Vipp Journal vol.3

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V I PP JOURNAL SHAPING TOMORROW “OU R FUTU R E IS R ATHER DIFFER ENT FROM OU R PAST.” LEA R N HOW THE DA NISH DESIGN BR A N D, IS POISED FOR A FUTU R E OF BOU N DLESS CR EATI V IT Y AS IT TU R NS 85 Y EA RS.

COLD H AWA II THE DESTINATION

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W H Y THIR D GEN ER ATION V IPP−OW N ERS LOOK TO

COME FOR THE DESTINATION.

How an old fisherman’s cottage in Denmark’s largest national park turned into a contemporary guesthouse for wave hunters and slow-living enthusiasts. Led by local architect duo Hahn Lavsen and designed to harmonize with nature, a cozy haven amidst Thy’s sandy dunes invites guests to savour the simplicity and beauty of ‘Cold Hawaii’.

STAY FOR THE EXPER IENCE.

THE COLLAB

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THE MAGNETIC EDITION Italian artist Alice Ronchi on her fascination with organic shapes and how inanimate objects are personified in her work.

THE HOME

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HOME IS W HERE THE ART IS For over a decade, the financial adviser Ilan Cohen has been assembling an intensely personal collection of work by artists from marginalized communities.

THE PORTRAIT

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EYES ON THE FUTURE Turning a waste bin into a global design brand is inherently audacious. Nevertheless, that is what 3rd generation Vipp-owners have intentions of doing.

LU XU RY FASHION BR A N DS FOR INSPIR ATION.

THE IDEA

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ORIGINAL DESIGN. FORGED FROM HERITAGE Reliable function meets original design in the new V3 kitchen, marking the next chapter in Vipp’s expertise in metalwork.

A R C H I T E C T S T U D I O

HAH N L AVSEN

LEFT: CAROLINE HAHN & EBBE LAVSEN BELOW: HOME & ARCHITECTURE STUDIO

EDITO

What you see is what you get. In an industry where trends come and go, we stand firm in our belief that architecture should be timeless. That is why, we strive to always deliver an honest and tactile experience, both in terms of aesthetics and technicality. With our background in restoration and transformation, we revive old buildings into modern architecture. A signature trait is the use of a limited palette and raw materials, allowing our work to express honesty and offer a minimalist spatial experience. The houses we build should not only be visually striking but also enrich the lives of their inhabitant while remaining in harmony with their surroundings. The Vipp Cold Hawaii guesthouse is no exception.

Throughout the guesthouse, we used a palette of elemental materials: wood, bricks, glass, concrete and stainless steel - chosen for their enduring nature and ability to weather the elements. Embracing the dynamic conditions of the Northern Sea, our design is integrated into its surroundings, whether under the summer sun or the winter storms.

We tried to keep everything as raw and untreated as possible. Look closer, and you will notice that we did not distinguish materials from the exterior to the interior. Rendered walls bear the exact same texture inside and out, while all the wooden surfaces retain their natural rough surface. We envisioned a minimalist experience enhanced by a material honesty and low-tech lifestyle. While it has all the comforts of a modern summer house, it remains understated and in tune with nature.

— CAROLINE HAHN & EBBE LAVSEN, HAHN LAVSEN STUDIO

NOTATION — Hahn Lavsen was founded in 2019 by the SwedishDanish couple, Caroline Hahn and Ebbe Lavsen. Situated in Agger, Thy, their architecture studio doubles as their private residence, conveniently situated just a 30-minute drive away from the Vipp Cold Hawaii guesthouse.

THE HOME

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HOME IS WHERE THE

HOME OF ILAN COHEN

V IP P J OU R NAL · I S S U E 3

ART IS

WORDS C H R I STI NA H I N D I N G PH O TO G RAPHY W I LLI AM JE S S L A I RD

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THE HOME

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THE HOME

V IP P J OU R NAL · I S S U E 3

For over a decade, the financial adviser Ilan Cohen has been assembling an intensely personal collection of work by artists from marginalized communities, particularly focusing on queer figuration and abstract art created by women. He dives deep into their practices, inviting them to salon-style gatherings for a meal and a conversation in his art-packed Chelsea home.

LIVING IN A HOME ADORNED WITH ART EVOKES A PROFOUND SENSE OF ENRICHMENT, WHERE EACH PIECE CARRIES MEMORIES, STORIES, AND EMOTIONS.

Collaborating with architects Noam Dvir and Daniel Rauchwerger of New York-based BoND, Cohen has designed a home of sumptuous sophist icat ion

dosed

w it h

illu m inat ing

juxtapositions of art and design. The airy loft bears witness to his deep passion for art which was sparked in his adolescent years. Few surface inches are left untouched by sculptures, paintings, or by his collection of contemporary furniture.

