Fredericia Furniture look book 13/14

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Intro Thomas Graversen P. 4

DESIGNER LOUISE CAMPBELL ON THE DESIGNER NANNA DITZEL

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Louise Campbell on Nanna Ditzel P. 80

MINIMALIST LUXURY

A SPACE TRAVELLER

The Factory

Rasmus Lomborg P. 14

Alfredo Häberli P. 88

ON YIN AND YANG AND FEELING THE WAY FORWARD

DESIGN IS THE LANGUAGE THAT COMMUNICATEs WITHOUT SUBTITLES

Space Copenhagen P. 20

børge revisited, legacy rediscovered Rasmus Graversen on Børge Mogensen P. 28

AN INTIMATE HAVEN GamFratesi P. 42

We trust our guts P. 48

PATO, THE ENVIRONMENTALLYAWARE PLASTIC DUCK Welling/Ludvik P. 72

Elizaveta Friedman P. 92 1

ContentS

Showroom P. 100

UNCOMPROMISING WORLD-CLASS QUALITY BEGINS WITH THE STORY OF A RATHER DRY DESIGNER Christian Holmsted Olesen P. 112

And More P. 120

Index & Technical info P. 126



If the desire to satisfy customers requires us to make trendy choices, then we’re paddling upstream and choosing what’s new based on our gut feeling. If a polished surface makes it difficult to sense a material, we let the opportunity for a sensory experience prevail in our furniture.

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If a willingness to reject quality by producing goods in the Far East is in fashion, then Fredericia is going against the grain.


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At Fredericia, words like ‘doctrine’ and ‘mainstream’ are not in our vocabulary. In our collection, you’ll only find the furniture that we ourselves love. Furniture that is able to form part of a dialogue with its contemporaries. We want people who enjoy furnishing with, and around, our designs, to feel a sense of familiarity. We’re happy to go against the tide by always trusting our feelings. No one can ever doubt Fredericia quality, and a lack of compromise in striving for the highest quality will always be our guiding star as long as we exist. Enjoy your journey through our collection book. Thomas Graversen, owner


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Fiskebaren by Space


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SCANDINAVIAN DESIGN USUALLY EQUALS LIGHT, MODEST FURNITURE WITH SUBTLE ORNAMENTATION


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LUCKILY, DESIGN DUO SPACE DIDN’T GET THAT MEMO Spine collection by Space Copenhagen


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MINIMALIST LUXURY

Rasmus Shepherd-Lomborg owns and runs Copenhagen’s absolute hippest cocktail bars, Ruby in Nybrogade and Lidkoeb in a courtyard between Vesterbrogade and Tullinsgade. You have to know which doorway to go through to find Lidkoeb as there’s no sign on the door. (It’s right before the enormous Føtex supermarket on Vesterbrogade.) This old factory building has a cocktail bar on the ground floor and bars on the first and second floors. In the cocktail bar, there’s a long line of Space Copenhagen’s Spine barstools, and why? Over to Rasmus Shepherd- Lomborg:


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Ruby


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“The Spine barstools are great for having a drink. The cocktail world, in Copenhagen anyway, has been characterised by the bar looking like something from an airport – stylistically stringent and slightly cold. Even though I love old furniture and old lamps, I also needed some comfortable chairs. People have to feel like sitting at the bar and chatting to the bartender for a long time. You can only get this if you’re sitting comfortably. This is also why the bar counter is made of wood and not stone. We get lots of girls in short sleeves coming here. The bar shows what we’re made of; it’s where you watch as your drink is created. I sat on a Spine barstool at Geist at Kongens Nytorv and it was such a great experience that I had to have them – I’ve already got four of Børge Mogensen’s Spanish chairs. FREDERICIA has really understood what we want to do here. It’s not just the trendy people who come to Lidkoeb. It’s the full spectrum. We’ve come a long way from the classic run-down image of Vesterbro around Værnedamsvej and a place like ours was needed around here. When the restaurant Madklubben opened last year with room for 230 guests, it was the best Christmas present I got. Claus Meyer also opened on the other side of Vesterbrogade; that’s a real food chain for us. We feel it seven days a

Lidkoeb

week. Lidkoeb opens daily at 4 pm and there’s always something to do. I’m very pleased with my Spine barstools. There’s something completely Nordic about them, in contrast to so many other barstools. They are simple and clearly not designed for a nightclub. They look good lined up in a long row at the bar. Guests often comment that our club is cosy and stylish in a Danish way. The mix between the old things I’ve bought second-hand and the new Nordic design works really well. It’s a luxury to open this kind of place here and be able to realise your idea.”


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Lidkoeb

1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen 4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer 7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer


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ON YIN AND YANG AND FEELING THE WAY FORWARD

Signe Bindslev Henriksen and Peter Bundgaard Rützou are the designers behind Space Copenhagen. Over the past eight years, they have designed spaces for restaurants of the Michelin-star variety. Often they were unable to find the piece of furniture they wanted to use, so they simply designed it themselves, which is how Spine was conceived. At Space Copenhagen, they make use of the dialogue between male and female, their yin and yang. Light and dark. This sometimes leads to the dark side and they do a lot of arguing, says Signe Bindslev Henriksen (SB). When she gets annoyed, she throws almonds, says Peter Bundgaard Rützou (PB), who is quick to add that she doesn’t have very good aim. This makes both of them laugh, the light once again restored.


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Geist


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Fiskebaren by Space


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SB: “What makes our story interesting is that we started out being taken in by and fascinated by the broadness of architecture. Later on this crystalised into a frustration with its static nature and one-way direction, a ‘this is how you do it right’ attitude. What we’ve done is, in every way, not comme il faut in the industry. We make choices based on intuition and feelings, not the accepted rules. This intertwining is much more holistic with us than in architecture in general.” PB: “It’s about clarification. Frustration helps you get to a certain place, when you know what you don’t want to do. In what we do today we’re excited about the space we’re working with. Combined with touching, feeling and understanding, it leads to the transformation of the space. We consider interior design and architec-

ture as one and when we’ve finished a job both have been dealt with throughout.” SB: “All jobs have something to do with human atmospheres. From a bird’s eye perspective, you don’t get to affect feelings ...” PB: “What we do needs to be felt first − understanding has to come afterwards.” SB: “A sense of closeness. How do people feel when they come in?”


They know the material combination, and could see that Spine has familial design ties with Børge Mogensen. Then Bo Bech’s restaurant Geist got in touch as they needed new seating.” SB: “We had to design a dining chair and a bar stool and started by feeling our way forward. When we had got the cushion to sit properly, we intuitively felt that something was missing from the low sofa. The Spine element is something that keeps the chair together and we established the weight in the metal of the underchair. The chair meets you with recognisability without you knowing where it comes from.” PB: “Spine? The name just appeared because when it feels right, it is. Our attitude is to let our senses guide us. We always welcome aesthetics without being dogmatic about it. It’s nicer to touch leather than plastic. We don’t want to distance ourselves from plastic, but it’s more about what we like and natural materials are our thing.”

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How about Spine? SB: “We like the meeting between the solid, comfortable, organic and the modern. Taking that field feels open. We like simplifying dimensions and like the lightness of the piece. It is an exercise in composition that you struggle with until you feel that now it’s right.” PB: “In the process, it became clear that there’s a balance between two tonalities: wood and leather. We feel a recognition in the new, and that’s where FREDERICIA comes in with their heritage, Børge Mogensen and the rest. We felt that FREDERICIA was written on this chair. We contacted Thomas Graversen who was immediately interested because they needed something modern that could take them forward. FREDERICIA are both serious and excellent to work with.

Spine collection by Space Copenhagen


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Designed in 1950. Built in 2012.


