[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-gubi-the-art-of-layering":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":373},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":368,"matched_pages":369,"match_count":370,"two_pages":371,"show_text":372},24809,"The Art of Layering","gubi-the-art-of-layering","\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fc1\u002F6ebc2a2584d1f38473bed3c5ab09f5-28fc1d7308.pdf","GUBI",1852,"gubi","17.6 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365],{"image":7,"text":15,"number":16},"THE ART  \nOF LAYERING\nGUBI FOR LIFE\n2021\nVOL.01\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.2.png","1\n4\nINTRO\nGUBI. Where wide-eyed curiosity leads to new ideas. Where  courage \nis part of the DNA. Where creative vision meets precise curation. \nForgotten icons of the past brought together with tomorrow’s \nclassics. A bold and passionate approach to color, pattern, and form \nthat carves out a unique identity to suit your personality. Timeless \nand daring collections that evoke emotion and tell meaningful \nstories. Curiosity, courage, and creativity – GUBI is here to do things \ndifferently for the life you live.\nIn fashion, layering involves putting together a unique combination of garments to express \na distinct identity or creating new looks by remixing existing items. In music, samples and \nsynths are layered over new sounds to create depth and creative expression. Curating an \nelegant home that embodies a particular set of values or meets the specific needs of its \ninhabitants involves much the same approach. Perfect the art of layering your interiors by \nexploring the breadth and depth of the GUBI Collection, from timeless archival pieces to \ncontemporary design classics.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.3.png","CONTENTS\nStemlite Collection\nBill Curry\nPacha Collection\nPierre Paulin\nFlaneur Collection\nGamFratesi\nSejour Lounge Chair \nGamFratesi\nGräshoppa Collection\nGreta M. Grossman\nGUBI 3D Recycled Edition \nKomplot Design\nCoco Collection\nOEO Studio\nBestlite Collection \nRobert Dudley Best\nSemi Collection\nClaus Bonderup & Torsten Thorup\nBeetle Collection\nGamFratesi\nTS Collection\nGamFratesi\nPedrera Collection\nCorsini & Millet\nMulti-Lite Collection\nLouis Weisdorf\nCroissant Collection\nIllum Wikkelsø\n8\n98\n92\nGascoin Collection \nMarcel Gascoin\nTynell Collection \nPaavo Tynell\nStay Collection\nSpace Copenhagen\nWonder Collection\nSpace Copenhagen\nMR01 Initial Chair \nMathias Steen Rasmussen\n16\n104\nGrace Lounge Chair\nTove Kindt-Larsen\n24\n110\n30\n118\n38\n126\n48\n134\n142\n54\n150\n60\n156\n68\n162\n78\n168\n86\nEpic Table Collection\nGamFratesi\nBeetle & Bat Outdoor \nGamFratesi\nSatellite Collection\nMathieu Matégot\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.4.png","LAYERING WITH \nGUBI FOR LIFE\n2021\nVOL.01\n2021 NOVELTIES\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.5.png","6\n7\nDanish furniture designer Illum Wikkelsø (1919–1999) believed that \nfurniture should be built to last, to indulge the body and to please \nthe eye. With his clear design aesthetic and deep understanding of \nmaterials, he was one of the key protagonists in making Danish style \nan international phenomenon.\nWikkelsø worked with clean lines, but he also had a strong sense of \norganic expression and was deeply inspired by nature – especially the \nDanish landscape. His profound understanding of form was coupled \nwith a deep commitment to exemplary levels of functionality and \nergonomics.\nAlthough Wikkelsø was in many ways in tune with the design \naesthetic of his time, he had both the courage and ability to develop \nhis own innovative style which was often expressive and surprising, \nbut always focused on sublime craftsmanship and attention to detail.\nIllum Wikkelsø\n1919 - 1999\nDESIGNER PORTRAIT\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.6.png","9\nGUBI PRESENTS\n8\n Croissant Collection\nThe Croissant Sofa and Lounge Chair, by midcentury Danish \narchitect and designer Illum Wikkelsø, represent an elegant and \nplayful take on the traditional typology of the Chesterfield sofa and \nclub chair. \nWikkelsø believed that a chair was not just for sitting upright, but \nthat it should be comfortable no matter the angle at which you sit – \nor even lie down. He redefined these classic pieces for a more relaxed \naudience emerging in the optimism of the 1960s.\nThe characteristic ‘croissant’ form – named for its playful reference \nto the iconic French breakfast pastry – is created with meticulously \nhand-stitched flat piping in the fabric version and leather piping in \nthe leather version to achieve the complex curves required. \nThe craftsmanship this demonstrates is in keeping with Wikkelsø’s \nlegacy as a trained cabinet maker. Both the lounge chair and three-\nseater sofa feature a base-frame and legs, made from oiled walnut \nor FSC-certified oak, with a slight front-to-back downward tilt and a \ncurved detail into which slot the seat and backrest.