Purposely white-painted walls allow the artworks to stand out and interact with each other.

A giant wall of more than 50 individual paintings creates the illusion of one holistic art piece. After visiting the Vipp Studio NYC in Tribeca, Cohen opted for a Vipp kitchen in a warm grey coating.

A custom-made dining table, where he reads, works, and entertains with visiting artists and friends anchors the open space as the spiritual heart of the residence.

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THE HOME

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THE HOME

V IP P J OU R NAL · I S S U E 3

NOTATION — Israeli-born Cohen moved to New York in ‘91 to study

The Chelsea Mercantile, built in 1908 as a

film at NYU, residing in East Village and Dumbo pre-gentrification.

woollens manufacturing site, later served as the

Despite dropping out and briefly returning to Israel, he permanently

Veteran’s Administration Building after World War

settled in NYC. His current New York real estate success story began

II. Today, it stands as the prestigious condominium

when, during the pandemic, he discovered his dream configuration

“The Chelsea Mercantile”. Comprising four original

at his long-held address, making it his own after years of waiting.

buildings situated on 7th Avenue, between 24th and 25th streets, it was originally home to The National Cloak and Suit Company, a pioneering mail-order clothing house. Noted for its dramatic early 20th-century limestone facade and beautifully appointed Moroccan tilework, the building offers a grand historical ambiance.

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THE IDE A

ORIGINAL DESIGN. FORGED FROM HERITAGE.

V3 PHOT OGR APH Y P I A W I NT H E R H A NS E N S T Y L I NG JULIE CLOOS MØLSGAARD

Vipp inherited not only founder Holger Nielsen’s entrepreneurial spirit in the form of a robust stainless-steel pedal bin, but also his zeal to create indispensable, durable tools for everyday life. Inspired by this heritage, the first all-metal Vipp kitchen, the V1, was introduced in 2011 and the new V3 kitchen continues the trajectory of the pedal bin that has been made for eighty-five years.

Introduced in early 2024, the new V3 kitchen brings a distinct character to Vipp’s familiar modular kitchen design. The freestanding modules are wrapped in naturally anodized aluminium - with vertically extruded profiles curving around the edges to bring a light elegance to the metallic finish.

Resting effortlessly on four legs, Vipp’s design team and engineers have again blended the everyday functionality of a kitchen with the minimalist aesthetic of Vipp furniture.

(01)

(04)

(03)

(02)

(01) Inspired by the use of extruded aluminium in Vipp’s

Chimney House and Shelter guesthouses as well as the Vipp Studio in New York, the elegant aluminium siding has a distinct look and feel, while its underlying design language and 4-millimeter floating stainless-steel countertop draws clear lines to the brand’s heritage.

(02) The

“The V3 kitchen allowed us to combine valuable knowhow from our first kitchen with our legacy of metalwork in a visual expression that is both very compelling and innovative. In addition to the functional nature of the modular kitchen, we were able to introduce one of our trademark materials – extruded aluminium.”

edges of the stainless-steel countertop and

aluminium siding of the V3 kitchen are rounded to add softness to the industrial material.

(03) The kitchen cabinets feature discreetly integrated

handles, while the fridge and freezer cabinets boast long handles with rounded, rubber inner edges that can manage the weight and pressure of the heavier, air-sealed doors. For an uninterrupted expression and full functionality, the

— KASPER EGELUND, CEO, AND 3RD GENERATION VIPP-OWNER

countertop of the kitchen features an integrated sink, fitted with a customized Vipp tap in stainless steel.

(04) With its seamless support on four legs, the V3 blends

the everyday functionality of a kitchen with the minimalist aesthetic of Vipp furniture. Stainless-steel set screws enable easy adjustment for uneven floors, ensuring stability and adaptability.

ALICE

RONCHI

Q &A W ITH A LI C E R ONC HI PH O TO GR APH Y PI A WI NTH ER HANSE N

Q

Organic shapes are a recurring theme in your art pieces and aesthetic. How come – what do you find compelling about these shapes?

A captivating blend of functionality and artistry characterizes Vipp’s recent Blank Canvas partnership with Italian artist Alice Ronchi, who has transformed the Vipp pedal bin into a playful artwork.

Crafted from metallic coloured steel, six unique magnetic forms mimic the fluidity of seaweed, adorning the polished steel bin.

Ronchi’s interpretation of the iconic bin invites you to reimagine the ordinary and infuses it with creativity and wonder.

I´ve always been fascinated by organic shapes because they evoke with something natural and primitive that resonates with all of us; they subtly connect us with nature. Over the years, I have developed my own abstract language inspired by these forms, creating an alphabet of shapes that I use to convey different feelings and subjects.

Q

Would you say that the ‘Magnetic’ bin is functional art – can a trashcan ever be art?