The Hunting Chair, by Børge Mogensen

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Perfected in 2032.


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BØRGE REVISITED, LEGACY REDISCOVERED

24-year-old Rasmus Graversen is one of the heirs of FREDERICIA. As a child, he wasn’t force-fed Børge Mogensen although he grew up around it. He remembers more about Nanna Ditzel, the groundbreaking designer who embraced his father’s desire to develop new products. However, Rasmus’ grandfather, Andreas Graversen the founder of FREDERICIA, was full of the master. Apart from a Finn Juhl chair, everything in his childhood home was designed by Børge Mogensen. And of course, the stories and memories he was told about Mogensen, who was almost part of the family, made him so familiar with him as a person that he felt he would have been on a first name basis with him if he was still alive.


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Børge Mogensen’s home


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“I like the attitude Børge had towards materials. The raw material is always exposed and honoured in a way. The furniture becomes very tangible. I like to think about it in the way that you cannot cut down a 200-year old tree and then make a cheap looking or disposable piece out of it. You have to do your best to respect the tree and make a piece that will last for years. I see Børge as one of the first Danish architects to think through furniture for the home. In many regards I find his approach inspiring. Børge

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An Spainish officer’s chair, the inspiration for the Spanish Chair

The Spanish Chair by Børge Mogensen

Drawing of Børge Mogensen

Mogensen looked at what a family needed. He didn’t just create chairs, but also pieces to complete a home, such as cabinets and tables.” “Some people say that you don’t sit comfortably in the Spokeback Sofa. I see it more as a sofa to climb into and lie in.” While Børge’s furniture is restrained in idiom, it is not just modernist minimalism. Børge wanted furniture to encourage its users to live their lives freely, and therefore it should never aesthetically compete with the room or its user. Børge was focused on the daily life of normal people, not on creating showpieces. Instead of


33 Various drawings by Børge Mogensen


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1/ Børge Mogensen joking around 2/ Børge Mogensen’s summer residence 3/ Børge Mogensen’s home 4/ Bench 3171 5/ The Spanish Chair 6/ Andreas Graversen and Børge Mogensen 7/ Børge Mogensen’s kitchen 8/ Børge Mogensen resting in sofa 2213 9/ The Hunting Chair 10/ Ottoman 11/ Børge Mogensen’s summer residence 12/ Børge Mogensen, Hans J. Wegner and Textile Designer Lis Ahlmann

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Børge Mogensen’s winter garden


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Fiskebaren by Space


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Left: Sofa 2213 from 1963, still in use Right: Sofa 2213 in 2013

demanding lots of attention, the furniture can be part of a dialogue with its surroundings. “Even though the idiom might seem humble, I find it remarkable that you can always tell that it is a Børge piece. Being a great architect, he always adds a certain Mogensen ‘melody’ to his furniture that at first glance looks restrained. I believe that this is his approach – creation from restrictions, and as in fine art, sometimes this approach makes masterpieces. All of his furniture has a high level of design without being designed for the sake of design, and without being boring or minimalistic. It’s not just reduced to four legs and a seat. There’s always warmth in the furniture.” When we are developing new furniture today, what can we take with us from Børge? If the flamboyant designer’s approach of Nanna Ditzel is one way forward, Børge’s more holistic daily-life centred approach is another. “I think we should have both in mind when creating new designs today. “


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EXPLAIN THIS Haiku by GamFratesi


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AN INTIMATE HAVEN

Haiku is the poetry of simplicity, in which so much is expressed in the seventeen syllables and few words. It’s also the name of a sofa created by GamFratesi. Enrico Fratesi and Stine Gam talk about their work with form and colour: “We have a Scandinavian approach to our work when we are sitting with physical prototypes and models. The analogue process is really essential for us. Sketching thoughts down on paper helps to underpin the more spontaneous and conceptual vision and line. Computers come in later. They’re great, but they need to know what we want.


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Drawings by GamFratesi


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Haiku by GamFratesi


Bring us closer to your FREDERICIA product, the Haiku sofa “The sofa is a physical interpretation of a Haiku, a traditional, compact, atmospheric form of Japanese poetry, thought of as a sensory image that puts forward a feeling. The sofa has a strict outer shell in its enclosing form, combined with a far softer and more intimate interior. In terms of form, we’re talking about a protective function that gives you a feeling of curiosity. As with many of our projects, we’ve tried to create an intimate design that invites reflection and provides a short moment’s haven.”

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Physically having the material in our hands and feeling the entire manual process in the prototype phase is incredibly important for us, as this is where the products take their final form in the detailing and technical solutions. We try to find a balance between the traditional and the surprising, between harmony and disharmony. An idea can arise from a deep reflection or from a spontaneous vision, often completely unexpected in the moment. Contrasts are central for our inspiration. We’re continually confronted by contrasts in our work and in our daily life, and we work a lot with references and respect for the traditions in the two cultures that permeate who we are: Danish and Italian. We consider furniture as micro-architecture, something that’s found in spaciousness and which interacts with the people who use it. In this way, our working process is more similar to architecture than furniture design, because we continuously speculate about how our furniture is used in different contexts, how it relates to the other elements and contrasts with them. Furniture creates atmosphere and relationships, both between people and between furniture and people. That’s why it’s essential for us to strive to create friendly, respectful products. We believe quality is an expression of the happy medium between aesthetics, function and the right combination of materials. In terms of colour, we prefer natural shades.”


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SOME MANUFACTURERS TRUST GUIDELINES, MARKETING ANALYSTS AND TREND EXPERTS WHEN CHOOSING DESIGNS TO PRODUCE


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WE TRUST OUR GUTS


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Spokeback Sofa by Børge Mogensen


53 Trinidad by Nanna Ditzel Shaker Table by Børge Mogensen


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Bench 3171 by Børge Mogensen Chair 3236 by Børge Mogensen


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2202/2204 by Børge Mogensen


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Nara chair by Shin Azumi Shaker Table by Børge Mogensen


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Spine collection by Space Copenhagen


59 Haiku by GamFratesi Micado by Cecilie Manz The Hunting Chair by Børge Mogensen


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Pato by Welling/Ludvik Mesa by Welling/Ludvik Stool by Hans J. Wegner


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J49 by Børge Mogensen Slim Jim by Roland Graf


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Slim Jim by Roland Graf


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Stingray by Thomas Pedersen Icicle by Thomas Pedersen


65 Pato by Welling/Ludvik Mesa by Welling/Ludvik Stingray by Thomas Pedersen Icicle by Thomas Pedersen


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J39 by Børge Mogensen J49 by Børge Mogensen Trinidad by Nanna Ditzel Spine chair by Space Copenhagen Shaker Table by Børge Mogensen

1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen 4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer 7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer


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Trinidad by Nanna Ditzel


69 Sofa 2213 by Børge Mogensen Spine side table by Space Copenhagen


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Durability – check. Versatility – check. Modestly priced – check. Eco-friendly production, materials, and disposal – check, check and check


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Welling/ludvik are almost irritatingly good Pato by Welling/Ludvik


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PATO, THE ENVIRONMENTALLYAWARE PLASTIC DUCK

No, FREDERICIA is not branching out into toy design, rather the newest addition to our collection has been inspired by a duck’s bill. Pato, which is Spanish for ‘duck’, is an outstanding piece of design that incorporates much more than just form, aesthetic and function. Consideration for the environment was also an important factor in the task of creating an affordable plastic chair where the shell can be used on different types of frames. Although launched just a few months ago, it has already been incorporated into projects around the world. The creators of Pato are the Iceland-meets-Denmark team of Hee Welling and Gudmundur Ludvik. Ludvik is a trained carpenter who has studied sculpture at the Icelandic Academy of Arts and furniture design at the Danish Design School in Copenhagen. Welling worked in his father’s carpentry business, studied sales and is also a graduate in furniture design from the Danish Design School. In a recent Q&A with Hee Welling (HW) and Gudmundur Ludvik (GL), here’s what they had to say about Pato.


