS DESIGN STATEMENT, CONSTRUCTED TO CREATE WARM, COSY LIGHTING BY MEANS OF THE FRINGES THAT CONCEAL THE LIGHT SOURCE BEAUTIFULLY. Fringe by Hans-Agne Jakobsson, 1960 WARM NORDIC DKK 2.995

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1. Model 548 FLOS DKK 9.180 2. Snoopy FLOS DKK 6.750 3. PH 3/2 Limited Edition LOUIS POULSEN DKK 9.995 4. Ventus Pendant FRAMA DKK 2.900 5. Formakami JH5 &TRADITION DKK 1.595 6. VL45 Radiohus Pendant LOUIS POULSEN DKK 3.095 7. VV Cinquanta Twin ASTEP DKK 9.920 8. Lightsome WARM NORDIC DKK 3.995 9. Big Bang FOSCARINI DKK 6.170 10. Pendant Light A330S “Golden Bell“ ARTEK DKK 5.050

10 2

9

L b b

D

Less, but better

DIETER RAMS

It takes an eye for design.

Knowledge of materials. Concern for the environment.

A love for furniture and accessories that can be used for generations.

It takes respect for tradition and the courage to think differently. paustian.com