I wouldn´t consider the ‘Magnetic’ bin as functional art.

The Vipp bin is a beautiful object designed by a talented metalsmith in 1939 – and my intervention did not transform the functional nature of the design. To me art, by definition,

Q

What is your idea behind the concept?

is not functional. I would rather say that the ‘Magnetic’ bin

My idea was to create a series of magnets that could

is a piece of design that has been interpretated by an artist.

be affixed to the bin, mirroring the popular tradition of placing magnets on the kitchen fridge. Inspired by the

Q

What interested you about collaborating with Vipp?

shapes of seaweed, I proposed an elegant iteration of these

I liked the challenge of exploring the possibilities

artifacts, inviting people to engage with the bin. The act of

of the bin and I have an appreciation for Vipp’s

throwing things in the bin is often instinctual. By

philosophy and industrial-style furniture. There are

incorporating tailormade magnets, I aimed to disrupt this

some interesting parallels in our expressive languages,

nature and instead bring focus to the bin – an inherently

both characterized by a simple yet elegant aesthetic. This

functional object that tends to blend in with its surroundings.

includes Vipp’s choice to use a bin as a means of engaging

I envisioned the bin as an equal protagonist in the home,

with other creatives.

rather than just something relegated to a corner.

Q Q

How does it relate to your previous work?

Why these vivid colours and stainless-steel bin?

I worked quite a bit on the colouration of the

This project relates to my previous work in terms of

magnets. I wanted them to appear transparent, to

its conceptual approach - the idea of considering the bin

generate a feeling of lightness, brightness, and fluidity

not just as a canvas for decoration, but rather as a subject

as though they were floating in the bin’s surface.

in its own right. This reflects my tendency to observe my

I decided to play with the mirror surface of the bin - to

surroundings in a particular way, often portrayed in my

make the magnets look like they are submerged on the

work through poetic narratives where inanimate objects

surface of the bin, just like seaweed float seamlessly in

are personified.

the water.

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THE COLLAB

V IP P J OU R NAL · I S S U E 3

“I´ve always been fascinated by organic shapes because they evoke with something natural and primitive that resonates with all of us; they subtly connect us with nature.”

COLD 20

HAWAII THE HOME

ARCHITECTURE: HAHN LAVSEN INTERIOR DESIGN: JULIE CLOOS MØLSGAARD PHOTOGRAPHY: MARTIN HOFFMANN LARSEN & PIA WINTHER HANSEN WORDS: CHRISTINA HINDING & LOUISE NORMANN

The sandy dunes of the largest national park in

tranquil and comfortable as possible, creating somewhere

Denmark, Thy, are punctuated with old fisherman’s

guests would want to stay longer and where they could

cottages. Along this stretch of coastline is a surfer’s

simply relax surrounded by the untamed nature,” adds

paradise dubbed ‘Cold Hawaii’, where local architect

Cloos Mølsgaard.

studio Hahn Lavsen has transformed one of these historic early 1900 cottages into a contemporary guesthouse for

The two-story layout includes three bedrooms, two

wave-hunters and slow-living enthusiasts. Vipp Cold

bathrooms, and a combined living area and kitchen, with

Hawaii, Thy enters the portfolio of bookable one-room

a custom fireplace mirrored on both sides of the gable.

guesthouses realised by the Danish design brand.

Glass elements frame impeccable views, directing attention to nature’s panorama, with the Vipp V3 metal kitchen at

The guesthouse exudes a subtle confidence and

the heart of the living area.

robustness designed to withstand the elements. Embracing a bold minimalism, the architecture features a limited

Like the architects, Julie Cloos Mølsgaard has used

material palette, honest expression, and intentional

a narrow material scheme where wood, metal, glass, stone,

rawness. “We kept the original geometry and position with

and natural woven fibres interweave to create a tailored

east and west facing gables for wind protection. The west

interior where texture rather than colour creates interest

gable facing the sea was once a stable. Farmers and

and provides a soothing atmosphere. To underline this

fishermen did not care for the view. The layout was a result

reverence for materials, Vipp furniture are mixed with

of how best to shield residents from the strong western

pieces from neighbouring craft shops, vintage finds, and

winds”, observes Lavsen.

work by local artists.