\nAvailable April 2021\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.7.png","10\n11\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.8.png","12\n13\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.9.png","15\nDESIGNER PORTRAIT\n14\nMathias Steen Rasmussen (born 1990) is a young Danish designer \nwith a seasoned and rigorous approach to furniture design. He \nhas a background in art and cabinetmaking and completed his \napprenticeship in 2019 with the highest honors. \nWhen working on his own designs, his philosophy is “honesty in \nconstruction”. This means keeping the design process open to what \nan object consists of and how it is constructed, often with an affinity \nfor showcasing the naked grain of the wood and visible joints.\nAs a trained cabinetmaker, wood is usually Rasmussen’s point of \ndeparture. He often brings in other natural materials such as glass, \nstone, and rope as textural contrasts, resulting in an aesthetic \ndialogue between colors, techniques, and surfaces. With an earnest \nrespect for his materials and a keen sense of balance in form and \nfunction, his work respectfully nods to mid-century Danish design.\n1990 -\nMathias Rasmussen\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.10.png","17\n16\nGUBI PRESENTS\nOriginally designed for his own home as a lounge chair he could also \nuse for meditation, the MR01 Initial Chair by woodworker Mathias \nSteen Rasmussen unites traditional craftsmanship with original \nideas in a simple form that is at once familiar and yet strikingly \nmodern.\nThe name ‘MR01 Initial’ pays homage to the Danish master’s \npractice of naming their designs with their own initials followed by a \nnumber and, in a subtle play on words, also references the fact this \nchair represents Rasmussen’s debut production piece. \nThe open triangle profile of the frame – made from walnut or \nFSC-certified oak – is constructed without a single screw, relying \ninstead on artisanal cabinetmaking techniques such as finger joints \nand wedged mortise and tenon joints. This approach makes its \nconstruction and materiality entirely visible, lending the piece a \nsense of honesty and highlighting the craftsmanship involved. The \naddition of rope is characteristic of Rasmussen, who often pairs \ncomplementary organic materials with wood, creating an aesthetic \ndialogue and co-relation between the two.\nMR01 Initial Chair\nAvailable late February 2021\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.11.png","18\n19\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.12.png","20\n21\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.13.png","23\nDESIGNER PORTRAIT\n22\nTove Kindt-Larsen (née Reddersen, 1906-1994) was one of the first \nfemale designers to emerge during Denmark’s ‘Golden Era’ in the \nmid-twentieth century. She is well-known for working with her \nhusband, Edvard Kindt-Larsen (1901-1982), but her own influence \nshould not be underestimated. By acquiring the rights to pieces that \nshe designed prior to her partnership with her husband, GUBI aims \nto restore her to her rightful place in design history. \nAn architect by training, with several years of furniture design under \nher belt, she embarked on a furniture design course at the Royal \nDanish Academy of Fine Arts in Copenhagen, under the ‘godfather \nof Danish design’ Kaare Klint. \nHer furniture was characterized by a fine sense of quality and a design \nlanguage that responded to evolving tastes of the time. She was an \nearly pioneer in rattan chairs and the use of molded plywood, as well \nas moving away from designing room sets and instead conceiving \nindividual pieces of furniture so that homeowners could curate their \nown spaces.\n1906 - 1994\nTove Kindt-Larsen\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.14.png","25\nGUBI PRESENTS\n24\nThe Grace Chair by Danish architect and designer Tove Kindt-Larsen \n(1906-1994) is an elegant take on an informal typology new to the \nGUBI Collection – the rattan lounge chair. Bringing to life a design \nnever before put into production, GUBI has worked closely with Tove \nKindt-Larsen’s family to develop the piece from a conceptual sketch \nshe drew in 1936, which was recently discovered in an archived folder \nof her jewelry designs.\nInspired by the soft curves and materiality found in nature, the \nGrace Chair is a compilation of curves. Woven by hand from the \nnatural material by Indonesian craftspeople, it comprises a circular \nseat atop a slightly larger, offset, circular base, with an embracing \nbackrest populated with long loops of rattan. The lower part of the \nbackrest is woven together to support a generous unholstered seat \ncushion.\nThe flexibility of rattan – its ability to be bent and shaped at will – is \nat the heart of Tove Kindt-Larsen’s vision for the Grace Chair. The \nrattan flexes under the weight of the sitter, adding another layer of \nsupport as it adapts to the contours of the body.