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GL: Comfort and the body are the starting points for our chair design − nothing about looking at a duck. When we get an assignment, we start exploring how it can be done in the best way, in relation to comfort, construction, materials, the environment and price. HW: The outline of the shell has clean simple lines, while the seat surface is gently curved for ultimate comfort. Plastic can easily complete with laminate in terms of environmental impact. The shell of Pato was produced by a Danish plastic supplier, who have been incredibly competent throughout the entire process and it’s super-reassuring to work with a company that knows what it’s all about. HW: Taking away everything that’s superfluous is what design is all about for us − with nothing just for show. That’s what makes it visually long-lasting. Why spend lots of resources on something that will just last three years in terms of design? For example, we’ve spent lots of time finding the right level of comfort in the seat. The edge of the shell is angled in such a way that it doesn’t chafe either your back or your knees. GL: A piece of furniture like Pato also retains its ability to appear exciting when it’s reduced to its absolute simplest form. Pato can be used everywhere. HW: Yes, because when an architect makes a beautiful building, you don’t want a piece of furniture to come in and steal all the attention. Rather a chair that just is, without taking everything from a space. GL: Details need to have a function and that’s how Pato has been thought and created. HW: Børge Mogensen, Fredericia’s most wellknown designer was a world champion when it came to the details. He used completely simple lines, bordering on the banal. But we’ve seen that his visual simplicity has stood the test of time. GL: The chair is designed to meet industrial requirements. And when we work with people who are as talented as they are at FREDERICIA, every aspect of it has been carefully thought through.

HW: Pato has been produced in polypropylene (PP), currently a widely used material for chair shells. In environmental terms, it’s a great product as it’s 100 % recyclable. So any shells that are defect end up in a grinder and can be transformed into plastic granulate, which can be reused. Nothing goes to waste. Laminate might sound fancier and more organic and clean, but laminate can’t be reused, so from an environmental perspective, it’s often better to use a PP plastic, like that which is used in Pato. GL: The advantage of Pato being produced in Scandinavia also has an environmental impact as it requires fewer transportation miles. HW: The great thing about this chair is that getting everything made as locally as possible has turned into a sport. This goes against the current trend of thinking that if it can be made in China, it will be cheaper. GL: By optimising the design, you can also save money without relinquishing the aesthetic. Where does the ‘duck’ come in? HW: You’ll see the reference to the duck’s bill in the seat of Pato. It’s slightly Donald Duck. Please take a seat, a comfortable seat, in a chair that unites form, function, aesthetics, environmental awareness and beauty. And a chair that is within reach of everyone’s budget and tastes. Pato’s got it all.


75 Pato barstool by Welling/Ludvik Tobago by Nanna Ditzel


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Trinidad by Nanna Ditzel

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“The fun loving, colour crazy, rule breaking lady� seems a better fit


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DESIGNER LOUISE CAMPBELL ON THE DESIGNER NANNA DITZEL

“When an interesting and well-considered basic human idea is clearly carried through to a product or work with care and sense from everyone involved, it earns the right to a long-term existence in the world − on its own terms. Because then it’s not a passive but a communicative item. Good design comes in all sizes,” responds designer Louise Campbell when asked what makes good design. She continues:



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xx by Nanna Ditzel


83 Trinidad by Nanna Ditzel


“From a good door handle, a beautiful wall hanging or an organic long-distance hovercraft, in really good design, everything works in harmony, with no visible cracks in either the choice of material, detail or execution. Nanna Ditzel’s Stairscape is a shining example of consistently executed unity in a piece. Toadstool is another great example of how an idea doesn’t have to be at all complicated, as long as it is well executed.”

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Why is Nanna Ditzel such an inspiration to you? “She really understood how to play with design and open up horizons, and she showed an admirable versatility in her work. In other words, she didn’t much like limitations and if she met them she’d instinctively try, and very often successfully, break them down. I think this is, particularly in Denmark, a rare and wonderful ability.” How would you characterise Nanna Ditzel’s method? “Strong-willed, poetic, exploratory, wilful, proud and dignified.” If I told you that there was something seductive about her work, where does this seduction come from? “Her work was and is daring. It goes boldly and confidently to the edge and you instinctively feel this. It has elegance, purity and yes, I would even say cultured exhibitionism. She used all of nature’s most beautiful devices to attract. Patterns, colours, embracing forms. You cannot fail to be overwhelmed and take a closer look and feel it for yourself and you’re not disappointed. There are always beautiful details and quirky surprises for curious fingers.”

Which of Nanna Ditzel’s works would you have like to have designed? “It’s Nanna Ditzel and not me who designed these objects and that’s exactly as it should be. But I’m particularly fond of the following pieces, both when they were designed and today because each of them does something quite special: The Stairscape, her wicker Egg Chairs, all her other wicker furniture, the Hallingdal textile, the Butterfly chair, the Trinidad chair, her Toadstool furniture, her dinnerware for Søholm Keramik − in particular the basic form, the watch and slide-on earrings for Georg Jensen, her Bench for Two. I could go on. She has, as far as I know, never made anything that isn’t interesting in one way or another. There’s always something at play.”


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Bench For Two by Nanna Ditzel


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1/ Butterfly Chair by Nanna Ditzel 2/ Stairscapes by Nanna Ditzel 3/ Nanna by Nanna Ditzel


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A SPACE TRAVELLER

Alfredo H채berli works with space and its design.


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“I try to maintain the quality of the space and use its weaknesses. This might be the height of the space, too little light or a weak floor plan, which bring out the qualities even more. It is the Judo effect, where you use the power and strength of the enemy against the enemy, and in doing so, you find your own strength.” Alfredo Häberli designs things for our life “I consider colour to be the first form of decoration. There’s an infinitely limitless world of feelings, with no wrong or right. I love working with colours. My life has turned out in a way that enables me to do exactly what makes me happy. That means every single day I’m looking for new ideas that my team and I can make a living from. That makes me proud and brings meaning to my life with my children and my family.”

Alfredo Häberli designs furniture that stands out “The idea with my Seracs sofa with three armrest pieces and two seat pieces is to be able to combine the pieces in infinite ways. Each Seracs sofa can be put together in an individual way using different textiles and leather. This makes the sofa unique. It’s like fragments of individual pieces, put together in a compact, versatile sofa. It’s reminiscent of a landscape continuously rising and falling.”

Hotel Scandic Front Copenhagen


91 Seracs sofa by Alfredo H채berli Icicle side table by Thomas Pedersen


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DESIGN IS THE LANGUAGE THAT COMMUNICATES WITHOUT SUBTITLES

Elizaveta Friedman is FREDERICIA’S Export Director. Most of the time anyway, as the team in Treldevej 183 is very interactive, so on a ‘normal’ day, she might be found discussing product development with Thomas Graversen, quality control and packaging with production, or even wearing a pair of overalls and working in the carpentry department. As she explains, “we take our slogan We Trust Our Guts quite literally in the FREDERICIA family, so it’s important to be able to understand every aspect of what we do here so that decisions can be based on experience, as well as instinct”.