Walls are constructed from insulated concrete

the rawness of its materials, the interior, overseen by

COLD HAWAII — The 55 km stretch of coastline

blocks, white-washed inside and out, while untreated

interior designer, Julie Cloos Mølsgaard, is dotted with

between Agger and Hanstholm, known as ‘Cold Hawaii’ for its

Douglas fir lines the roof to withstand harsh coastal

furniture and objects high in precision and craftsmanship.

wind conditions akin to those of Hawaii, has seen Denmark’s Thy

conditions. Oak stable doors, a nod to the area’s farming

Cloos Mølsgaard’s involvement from the project’s inception

National Park evolve from a workplace into a modern surf hub,

history, provide natural ventilation in each room, and glass

has transformed the shell into a home. The soul of the

fostering a new Nordic surf culture characterized by cold waves

walls seamlessly integrate into the facade. Exposed brick

building has been captured with a refreshingly modern

and extreme weather. Klitmøller, with its 31 unique surf spots,

floors create a refined brutalist aesthetic, evoking the

and intimately warm palette of sandy tones and textures

hosts the prestigious Cold Hawaii PWA World Cup since 2010,

nearby sandy beaches visible through the windows.

inspired by the surrounding beaches, dunes, and cliffs. “I

reflecting a departure from traditional surfing paradises and

Whereas the exterior of the house gains its character from

aimed to make the Vipp guesthouse in Cold Hawaii as

highlighting the sport’s evolving nature.

“When you step out the door, you step into a national park. The sensation of being in a no-mans-land, almost in a moon-landscape strikes you. Like the unspoiled rawness of nature that embraces you upon arrival, the house greets you with an unvarnished straightforwardness” — EBBE LAVSEN, THE ARCHITECT.

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THE PORTRAIT

V IP P J OU R NAL · I S S U E 3

EYES ON the FUTURE

It’s hard to imagine Holger Nielsen would’ve foreseen what his modest waste bin would lead to

WORDS KARL BE CKMAN I L L UST RAT I O NS SIGURD MUHS GRELCK

eight decades after its creation. Born as a functional tool for hair salons and doctors’ clinics, the Vipp bin has developed into an icon of Danish design, part of the collection at New York’s MoMA and the basis of an entire design universe. Though it has grown into a global brand, Vipp is still family owned and operated, with Holger’s daughter, Jette Egelund, and grandchildren, Kasper and Sofie, continuing to adhere to the brand’s founding principles.

“We are still trying to stand on the shoulders of our grandfather,” says third generation co-owner and CEO of Vipp, Kasper Egelund. “His design principles inspire us and provide the foundation for everything we do. We have one leg in the past, one in the future.”

However, Kasper admits that the vision for the company’s future is rather different from its past. “Our past is marked by a focus on product functionality - which is something we want to maintain. But as we move the brand forward, the focus will be on

NOTATION — Founded in 1939 by metalsmith Holger Nielsen, Vipp

more than just function.”

is a Danish company now in its 3rd generation of family ownership.

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THE PORTRAIT

“Embracing boldness is part of who we are. And it will be at the very heart of how Vipp evolves going forward.”

V IP P J O U RNA L · I S S U E 3

FROM PRODUCT TO EXPERIENCE For Kasper, Sofie and Jette, Vipp’s future is centered on a transition from product and function to a holistic brand experience.

“We’ve seen it with some of the family-owned French fashion houses, such as Hermes – beginning with very functional products and ultimately building an entire design experience,” explains Kasper. “We find a lot of inspiration in these brands.”

One of the main focus areas in the evolution of Vipp is the guesthouse concept. What started as Kasper’s bold idea to create a retreat in the Swedish forest has taken off into a collection of accommodations fully curated and furnished by Vipp.

“Our guesthouses allow visitors to step into and live in our design universe. It’s not just about the individual products, but about how they are experienced holistically – which is never identical depending on the locale.”

With nine locations across five countries and more on the way, Vipp’s guesthouses are providing new opportunities for how the brand can be experienced.

“We will continue exploring new ways the brand can be brought to life,” says Kasper. “In addition to the guesthouses, this means more curated products and experiences.”

A FUTURE BUILT ON BOLDNESS Despite what the company has become, boldness was not necessarily inherent in Vipp. “Holger was actually rather conservative,” says Sofie. “But over the past 85 years, our family has become more and more adventurous in our ideas and approach to the business. ”Transforming a waste bin into a global design brand is audacious almost by definition. But bold ideas should come as no surprise considering who is leading the company. A social worker with no formal business degree, it was Jette who first had the vision to grow the business by taking the waste bin into private homes and luxury department stores. It’s safe to say she passed this boldness on to her children. Trained graphic designer and the brand’s art director, Sofie made the move to New York City in 2014 to expand Vipp’s footprint and run the company’s US operations together with her husband Frank. And Kasper, who is dyslexic and was pegged “hopeless” in his school years, continues to lead the business to new frontiers with outside-the-box creativity and bold ideas like the guesthouse concept.

N EXT

ISSU E

M E XICO: TODO SANTOS, BAJA CALIFORNIA SUR

Designed by the Mexico City-based architecture studio PPAA (Pérez Palacios Arquitectos Asociados), this modern bungalow situated on the Pacific coast of Mexico’s Baja California Sur, will debut as Vipp’s tenth guesthouse destination later this year.

VIP P.CO M