\nGrace Chair\nAvailable late April 2021\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.15.png","26\n27\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.16.png","29\nDESIGNER PORTRAIT\n28\nGreta Magnusson Grossman (1906–1999) was an early pioneer in the \nmale dominated worlds of mid-century industrial and interior design \nand architecture, gaining international recognition for her work. She \nwas born in Helsingborg, Sweden into a family of cabinetmakers. \nFollowing in their footsteps, she became the first woman in the \nworkshop when she undertook a woodworking apprenticeship at a \nyoung age.\nIn 1933, she married jazz musician Billy Grossman – and with the \nonset of the Second World War, the couple decided to emigrate to \nthe United States. Upon arrival in California in 1940, she opened \na well-publicized store on Rodeo Drive in Beverly Hills, where she \nwas among the first to bring the Scandinavian modern aesthetic to \nsouthern California’s burgeoning modernist scene.\nGrossman’s unique approach to Swedish modernism was a hit in Los \nAngeles. For her, good design was fundamentally humanistic; its role \nwas to support people’s daily lives in a relevant and engaging way, \nand personal and social wellbeing were key considerations.\n1906 - 1999\nGreta M. Grossman\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.17.png","31\nGUBI PRESENTS\n30\n The Gräshoppa Floor Lamp is one of the most well known designs \nby Greta Magnusson Grossman (1906–1999). With a tubular steel \ntripod base on a backward diagonal slant, its unmistakable silhouette \ngives the impression of a grasshopper clinging to a blade of grass.\nPart of a collection designed in 1947, the floor lamp has an organic \ndynamism that was a breath of fresh air within the gravitas of mid-\ncentury modernism. The collection also includes the Gräshoppa \nTable Lamp; the rotating shade and brass ball joint of which echoes \nthe floor lamp’s ability to direct light where needed. Completing \nthe collection, the Gräshoppa Pendant inverts the same elongated \nconical shade design, bringing a modernist style and classic elegance \nto any kitchen counter or dining table.\nThe powder-coated steel enables a range of 10 colors, from the \nclassic and timeless Black and White to a mid-century inspired \npalette of Andorra Red, Anthracite Gray, Aspen Yellow, Dusty Blue, \nOyster White, Warm Gray, Vintage Red – and now Olive Brown – all \nof which work equally well in combination with furniture from the \nera, or as part of modern-day interior schemes.\nGräshoppa Collection\nAvailable in Olive Brown on March 2021\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.18.png","32\n33\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.19.png","34\n35\nGRÄSHOPPA FLOOR LAMP IN THE  \nNEW COLOR OLIVE BROWN\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.20.png","37\nDESIGNER PORTRAIT\n36\nLouis Weisdorf (1932– 2021) was a well-known Danish architect \nand industrial designer. After becoming one of the youngest \ndesigners to graduate from the Royal Danish Academy of Fine \nArts in Copenhagen in 1954, he worked across graphic, interior, \narchitectural, and industrial design. Weisdorf described himself as \na specialist in versatility, which sums up the prodigious and notable \ncareer of this multi-faceted designer.\nIn 1961, he started a ten-year assignment at Tivoli Gardens, an \namusement park in Copenhagen, working as assistant to the \nchief architect Simon P. Henningsen. Weisdorf opened his own \narchitectural firm in 1967 in Copenhagen, sharing the premises with \narchitect Ole Panton (the younger brother of Verner Panton), where \nhe served both national and international clients and worked closely \nwith Verner Panton and Poul Henningsen. \nWeisdorf had a passion for objects that can be changed by the user, \ninvolving them in the design process and offering a more dynamic \ndesign. Today, he is world-renowned, and his lamps are sought-after \ncollectors’ items.\n1932 - 2021\nLouis Weisdorf\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.21.png","39\nGUBI PRESENTS\n38\nThe 1972 Multi-Lite Collection by Louis Weisdorf represents the \n‘golden era’ of Danish design, featuring two adaptable, characterful \nshades that are sure to become the focal point of any room. A metal \nring, two concentric cylinders and a pair of rotating quarter-sphere \nshades form the playful and customizable lamps of the Multi-Lite \nCollection. \nSimply adjusting the shades transforms the expression, enabling \nlight to be directed upwards, downwards or even in asymmetric \nbeams.\nThe Multi-Lite Pendant is now being released in black brass. The \naddition of this new finish to the collection brings a beautiful depth \nthat enhances the details of the iconic lamp, giving the collection a \nnew calm feeling with a distinctive luxurious and antique aesthetic. \nThe Multi-Lite Collection of pendants, floor lamps and table lamps \nshowcases Weisdorf’s move away from his traditional design style \nto pursue a more diverse aesthetic. Alongside the black brass, the \nlamps are available in brass or chrome, and a range of carefully \ncurated colors.