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The Hunting Chair by Børge Mogensen Haiku by GamFratesi


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Icicle by Thomas Pedersen Stingray by Thomas Pedersen


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J39 by Børge Mogensen


Stingray by Thomas Pedersen

Danish designers and encourages the Japanese to explore some of the more modern designs.” What about the rest of the world? “Although Japan is our largest market outside of Denmark, export is a very important part of FREDERICIA, both from a business and psychological perspective. We have something for every taste and climate in our collection. In Singapore, the plastic version of Stingray, by Thomas Pedersen, has been a great success as an outdoor chair, and Australia loves Prime Time by Tom Stepp. Other successes around the world are Nanna Ditzel’s exceedingly popular Trinidad chair, (which is 20 years old 2013 and just as relevant today as then), and Per Borre’s Astral bench. Stingray has been iconic in several places, and Spine and Nara, which are only a few years old, are already export successes. In the past, you reckoned that it could take up to five years before a product became successful on the export market. In that respect, FREDERICIA has been very successful in reducing the time it takes to break through. Pato, our new contract chair, launched in February 2013 has already been specified for projects in Japan, Italy, Great Britain, the US, Germany and France.”

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FREDERICIA have a long history of export, particularly to Japan, where there is a relationship of more than 50 years. “The Japanese have great knowledge and respect for Danish design and love it for many reasons. Its design language, thought processes and philosophies are similar to their own design principles, and creating elegance with simplicity, ensuring quality right down to the smallest detail. This combination creates pieces in an aesthetic that makes it possible for furniture to either be a subject for discussion or to be in quiet harmony with the space it inhabits. Meetings with Japanese architects are always a fantastic experience, they have such a great knowledge of Danish design that the conversations tend to go quite deep and philosophical, sometimes even they are able to tell me something about Danish design that I didn’t already know! It’s always a mutual education when I am in Japan. The simplicity of Børge Mogensen appeals strongly to the Japanese and he is, and continues to be, our most popular designer in Japan. In particular, the J39 chair which we produce with a special lower seat height for the Japanese market. Our Tokyo showroom is an important part of the FREDERICIA culture, as it’s a showcase for new


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1/ Astral by Per Borre 2/ Astral by Per Borre 3/ Pato/Mesa by Welling/Ludvik 4/ Prime Time by Tom Stepp 5/ Pato/Mesa by Welling/Ludvik 6/ Nara collection by Shin Azumi 7/ Trinidad by Nanna Ditzel Melt by FurnID 8/ Trinidad by Nanna Ditzel 9/ Trinidad by Nanna Ditzel 10/ Trinidad by Nanna Ditzel Melt by FurnID


Børge Mogensen Hans J. Wegner Nanna Ditzel Søren holst space copenhagen Welling/ludvik Gamfratesi roland graf susanne grønlund thomas pedersen furnid alfredo HÄberli shin azumi cecilie manz per borre tom stepp hans sandgren jakobsen niels jørgen haugesen…


Uncompromising since 1911


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FREDERICIA Flagship store Frederiksborggade 22, Copenhagen


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2204 by Børge Mogensen Nara coat stand by Shin Azumi


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Mundo by Susanne Grønlund J39/C18 by Børge Mogensen


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Spine collection by Space Copenhagen Micado by Cecilie Manz Nara coat stand by Shin Azumi Spine collection by Space Copenhagen 2202/2204/2208 by Børge Mogensen J16 by Hans J. Wegner


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Icicle by Thomas Pedersen The Hunting Chair by Børge Mogensen


109 Spokeback Sofa by Børge Mogensen Icicle by Thomas Pedersen


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111 Mundo Lounge by Susanne Grønlund Spine collection by Space Copenhagen Slim Jim by Roland Graf


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UNCOMPROMISING WORLD-CLASS QUALITY BEGINS WITH THE STORY OF A RATHER DRY DESIGNER

Christian Holmsted Olesen is the Head of Exhibitions and Collections at Designmuseum Danmark, a board member of the Danish Design Council and a graduate in art history specialising in furniture design. Here’s what the expert in Danish design had to say.


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“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-


ple’s own proportions in terms of feet and inches. He did all his measuring with the students. If he designed a cupboard, he measured what was going to go in the cupboard and designed the proportions accordingly.”

115

Thomas Graversen makes decisions based on his gut feeling, where is the measurement in that? ”Børge Mogensen wouldn’t talk about feelings... Børge Mogensen talked about measur-

together in the correct way. This is the essence of Danish design. Fredericia transforms all of this into something semi-industrial.” “Danish design never became democratic because FDB1 was not IKEA, which would have been an obvious development. Because of the cabinetmaker training, you couldn’t compromise on materials and use chipboard and hex keys like IKEA. It had to be wood. And that’s why it was never cheap enough and the furniture ended up for the enlightened middle classes, people with a

ing your way forward. Wegner wanted to rock the boat and create whatever he wanted. This is where Børge Mogensen is rather dry as a designer. What makes FREDERICIA’s designs fantastic are the materials. It’s about sensory perception. Kaare Klint didn’t put varnish on anything, only some bee’s wax to be able to sense the material. And this was taken on by Børge Mogensen – because the materials are what permeate all Danish design. Something else that comes from the craftsmanship of cabinetmaking is the level of detail. They were obsessed by it and focussed pathologically on the details. How to put two things

slightly better education. The forms were modernistic at that time and the lower classes would rather have something that resembled what the rich had, so that didn’t work for FDB. Then we get FREDERICIA, which has continued because they have great things, although rather expensive. Børge Mogensen’s ambassador sofa has always been expensive – the one with the double cushions – now it’s really expensive. You can see Kaare FDB was founded as a co-operative in 1896, as a result of wanting to supply consumers with lower prices and higher quality.

1


Klint’s model for Børge Mogensen in the foyer at the Designmuseum Danmark on Bredgade in Copenhagen. Børge Mogensen slightly changed the proportions and removed the decorative seams but it’s one of their most popular products. It’s found in one in three Danish homes, but unfortunately it doesn’t say FREDERICIA on it because the Mogensen collection has serious problems with copies. That sofa costs around 80,000 Danish kroner because Thomas Graversen refuses to compromise on its quality.”

Jasper Morrison has created an interpretation of a Børge Mogensen chair? ”Jasper Morrison’s version of Børge Mogensen’s J39 is an attempt at improvement. Partly because it has a plastic back and plastic seat, which can be taken apart and shipped. It’s a tribute to Børge Mogensen. He’s quite simply in love with Børge Mogensen. Jasper Morrison loves the utter common sense about his work. He has written a book entitled SUPERNORMAL in which

116

Jasper Morrison has a special relationship with Danish design... and with Børge Mogensen? “Yes, when the museum wanted to celebrate one of Nanna Ditzel’s most used textiles, Hallingdal, (which has also been used by the Danish state railway, DSB, for many years – all Danes

have sat on Hallingdal’s very coarse wool texture), we contacted Jasper Morrison. Because we know that Jasper Morrison uses this textile on all his furniture and thinks it’s really good. Did he want to exhibit his own things? He replied that he would like to curate an exhibition with Danish design because he finds it so inspiring.”

Trattoria Chair by Jasper Morrison Produced by Magis


117

J39 by Fiskebaren Børge Mogensen by Space


118

Sofa 2212, also known as The Ambassador Sofa by Børge Mogensen


J49 by Børge Mogensen

Democratic, socially-aware furniture with in-built charm and warmth. The history of Danish design is long and FREDERICIA is continuing it with new furniture that moves our understanding of what furniture can do for our lives day after day.

119

he shows design that doesn’t showcase itself and which is not staged. He is also very interested in anonymous design effects, things that are just there. This also applies to Børge Mogensen, the fact that his work borders on the anonymous, and this is what is so distinguished and noble about it. It all comes from the study of type. Børge Mogensen was totally fascinated by type when he designed something. How can we take an older piece of furniture and refine it into an ideal type, an almost ‘neoplatonic’ way of looking for THE CHAIR.” “That’s why it was so much fun when Jasper Morrison visited, because over the past decades Børge Mogensen has not been number one. Something that Thomas Graversen would no doubt confirm. Børge Mogensen furniture does not sell as well as furniture designed by Wegner and Arne Jacobsen. Børge Mogensen’s time will come again, but that time is not during wealthier decades. But Thomas has taken another track and developed FREDERICIA into a contemporary company with new Danish and international designers. He has launched a variety of furniture, and some pieces have been spot-on, starting with Nanna Ditzel.” “Børge Mogensen is all about democracy and Danish materials like oak and beech. He’s solidly planted in traditions from the countryside, the supernormal. If there is a characteristic of Danish design that stands out from design in other places in the world, it’s the fact that no others have studied historical types as thoroughly as the Danes. And there’s no other place that has imported foreign culture into furniture design as heavily as in Denmark – even though we talk so much about Danish identity. There’s no dominating design breakthrough, we’re just adding evolution. When you say that Jasper Morrison has been inspired by J39, Morrison replies that Børge Mogensen was inspired by Kaare Klint’s church chair, which was inspired by a chair that can be traced back to the Mediterranean countries in the Middle Ages. It’s just a tradition and a way of making furniture.”


120


121

AND More


1

2

3

5 4

6

122

7

8


9

10

1/ Gallery by Hans Sandgren Jakobsen 2/ Gallery by Hans Sandgren Jakobsen 3/ Haiku sofa by GamFratesi 4/ Sofa 2208 by Børge Mogensen 5/ Pato barstool by Welling/Ludvik 6/ Haiku sofa by GamFratesi 7/ Easy chair 2207 by Børge Mogensen 8/ Icicle tables by Thomas Pedersen 9/ Pato/Mesa by Welling/Ludvik 10/ Dekka daybed by FurnId 11/ Pato/Mesa by Welling/Ludvik 12/ Pato by Welling/Ludvik 13/ Sofa 2214 by Børge Mogensen 14/ Sofa 2209 by Børge Mogensen 15/ Spine collection by Space Copenhagen 16/ J39 and table 6284 by Børge Mogensen

123

11

12

13

14

16 15


1

2

3

5

124

4

6

7

8


10

9

12

125

11

1/ Nara chair by Shin Azumi 2/ Funk by Tom Stepp, The Haugesen Table by Niels Jørgen Haugesen 3/ Mesa by Welling/Ludvik Mundo by Susanne Grønlund 4/ Side table by Søren Holst 5/ Nanna Bench by Nanna Ditzel (Billund Airport) 6/ Sofa 2332/2333 by Børge Mogensen 7/ J16 by Hans J. Wegner

13 14

15

8/ Nanna Lounge by Nanna Ditzel 9/ Easy chair 2461 by Søren Holst 10/ Haiku by GamFratesi 11/ Pato by Welling/Ludvik Easy by Susanne Grønlund 12/ Sofa 2192 by Børge Mogensen 13/ Mundo Conference by Susanne Grønlund 14/ Mundo Lounge by Susanne Grønlund 15/ Sofa 2452 and 2453 by Søren Holst