\nMulti-Lite Collection\nAvailable in Black Brass in late January  2021\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.22.png","40\n41\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.23.png","42\n43\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.24.png","44\n45\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.25.png","46\n47\nMathieu Matégot (1910–2001) was a versatile, independent and self-\ntaught Hungarian designer, architect and artist who spent most of \nhis life in his beloved Paris, where he settled in 1931 after travelling \nto Italy and the United States, studying at Budapest’s School of \nArt and Architecture and gaining experience in set design, window \ndressing, fashion, and tapestry.\nIn 1939, Matégot volunteered for the French army but was captured \nand held prisoner in Germany until his escape in 1944. Matégot’s \nwartime captivity was important to his later career, as it was here that \nhe first learned about the techniques and potential of sheet metal \nwhile working in a mechanical accessories plant.\nAfter the war, Matégot established a furniture workshop, initially in \nParis and later in Casablanca, using materials such as rattan, glass, \nand Formica, but he is best known for his own ground-breaking \nmaterial and technique, which he named Rigitulle, made from \nperforated sheet metal. Like fabric, Rigitulle can be bent, folded \nand shaped, giving the furniture and home accessories he designed \ntransparency, weightlessness and enduring modernity. \n1910 - 2001\nMathieu Matégot\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.26.png","49\nGUBI PRESENTS\n48\nDuring a period of forward-looking post-war optimism, Mathieu \nMatégot (1910–2001) put his own material innovation, Rigitulle, to \nwork in his Satellite Collection, named with a nod and a wink to the \nscientific progress in France at the time. Rigitulle enabled Matégot \nto reinvent the traditional lampshade, conceiving a playful new \ntypology for lighting.\nThe Satellite Wall Lamp – which can also be mounted on the ceiling – \ncomprises two arms, each finished with an individual ovoid Rigitulle \nshade. The shades are identical to those used in the Satellite Pendant, \nwhere they are topped with a shallow ‘hat’ to deflect light back into \nthe room, but without the ‘hat’, they have a very different expression. \nMatégot didn’t consider a lamp merely a functional object, but rather \na key player in any interior scheme. It had not only to provide lighting, \nbut brilliance, surprise and delight. As a result, the Satellite Wall \nLamp is almost an abstract modernist sculpture in monochromatic \nblack and white when switched off. Turn it on and its playful and airy \nconstruction radiates beguiling patterns of light, creating a dynamic \nand playful, yet subtle ambience.\nSatellite Collection\nWall lamp available late February 2021\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.27.png","50\n51\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.28.png","53\nDESIGNER PORTRAIT\n52\n1975 -  \n1978 -\nGamFratesi was established in Copenhagen in 2006 by Danish \narchitect Stine Gam (born 1975) and her partner, Italian architect \nEnrico Fratesi (born 1978). \nAs a pair, they operate in symbiosis, sharing everything across their \npersonal and professional lives. Gam takes a particular and thoughtful \napproach to design, while Fratesi moves more conceptually and \nenergetically. This instinctive and spontaneous fusion of two ways of \nworking is one of their key strengths. Their dual heritage affects the \nproducts they design – a combination of Scandinavian balance and \nharmony and Italian exuberance and openness.\nGamFratesi aims to create furniture and lighting that not only \nreflects their persistent exploration of the liminal spaces between \nharmony and disharmony, but also illustrates the process and the \ntechniques they deploy and their experimental approach to their \nchosen materials. They reflect upon tradition while also embedding \nunique stories, symbols and associations into their work, often \nwithin a minimalist idiom.\nGamFratesi\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.29.png","55\nGUBI PRESENTS\n54\nNamed after the epic poems of ancient times, GamFratesi’s Epic \nTable is a sculptural piece of furniture inspired by Greek columns \nand Roman architecture. Originally made in Italy from travertine \nstone, the table’s new edition marks the first time GamFratesi has \nworked with steel plates, which are galvanized, lacquered, and then \ntreated with a series of hand-finishing processes to create a unique \nsurface expression for each table.