Børge mogensen

cecilie manz

P. 128-130, 142-143

P. 140, 149

Hans J. wegner

per borre

P. 130, 143

P. 140, 149

nanna ditzel

tom stepp

P. 131-132, 143-145

P. 140-141, 149-150

søren holst

hans sandgren jakobsen

P. 132-133, 145

P. 141, 150

space copenhagen P. 133, 145

niels jørgen haugesen

welling/ludviK

P. 141, 150

P. 134-135, 145-146

Gamfratesi P. 135, 146

roland graf P. 136, 146

susanne grønlund P. 136-137, 147-148

thomas pedersen P. 138-139, 148

furnid P. 139, 148

alfredo HÄBERLI P. 139, 148

shin azumi P. 139-140, 149

127

INDEX & technical INFO


Børge Mogensen

2207

2192 Coupé sofa

2209

2202

2212

2204

2213

128

1789 Spokeback Sofa


2333

2226 The Spanish Chair

2334

2229 The Hunting Chair

2335

2332

J49

129

2214


130

Børge Mogensen

3171

6286 Shaker Table

3236

6290 C18 table

Hans j. wegner

J39

J16

5267 coffee table

J16


2600 Bench For Two

2660 Nanna

2649 Nanna Lounge

3296 Trinidad

2650 Nanna

3298 Trinidad

2659 Nanna Lounge

3287 Trinidad

131

Nanna ditzel


Nanna Ditzel

3299 Trinidad

8312 Tobago

132

Søren holst

3300 Trinidad barstool

2451

3301 Trinidad barstool

2453

3530 Nanna Bench

2461


5392

1730 Spine barstool

133

space copenhagen

1710 Spine Lounge chair

1740 Spine side table

1712 Spine Louge sofa

1750 Spine coffee table

1720 Spine chair

1760 Spine dining table


134

welling/ludvik

4000 Pato

4100 Pato

4002 Pato

4102 Pato

4210 Pato

4200 Pato

4012 Pato

4202 Pato


4612 Mesa

4212 Pato

4630 Mesa

gamfratesi

4300 Pato barstool

1632 Haiku

4302 Pato barstool

1633 Haiku

135

4210 Pato


Roland Graf

4800 Slim Jim table

1038 Mundo Conference

136

Susanne grønlund

1032 Mundo Lounge

1040 Mundo

1034 Mundo Lounge

1044 Mundo

1036 Mundo Lounge

1046 Mundo


1305 Easy

1050 Mundo barstool

1352 Easy Conference

1054 Mundo barstool

1384 Easy

1056 Mundo barstool

1388 Easy

137

1048 Mundo barstool


138

thomas pedersen

1200 Icicle

1250 Icicle

1210 Icicle

3500 Stingray

1220 Icicle

3500 Stingray

1230 Icicle

3510 Stingray


3520 Stingray

7412 Melt

3525 Stingray

Seracs

furnid

Shin azumi

1150 Dekka daybed

1810 Nara chair

7411 Melt

1820 Nara chair

139

alfredo h채berli


shin azumi

1830 Nara barstool

1111 Astral bench

140

Tom stepp

1880 Nara coat stand

15100 Prime Time

cecilie manz

1213 Micado side table

15500 Funk

per borre

1110 Astral bench

15540 Funk


niels jørgen haugesen

15600 Funk

15640 Funk

hans sandgren jakobsen

1610 Gallery

4750 The Haugesen Table

141

15556 Funk


Børge Mogensen

Stool

2 seat sofa

The hunting chair

Model 2202

Model 2212

Model 2229

The spokeback sofa

W: 58 cm D: 58 cm H: 43 cm Wt: 9 kg Cbm: 0,2 m3

L: 158 cm D: 81 cm H: 80 cm Sh: 43 cm Wt: 53 kg, Cbm: 1,18 m3

W: 70,5 cm D: 87 cm H: 67 cm Sh: 28 cm Wt: 9 kg Cbm: 0,45 m3

3 seat sofa

2 seat sofa

Model 1789

L: 160/197 cm D: 76,5 cm H: 86 cm Sh: 40 cm Wt: 33 kg Cbm: 1,18 m3

The coupé sofa

142

Model 2192

L: 154 cm D: 89 cm H: 106 cm Sh: 42cm, Wt: 65 kg Cbm: 1,8 m3 Model 2193

L: 216 cm D: 89 cm H: 106 cm Sh: 42 cm Wt: 80 kg Cbm: 2,62 m3 Model 2194

L: 308 cm D: 89 cm H: 106 cm Sh: 42 cm Wt: 130 kg Cbm: 3,87 m3

Easy Chair Model 2204

W: 69 cm D: 88 cm H: 106 cm Sh: 43 cm Wt: 29 kg Cbm: 0,8 m3

Armchair Model 2207

Model 2213

Model 2332

L: 221 cm D: 81 cm H: 80 cm Sh: 43 cm Wt: 73 kg, Cbm: 1,66 m3

L: 148 cm D: 78 cm H: 78 cm Sh: 43 cm Wt: 48 kg, Cbm: 1,09 m3

2 seat sofa

3 seat sofa

Model 2214

W: 69,5 cm D: 82 cm H: 84 cm Sh: 43cm Wt: 24 kg Cbm: 0,53 m3

2-seater sofa

L: 152 cm D: 77,5 cm H: 80 cm, Sh: 40 cm Wt: 35 kg Cbm: 1,13 m3

L: 207 cm D: 78 cm H: 78 cm Sh: 43 cm Wt: 68 kg Cbm: 1,53 m3

The spanish chair

armchair

Model 2208

L: 128 cm D: 82 cm H: 84 cm Sh: 43 cm Wt: 37 kg, Cbm: 0,97 m3

3-seater sofa Model 2209

L: 186 cm D: 82 cm H: 84 cm Sh: 42 cm Wt: 45 kg Cbm: 1,4 m3

Model 2333

Model 2226

Model 2334

W: 82,5 cm D: 60 cm H: 67 cm Sh: 33 cm Wt: 12 kg Cbm: 0,41 m3

W: 85 cm D: 78 cm H: 78 cm Sh: 43 cm Wt: 34 kg Cbm: 0,63 m3


j 39 chair

Model 2335

Model 3239

the shaker dining table Model 6289

J16 rocking chair

L: 180 cm D: 78 cm H: 78 cm Sh: 43 cm Wt: 60 kg, Cbm: 1,41 m3

W: 48 cm D: 43 cm H: 77 cm Sh: 44,5/46 cm Wt: 4,5 kg Cbm: 0,26 m3 (2pcs.)

L: 150 cm W: 97,5 cm H: 71 cm Wt: 40 kg Cbm: 0,16 m3

J49 chair

coffee table

Model 3049

Model 5267

c18 dining table

W: 46,5 cm D: 47,7 cm H: 83 cm Sh: 44,5 cm Wt: 5 kg Cbm: 0,3 m3 (2 pcs)

L: 150 cm W: 75 cm H: 54 cm Wt: 28 kg Cbm: 0,12 m³

L: 180 cm W: 90 cm H: 71 cm, Wt: 35 kg Cbm: 0,18 m3

dining table

c18 dining table

bench Model 3171

L: 170 cm W: 48 cm, H: 76 cm Sh: 43 cm Wt: 21 kg Cbm: 0,82 m3

chair

Model 6284

L: 180 cm W: 90 cm H: 70 cm Cbm: 0,18 m³

the shaker dining table Model 6286

Model 16000

Model 6290

Model 6291

L: 140 cm W: 90 cm H: 71 cm Wt: 40 kg Cbm: 0,14 m3

L: 195 cm W: 97,5 cm H: 71 cm Wt: 56 kg Cbm: 0,2 m3

W: 63 cm D: 93 cm H: 107 cm Sh: 42 cm Wt: 11 kg Cbm: 0,58 m3

Stool Model 16002

W: 52 cm D: 40 cm H: 45 cm Wt: 4,8 kg Cbm: 0,1 m3

Nanna DITZEL Bench for two Model 2600

c18 dining table Model 6292

Model 3236

W: 50 cm D: 47 cm H: 74 cm Sh: 43 cm Wt: 6 kg Cbm: 0,28 m3 (2 pcs.)

Hans J. Wegner

L: 160 cm W: 80 cm H: 71 cm Wt: 35 kg Cbm: 0,15 m3

L: 150 cm D: 70 cm H: 98 cm Sh: 40 cm Wt: 20 kg Cbm: 1.32 m3

Table Model 2601 Ø ¼ R 64 cm H: 40 cm Wt: 5 kg Cbm: 0,21 m3

143

2½ seat sofa


Lounge Chair

Easy chair

Model 2649

Model 2660

W: 76 cm D: 65 cm H: 82 cm Sh: 41,5 cm Wt: 10 kg Cbm: 0,46 m3

W: 95 cm D: 78 cm H: 96 cm Sh: 40 cm Wt: 13 kg Cbm: 0,78 m3

Easy chair Model 2650

W: 95 cm D: 78 cm H: 96 cm Sh: 40 cm Wt: 13 kg Cbm: 0,78 m3

144

Footstool

Footstool Model 2661

W: 54 cm D: 50 cm H: 41cm Wt: 8 kg Cbm: 0,13 m3

Trinidad Model 3296

Model 3299

Model 3440

W: 61 cm D: 57 cm H: 83 cm Sh: 44 cm Wt: 5 kg Cbm: 0,46 m3 (2 pcs.)

L: 313 cm D: 65 cm H: 81 cm Sh: 43 cm Wt: 50 kg Cbm: 1,97 m3

Trinidad Model 3300

W: 45 cm D: 50 cm H: 112 cm Sh: 75,5 cm Wt: 5 kg Cbm: 0,34 m3

Lounge chair

W: 48,5 cm D: 57 cm H: 83 cm Sh: 45 cm Wt: 4,5 kg Cbm: 0,4 m3 (4 pcs.)

W: 45 cm D: 50 cm H: 112 cm Sh: 77,5 cm Wt: 5,5 kg Cbm: 0,34 m3

Nanna bench

Model 3297

Model 3530

W: 61 cm D: 57 cm H: 83 cm Sh: 45 cm Wt: 6 kg Cbm: 0,46 m3 (2 pcs.) Model 3298

L: 234 cm D: 65 cm H: 81 cm Sh: 43cm Wt: 40 kg Cbm: 1,48 m3

Model 2659

W: 76 cm D: 65 cm H: 80,5 cm Sh: 41,5 cm Wt: 10 kg Cbm: 0,46 m3

W: 47,5 cm D: 57 cm H: 83 cm Sh: 44 cm Wt: 4 kg Cbm: 0,4 m3 (4 pcs.)

Model 8006

Ø: 60 cm H: 71,5 cm Cbm: 0,17 m3 Model 8007

Model 3301

Model 2651

W: 54 cm D: 50 cm H: 41 cm Wt: 8 kg Cbm: 0,13 m3

Tobago

Ø: 75 cm H: 71,5 cm Cbm: 0,18 m3 Model 8008

Ø: 110 cm H: 71,5 cm Cbm: 0,38 m3 Model 8311

L: 150/260 cm W: 110 cm H: 72 cm Weight: 67,5 kg Cbm: 0,28 m3


Tobago

Footstol

Spine Lounge sofa

Model 8312

Model 2460/2560

Model 1712

Spine dining table Model 1760

søren HOLST

B: 63 cm D: 40 cm H: 41 cm Wt: 6 kg, Cbm: 0,13 m3

Chair Model 2461/2561

B: 76 cm D: 77 cm H: 78 cm Sh: 41 cm Wt: 20 kg Cbm: 0,38 m3

B: 76 cm D: 81/92 cm H: 97/194 cm Sh: 41 cm Wt: 22 kg Cbm: 0,38 m3

Table Model 5392

L: 133 cm D: 77 cm H: 78 cm Sh: 41 cm Wt: 30 kg Cbm: 0,67 m3

Sofa Model 2453/2553

L: 190 cm D: 77 cm H: 78 cm Sh: 41 cm Wt: 45 kg Cbm: 0,96 m3

W: 46,5 cm D: 58 cm, H: 76 cm Sh: 46,5 cm Wt: 8 kg, Cbm: 0,3 m³

Spine bar stool Model 1730

Sofa Model 2452/2552

Spine Chair Model 1720

Chair Model 2451/2551

L: 160 cm D: 81 cm H: 71 cm Sh: 41 cm Wt: 45 kg, Cbm: 1,14 m³

L: 80/156 cm W: 76 cm H: 54 cm Wt: 26 kg Cbm: 0,09 m³

SPACE COPENHAGEN Spine lounge chair

L: 210 cm W: 110 cm H: 72,5 cm Wt: 62 kg Cbm: 0,48 m3

Welling/ LUDVIK Pato Model 4000

W: 45 cm D: 50 cm H: 79 cm Sh: 46,5 cm Cbm: 0,33 m³ Model 4002

W: 45 cm D: 51 cm H: 104 cm Sh: 75 cm Wt: 10,2 kg Cbm: 0,34 m³

Spine side table Model 1740

W: 46 cm D: 50 cm H: 79,5 cm Sh: 46,5 cm Cbm: 0,33 m³ Model 4010

Model 1710

W: 80 cm D: 81 cm H: 71 cm Sh: 41 cm Wt: 25 kg Cbm: 0,56 m³

L: 60 cm W: 60 cm H: 45 cm Wt: 20 kg Cbm: 0,19 m³

Spine Coffee table Model 1750

L: 120 cm W: 60 cm H: 45 cm Wt: 35 kg Cbm: 0,38 m³

W: 57 cm D: 50 cm H: 79 cm Sh: 46,5 cm Cbm: 0,4 m³

145

L: 180/290 cm W: 120 cm H: 72 cm Wt: 70 kg Cbm: 0,28 m3


Model 4012

Model 4210

Model 4619

W: 57 cm D: 50 cm H: 79,5 cm Sh: 46,5 cm Cbm: 0,4 m3

W: 57 cm D: 52 cm H: 79 cm Sh: 46,5 cm Wt: 5,9 kg Cbm: 0,56 m3 (4 stk.)

L: 180 cm W: 90 cm H: 73 cm Cbm: 0,31 m3

Model 4100

Gamfratesi

1000

H: 104 cm D: 92 cm L: 156 cm Sh: 44,5 cm Wt: 56 kg Cbm: 2,03 m3 Model 1633

1000

Model 4212

Model 1632

1500

870

Model 4620

870

Haiku

Pato chair

2200

Model 4300 L: 200 cm W: 120 cm H: 73 cm Cbm: 0,45 m3

Model 4102

146

Model 4622

W: 57 cm, D: 51,5 cm H: 79,5 cm Sh: 47,5 cm Wt: 7 kg Cbm: 0,44 m3 (4 pcs.)

W: 45 cm D: 50 cm H: 97 / 109 cm Sh: 66 / 77 cm Wt.: 7,2 / 7,5 kg Cbm: 0,4 m3

Model 4200

Model 4302

Model 4630

L: 300 cm W: 120 cm H: 73 cm Cbm: 0,69 m3 Model 4636

W: 55 cm D: 52 cm H: 79 cm Sh: 46,5 cm Wt : 5,4 kg Cbm: 0,44 m3 (4 pcs.) Model 4202

W: 46 cm D: 50 cm H: 98 / 110 cm Sh: 67 / 78 cm Wt. : 7,8 / 8,1 kg Cbm: 0,4 m3

L: 360cm W: 120 cm H: 73 cm Cbm: 0,82 m3

H: 104 cm D: 92 cm L: 228 cm Sh: 44,5 cm Wt: 81 kg Cbm: 2,9 m3

Roland GRAF Slim JIm Model 4800

L: 175/188 cm W: 85/92 cm H: 73 cm Wt: 44 kg Cbm: 0,24 m3 Model 4801

Mesa table Model 4612

W: 55 cm D: 52,5 cm H: 80 cm Sh: 47,5 cm Wt : 6,1 kg Cbm: 0,48 m3 (4 stk.)

1500

870

W: 57 cm D: 52,5 cm H: 79,5 cm Sh: 47,5 cm Wt: 6,6 kg

1000

W: 57 cm D: 51 cm H: 79 cm Sh: 46,5 cm Wt: 6,2 kg Cbm: 0,44 m3 (4 pcs.)

1000

870

2200

L: 200 cm W: 100 cm H: 73 cm Cbm: 0,38 m3

L: 120 cm W: 120 cm H: 73 cm Cbm: 0,28 m3

L: 160/167 cm W: 75/82 cm H: 73 cm Wt: 38 kg Cbm: 0,16 m3


Mundo Lounge Model 1032

W: 78 cm D: 65,5 cm H: 78 cm Sh: 45 cm Wt: 12,5 kg Cbm: 0,53 m³ Model 1034

W: 78 cm D: 65,5 cm H: 79 cm Sh: 47 cm Wt: 11 kg Cbm: 0,53 m³ Model 1036

W: 78 cm D: 65,5 cm H: 79 cm Sh: 47 cm Wt: 10 kg Cbm: 0,54 m³

Mundo Conference Model 1038

Mundo chair

W: 57 cm D: 53 cm H: 75 cm, Sh: 45,5 cm Wt: 4,3 kg cbm: 0,33 m3 (3 pcs.)