\nThe Epic Table combines two simple geometric shapes, the circle \nand the hexagon, with references to the classical Greek column. The \nhexagonal column is an intelligent solution that enables a substantial \nexpression to be efficiently constructed from minimal materials \n– and this new expression showcases and enhances the steel from \nwhich it is made, while maintaining that simplicity in its laser-cut, \nwelded forms.\nCooler materials such as metal are seeing a renaissance in interiors, \nespecially when paired with warmer surfaces such as wood and \nstone. Juxtaposing two very different materials, the iterations work \nwell in combination. \nEpic Table Collection\nAvailable in steel in late February 2021\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.30.png","56\n57\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.31.png","58\n59\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.32.png","61\nGUBI PRESENTS\n60\nThe plastic editions of two of GUBI’s most popular dining chairs, \nthe Beetle and the Bat, have been reimagined for outdoor use. \nSpecial additives in the molded polypropylene shell help to prevent \nthe color from fading due to weather damage, making two already \nversatile chairs even more dynamic for both indoor and outdoor use.\nThe Outdoor Collection maintains the distinguishing elegant \nlines of the Beetle and Bat, now combined with the informality \nand lightness of the outdoors. The chair’s base was developed to \nmaintain these proportions while offering structural integrity. Its \ncoupling mechanism with the shell is organic in form, and the way in \nwhich its conical leg design blends with the structure under the seat \nreflects a branching tree – a design detail that was inspired by nature \nbut respects a minimal and geometric aesthetic.\nBoth chairs are BIFMA-certified, making them robust enough for \nany occasion, whether at home, at work or in hospitality settings.\nBeetle & Bat \nOutdoor Collection\nAvailable March 2021\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.33.png","62\n63\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.34.png","64\n65\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.35.png","67\nDESIGNER PORTRAIT\n66\nIn 1987, architect Poul Christiansen (born 1947) and industrial and \ngraphic designer Boris Berlin (born 1953) came together to form \nKomplot Design.\nAccording to Christiansen and Berlin, good design is more than \njust a solution to the primary functional problem – form should \nfollow not just function, but natural material behaviors. Instead of \nfighting against material characteristics in a bid to overcome natural \nimperfections, they resist the urge to control, choosing to accept \nthe way any given material wants to behave – ‘the way its nature tells \nit to move.’\nThey describe design as an intermediary – a link between art and \nengineering, between manufacturing and the end user, between \ndifferent cultures, between tradition and innovation, rationality and \nintuition, logic and emotion. Bridging and balancing these tensions \n– combined with a sharp eye for the latest production techniques \n– has enabled them to both continue and renew Danish design \ntraditions, while setting the pace for international developments.\n1947 - \n1953 -\nKomplot Design\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.36.png","69\nGUBI PRESENTS\n68\nDesigned by Komplot in 2003, GUBI’s landmark 3D Chair was \nthe first to incorporate three-dimensional veneer technology into \nits manufacture. It was quickly recognized as a modern classic and \nacquired for the the permanent collections of the Museum of  Modern \nArt (MoMA) in New York and Designmuseum Danmark, Trapholt \nMuseum, among others\" read \"the permanent collections of the \nMuseum of Modern Art (MoMA) in New York, the Designmuseum \nDanmark, and the Trapholt Museum, among others.\nUsing post-industrial plastic provides the opportunity to give this \nincredibly long-lasting material a second or even a third life. The \naddition of a UV additive protects it from sun damage and finally, \nvirgin plastic is added to ensure strength and durability. The GUBI \n3D Chair can also be disassembled and recycled again at the end of \nits lifespan. \nThe plastic shell echoes the form of the natural veneer edition, with \nall of its edges curving away from the sitter, offering unparalleled \ncomfort and unexpected light weight.\nGUBI 3D Recycled Edition\nAvailable late April 2021\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.37.png","70\n71\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.38.png","72\n73\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.39.png","74\n75\nUNCONVENTIONAL\nGUBI FOR LIFE\n2021\nVOL.01\nLIVING\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.40.png","77\nDESIGNER PORTRAIT\n76\nLegendary French furniture designer Pierre Paulin (1927 - 2009) \nbestrode the 1960s and 70s with his recognizable and innovative \nstyle that instantly revolutionized everyday furniture. \nA joyful modernist, Paulin’s low-slung pieces provided a new laid-\nback perspective on life and his forward-looking, eclectic and \nsculptural approach to furniture design instantly caught the mood \nof the swinging 60s. The hedonistic, sinuous style of Paulin’s design \nalso attracted the patronage of presidents Georges Pompidou and \nFrançois Mitterrand, who asked him to redecorate parts of the \nElysée Palace in the 1970s and 80s.