Easy table Model 1305

W: 49 cm D: 46 cm H: 87/110,5 cm Sh: 65/88,5 cm Cbm: 0,34 m3 Model 1050

Ø: 150 cm H: 72,5 cm Wt: 40 kg Cbm: 0,34 m3 Model 1353

Model 1044

W: 57 cm D: 53 cm H: 75 cm Sh: 46cm Wt: 6 kg, cbm: 0,33 m3 (3 pcs.) Model 1046

W: 57 cm D: 53 cm H: 75 cm Sh: 46 cm cbm: 0,33 m3 Model 1047

W: 50 cm D: 45 cm H: 83/109 cm Sh: 61/87 cm Wt.: 10 kg Cbm: 0,26 m3

L: 125 cm W: 50 cm H: 72,5 cm Wt: 16 kg Cbm: 0,09 m3 Model 1362

Model 1054

W: 50 cm D: 45 cm H: 83/109 cm Sh: 63/89 cm Wt.: 11 kg Cbm: 0,26 m

L: 125 cm W: 60 cm H: 72,5 cm Wt: 24 kg Cbm: 0,08 m3 Model 1374

Model 1056 W: 58 cm D: 50,5 cm H: 75,5 cm Sh: 47 cm cbm: 0,33 m3

Mundo Bar stool W: 78 cm D: 62 cm H: 86 cm Sh: 47 cm, Wt: 12 kg cbm: 0,53 m3

Model 1049

Model 1040

Model 1048

W: 50 cm D: 45 cm H: 109 cm Sh: 89 cm Wt.: 5 kg Cbm: 0,34 m3

L: 140 cm W: 70 cm H: 72,5 cm Wt: 29 kg Cbm: 0,11 m3 Model 1383

Model 1058

W: 49 cm D: 46 cm H: 87/110,5 cm Sh: 65/88,5 cm, Cbm: 0,34 m3

W: 50 cm D: 45 cm H: 109 cm Sh: 90 cm Wt.: 5,5 kg Cbm: 0,34 m3

L: 125 cm W: 80 cm H: 72,5 cm Wt: 27 kg Cbm: 0,1 m3

147

Susanne Grønlund


Melt_Kvadrat_158x158

Model 1384

Model 3510

Model 1210

Model 7412 Melt_Kvadrat_158x158

L: 140 cm W: 80 cm H: 72,5 cm Wt: 30 kg Cbm: 0,11 m3

W: 120 cm D: 114 cm H: 83,5 cm Sh: 34 cm Wt: 21 kg Cbm: 1,1 m3

L: 70 cm B: 70 cm H: 43/54 cm Wt: 6,5 kg Cbm: 0,06 m3

L: 120 cm W: 120 cm H: 74,5 cm Cbm: 0,18 m3 Melt_Rektangle_130x238

Model 7414

Model 1220

Melt_Rektangle_130x238

Model 3520

Model 1386

L: 160 cm W: 80 cm H: 72,5 cm Wt: 32 kg Cbm: 0,13 m3

148

Model 1388

L: 180 cm W: 80 cm H: 72,5 cm Wt: 35 kg Cbm: 0,15 m3 Model 1398

L: 138 cm W: 65 cm H: 100 cm Wt: 14 kg Cbm: 1,33 m3

Thomas pedersen icicle

Ø: 50 cm H: 43/54 cm Wt: 3,4 kg Cbm: 0,03 m3 Model 1230

Melt_Elipse_130x238

Model 7416 Melt_Elipse_130x238

L: 238 cm W: 130 cm H: 74,5 cm Cbm: 0,24 m3

Model 3525

Alfredo HÄBERLI

W: 122 cm D: 114cm H: 86 cm Sh: 34 cm Wt: 25 kg Cbm: 1,1 m

Model 1240

L: 127 cm B: 90 cm H: 43/49 cm Wt: 14 kg Cbm: 0,13 m3

Seracs Model 4510

Furnid Dekka day bed Model 1150

Model 1250

L: 150 cm B: 58 cm H: 43/49 cm Wt: 13 kg, Cbm: 0,1 m3

L: 200 cm D: 90 cm H: 29,5 cm Sh: 29,5 cm Wt: 56 kg Cbm: 0,94 m3

Stingray Model 3500

Melt

Model 1200

Model 7411 Melt_Udtræk_110x180

L: 180/290 cm W: 110 cm H: 74,5 cm Cbm: 0,24 m3

W: 12 cm D: 90 cm H: 70 cm Sh: 37cm Cbm: 0,12 m3 Model 4520

W: 25 cm D: 90 cm H: 70 cm Sh: 37 cm Cbm: 0,21 m3 Melt_Udtræk_110x180

Melt_Udtræk_110x180

Ø: 90 cm, H: 43/49 cm Wt: 10 kg Cbm: 0,1 m3

L: 238 cm W: 130 cm H: 74,5 cm Cbm: 0,24 m3

W: 122 cm D: 114 cm H: 86 cm Sh: 34 cm Wt: 24 kg Cbm: 1,1 m3

L: 84 cm B: 63 cm H: 43/54 cm Wt: 5,7 kg Cbm: 0,07 m3

W: 120 cm D: 114 cm H: 83,5 cm Sh: 34 cm Wt: 17 kg Cbm: 1,1 m3

Melt_Rektangle_130x238

Melt_Elipse_130x238


Model 1830

W: 25 cm D: 90 cm H: 70 cm Sh: 37cm Cbm: 0,21 m3 Model 4540

W: 44,5 cm D: 44,5 cm H: 98,5 cm Sh: 67 cm Wt: 6 kg Cbm: 0,3 m3 Model 1832

W: 85 cm D: 90 cm H: 70 cm Sh: 37 cm Cbm: 0,64 m3 Model 4550

Shin AZUMI

W: 48 cm D: 51 cm H: 83,5 cm Sh: 44 cm Wt: 5 kg Cbm: 0,22 m3 Model 1820

W: 48 cm D: 51 cm H: 83,5 cm Sh: 45 cm, Wt: 5 kg Cbm: 0,22 m3

Micado

Prime time easy chair Model 15100

Ø: 60 cm H: 49 cm Wt: 3,8 kg Cbm: 0,03 m3

W: 45 cm D: 45 cm H: 99 cm Sh: 68 cm Wt: 6 kg Cbm: 0,3 m3

per Borre Astral bench

W: 44,6 cm D: 47 cm H: 108 cm Sh: 77 cm Wt: 6 kg, Cbm: 0,3 m3 Model 1842

L: 266 cm D: 70 cm H: 83 cm Sh: 42 cm Wt: 120 kg Cbm: 1.82 m3 Model 1111

W: 45 cm D: 47 cm H: 108 cm Sh: 78 cm Wt: 6 kg Cbm: 0,3 m3 Model 1880

H: 180 cm W: 32 cm D: 42 cm Wt:10 kg Cbm: 0,273

W: 95 cm D: 94 cm H: 96 cm Sh: 43 cm Wt: 35 kg Cbm: 0,93 m3

Prime time stool Model 15102

Model 1110

the nara SERIES Model 1810

Tom Stepp

Model 1213

Model 1840 W: 60 cm D: 90 cm H: 70 cm Sh: 37 cm Cbm: 0,46 m3

cecilie manz

1:200

½ Ø: 450 cm D: 225 cm H: 81 cm Wt: 187 kg Cbm: 8,58 m3

W: 70 cm D: 60 cm H: 47 cm Sh: 43 cm Wt: 9 kg Cbm: 0,19 m3

Funk Model 15500

W: 50 cm D: 55 cm H: 84 cm Sh: 45 cm Wt: 5,4 kg Cbm: 0,4 m³ (4 pcs.) Model 15516

W: 51 cm D: 55 cm H: 84 cm Sh: 45 cm Wt: 6,4 kg Cbm: 0,39 m³ (3 pcs.)

149

Model 4530


150

Model 15520

Model 15616

W: 50 cm D: 55 cm H: 84 cm Sh: 46 cm Wt: 6 kg Cbm: 0,39 m³ (3 pcs.)

B: 55,5/60 cm W: 55 cm H: 84 cm Sh: 45cm Wt: 6,4 kg Cbm: 0,39 m³ (3 pcs.)

Model 15536

Model 15620

W: 51 cm D: 55 cm H: 84 cm Sh: 46 cm Wt: 7 kg Cbm: 0,39 m³ (3 pcs.)

W: 53,5/60 cm D: 55 cm H: 84 cm Sh: 46 cm Wt: 6,4 kg Cbm: 0,39 m³ (3 pcs.)

Model 15540

Model 15636

W: 50 cm D: 55 cm H: 84 cm Sh: 46 cm Wt: 6 kg Cbm: 0,39 m³ (3 pcs.)

W: 55,5/60 cm D: 55 cm H: 84 cm Sh: 46 cm W: 6,4 kg Cbm: 0,49 m³ (3 pcs.)

Model 15556

Model 15640

W: 51 cm D: 55 cm H: 84 cm Sh: 46 cm Wt: 7 kg Cbm: 0,39 m³ (3 pcs.)

W: 53,5/60 cm D: 55 cm H: 84 cm Sh: 45 cm Wt: 5,4 kg Cbm: 0,39 m³ (3 pcs.)

Model 15600

Model 15656

B: 53,6/60 cm W: 55 cm H: 84 cm Sh: 45cm Wt : 5,4 kg Cbm: 0,40 m³ (4 pcs.).

W: 55,5/60 cm D: 55 cm H: 84 cm Sh: 46 cm Wt : 6,4 kg Cbm: 0,39 m³ (3 pcs.)

Hans sandgren jakobsen Gallery Model 1610

W: 52 cm D: 36 cm H: 48 cm Sh: 42,5 cm Wt: 4 kg Cbm: 0,12 m3

niels jørgen haugesen the haugesen table Model 4750

L: 186/305 cm W: 92 cm H: 72 cm Wt: 52 kg Cbm: 0,2 m3


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Š Fredericia Furniture 2013 Interviews by Anders Krag Main photography by Neel Munthe-Brun Design by Rethink Copenhagen


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Showroom & Store: Frederiksborggade 22, DK-1360 Copenhagen K, Tel +45 3312 4644 More info: Fredericia Furniture A/S, Treldevej 183, DK-7000 Fredericia, TeL +45 7592 3344 www.fredericia.com