\nWidely recognized, Pierre Paulin’s innovative designs can today be \nfound in contemporary art and design collections around the world, \nfrom the Museum of Modern Art, New York to the Victoria and \nAlbert Museum, London along with the National Centre for Art and \nCulture Georges Pompidou in Paris.\n1927 - 2009\nPierre Paulin\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.41.png","79\nGUBI PRESENTS\n78\nThe first sketches that Pierre Paulin (1927-2009) drew for what was \nto become the Pacha Collection were simple pencil outlines that \nresembled illustrative clouds. One of those sketches went on to \nbecome the Pacha Lounge Chair, and the design was the result of \nextensive research into the notion of comfort. \nWhen the Pacha Collection was designed in 1975, it replaced the \nausterity of post-war design with a more organic approach, reflecting \nthe changing design style of the time. Utilising new innovations in \nbent plywood and foam technology, the generously curved forms of \nthe collection were conceived, first and foremost, to serve the human \nbody. Their rounded outlines and perfectly considered proportions \noffer high levels of comfort. \nThe Pacha Collection today includes Pacha Lounge Chair with and \nwithout armrest, the Pacha Ottoman as well as the Pacha Sofa, \nwhich enable endless combinations to adapt to changing needs and \nenvironments – just as Paulin originally intended. Now you can sit \nupon a whole cloud formation.\nPacha Collection\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.42.png","80\n81\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.43.png","82\n83\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.44.png","85\nDESIGNER PORTRAIT\n84\n1975 - \n1978 -\nGamFratesi was established in Copenhagen in 2006 by Danish \narchitect Stine Gam (born 1975) and her partner, Italian architect \nEnrico Fratesi (born 1978). \nAs a pair, they operate in symbiosis, sharing everything across their \npersonal and professional lives. Gam takes a particular and thoughtful \napproach to design, while Fratesi moves more conceptually and \nenergetically. This instinctive and spontaneous fusion of two ways of \nworking is one of their key strengths. Their dual heritage affects the \nproducts they design – a combination of Scandinavian balance and \nharmony and Italian exuberance and openness.\nGamFratesi aims to create furniture and lighting that not only \nreflects their persistent exploration of the liminal spaces between \nharmony and disharmony, but also illustrates the process and the \ntechniques they deploy and their experimental approach to their \nchosen materials. They reflect upon tradition while also embedding \nunique stories, symbols and associations into their work, often \nwithin a minimalist idiom.\nGamFratesi\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.45.png","87\nGUBI PRESENTS\n86\nThe Flaneur Sofa is the result of GamFratesi’s process of reimagi-\nning the nineteenth-century English roll-arm sofa, known for its un-\ndulating profile, taut upholstery, deep seats and low rolled arms, for \ntoday’s audiences. Adding a timeless Scandinavian simplicity to this \nenduring typology with straighter lines and clearer geometry, com-\nbined with the Italian aesthetic evident in its indulgent seat, they \nhave created a modular sofa that invites complete relaxation in any \nsetting, in line with the sense of carefree curiosity that its name evo-\nkes. \nThe traditional ‘roll arm’, an elegant detail uncommon in modular \nsofas, is given a simplified, modern expression, and its archetypical \ncurves replaced with more minimal lines. A slender wooden frame \natop metal legs is filled with generous, soft cushions, curved for a \nsnug fit around the armrest, facilitating both seated and reclined \npositions. \nDesigned around an array of modules, the Flaneur Sofa reflects the \ngrowing demand for modular furniture in increasingly dynamic inte-\nrior spaces, without compromising on appearance or comfort.\nFlaneur Collection\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.46.png","88\n89\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.47.png","90\n91\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.48.png","93\nGUBI PRESENTS\n92\nThe Sejour Lounge Chair by GamFratesi is a low-slung lounge chair \nwith playful proportions characterized by a deep, generous seat and \na gently curving backrest set atop a slender metal frame and optional \nwooden armrests.\nInspired by a contemporary take on the midcentury Scandinavian \ndesign tradition, the Sejour Lounge Chair’s soft, rounded backrest \nenvelops its solid, welcoming seat, offering tremendous comfort \nand an invitation to stay awhile, as its name suggests. The curve of \nthe back supports a restful sitting position even over long periods \nof time. The intimate dialogue between the two forms results in a \nsmall, yet elegant chair with a restrained and calm aesthetic. \nIts small size means it can be used in a variety of settings from \nhomes to hotel and office lobbies, and its personality ensures it \ndraws attention wherever it finds itself. \nSejour Lounge Chair\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.49.png","94\n95\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.50.png","97\nDESIGNER PORTRAIT\n96\n1973 -\n1966 -\nSpace Copenhagen was established in 2005 by the Danish designers \nSigne Bindslev Henriksen (born 1973) and Peter Bundgaard Rützou \n(born 1966), both graduates of the Royal Danish Academy of Fine \nArts, School of Architecture. The design partnership is known for \ntheir way of defying habits and employing a sincere personal vision \nto their design.\nSpace Copenhagen has undertaken a wide range of projects, \nincluding everything from interior design to furniture and applied \nart as well as artistic installations and art direction. These diverse \nareas are especially reflective of their ability to transcend many \nroles and apply their emotional method of working to a number of \nprojects or products.\nThe duo has an impressive record of interior design projects for \nsome of the most prestigious restaurants like NOMA and Geranium \nin Copenhagen as well as designing objects for Georg Jensen.\nSpace Copenhagen\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.51.png","99\nGUBI PRESENTS\n98\nThe Stay Collection was designed in 2015 and has a sculptural \nand organic shape that, as well as providing a contemporary look, \nembraces the sitter encouraging them to stay a while – hence the \nname.\nThe high back edition not only provides a secure feeling of comfort, \nbut also makes a bold statement with its upright and yet rounded \nform, giving a sense of volume and opulence. Its distinctive shape \nevokes a singular continuous pencil line, wrapping around a solid \nform. Its soft edges and plush solidity make it an appealing design \nobject for any interior. With its new oversized backrest, the chair \nwraps around the sitter, enveloping them in comfort and security.\nThe Collection now comprises five pieces. The Stay Lounge Chair, \nthe Stay Sofa, the Stay Bed and the Stay Ottoman are joined by the \nnewest addition to the Stay Collection – the Stay Lounge Chair with \nhigh back. \nStay Collection\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.52.png","100\n101\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.53.png","102\n103\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.54.png","105\nGUBI PRESENTS\n104\nThe Wonder Collection by Space Copenhagen was introduced in \n2019 and is an update on the informal, generous and playful nature \nof the 1970s modular sofa concept, with an elegant and simple \nframe. The Wonder Sofa brings the relaxed and approachable feel \nof home to a hotel or lobby, or a touch of sophistication to a private \nresidence.\nThe highly functional Wonder Sofa concept reflects the increasing \npopularity of modular furniture, and its endless combinations enable \nit to adapt to users’ changing needs. Its carefully considered design \noffers the flexibility to create 360° approachable landscapes. \nThe addition of the back-to-back edition takes this dynamism to the \nnext level. It is created by positioning two Wonder Sofas back to back \nwith a specially designed cushion draped over the frame, the shape \nand tension of which preserves the clean lines of the silhouette and \nmaintains its elegant expression. The uniquely constructed cushion \nserves an ergonomic purpose while maintaining the clarity of form \nin a way that traditional loose cushions rarely achieve, making the \nsofa ideal for living spaces in both public settings as well as private \nhomes.\nWonder \nCollection\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.55.png","106\n107\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.56.png","109\nDESIGNER PORTRAIT\n108\nFrench designer Marcel Gascoin (1907-1986) was one of the leading \nfurniture designers of the post-war era. He played a vital role in the \nreconstruction of France after World War II, where his streamlined \nwooden furniture, focused on clean aesthetics and functionality, \nbecame the staple for 1950s French households.\nGascoin worked as an interior architect and designer with the \nFrench Ministry of Reconstruction and Urbanism to design and \nbuild homes and the furniture to fill them during the post-war \nhousing crisis in France. Forward-thinking for his time and with a \nstrong social conscience, Gascoin’s democratic design drew lines \nbetween art and industry, converging clean aesthetics with rational \nmanufacturing processes.\nToday Gascoin’s work, unrecognized for a long time, has been \nprogressively rediscovered by collectors, who adore his simple and \nstriking furniture creations.\n1907 - 1986\nMarcel Gascoin\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.57.png","111\nGUBI PRESENTS\n110\nFrench designer Marcel Gascoin (1907-1986) was one of the leading \nfurniture designers of the post-war era. Gascoin prioritized simple \nfunctionality, executed with meticulous attention to detail. Realizing \nthat modern furniture would have to work harder in the compact \nhomes of that time, he spent time researching how to combine \nmultiple roles into a single piece – and his furniture is ever-more \nappropriate for the space-efficient apartments that characterize city \nliving today.\nThe Gascoin Dining Collection includes the C–Chair, S–Table and  \nB–Table, all designed to work together. Well received in their own \ntime, the pieces share an aesthetic coherence which means they \noffer a unified dining or office solution in any combination.\nDespite being known as the ‘father of serial production,’ Gascoin \nwas unable to put the approach into practice in his lifetime. Using \ncontemporary knowledge and insights GUBI has been able to see \nthis ambition through. And, through energy-efficient flat-pack \ndeliveries, as well as the use of FSC-certified oak and formaldehyde-\nfree glue, contemporary environmental considerations are now \ntaken into account too. \nGascoin Collection\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.58.png","112\n113\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.59.png","114\n115\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.60.png","117\nDESIGNER PORTRAIT\n116\nOEO Studio’s Head of Design and Founding Partner, Thomas Lykke \n(born 1971) trained as a fashion designer in Copenhagen and San \nFrancisco before moving into the design industry as Interiors Editor \nat Wallpaper* Magazine 2000–2003. He established OEO Studio \nwith Managing Partner Anne-Marie Buemann in Copenhagen in \n2003, and the pair subsequently opened a project office in Tokyo, \nJapan.\nOEO Studio is a cross-disciplinary studio working across product \ndesign and interiors architecture. Inspired by a global viewpoint, \nthe studio offers premium brands a fresh perspective and strategic \ndirection through creating compelling, intelligent and, ultimately, \nemotional connections. OEO Studio reaches people on a personal \nlevel by creating engaging design universes with a cosmopolitan \noutlook that justify its reputation for having the passion and \ncommitment to deliver genuine impact.\n1971 -\nOEO Studio\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.61.png","119\nGUBI PRESENTS\n118\nThe Coco Collection by OEO Studio was designed in response to a \nself-initiated challenge by a studio known for working in wood. The \nCoco design is an exercise in reduction, using tubular steel to create \nthe simplest possible chair frame. A sculptural seat and backrest \nadd a welcoming and human feel, and the collection – that is at once \nminimalist and yet almost anthropomorphic – is named ‘Coco’ after \nits distinctive feminine silhouette.\nThe collection with its clear signature now comprises six chairs in \ntotal. The Coco Dining Chair, the Coco Dining Armchair, the Coco \nBar Chair, the Coco Lounge Chair, and the Coco Counter Chair – all \nupholstered – are now joined by the new stackable veneered version \nof the Coco Dining Chair, which has come about owing to demand \nfrom dynamic interior spaces such as canteens and hotel banquet \nhalls where chairs need to be moved frequently. This new version can \nbe stacked up to 10 chairs high.\nCoco Collection\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.62.png","120\n121\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.63.png","122\n123\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.64.png","125\nDESIGNER PORTRAIT\n124\nBill Curry\n1927 - 1971\nAmerican designer William ‘Bill’ Edwin Curry captured the zeitgeist \nof the 1960s and ‘70s with his iconic lamp designs.\nFrom his unique Los Angeles vantage point at the meeting point of \nart, design and engineering, during an era defined by the space race, \npop culture and a new forward-looking optimism, he translated the \nwonder and delight he saw around him into simple yet intelligent \nideas with clear visual narratives.\nCurry graduated from the Los Angeles Art Center before starting \nhis career as an ad man, graphic designer and art director in the aero-\ntech industry. In 1962, Curry launched his own home furnishings \ncompany, Design Line Inc.\nCredited with developing the first ‘total look’ lamp forms – \neliminating the base-bulb-shade concept and instead exploiting the \nbare bulb in a playful, self-contained unit – he was recognized as one \nof California’s leading designers by the time he died at the age of \njust 43.\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.65.png","127\nGUBI PRESENTS\n126\n Stemlite Collection\nThe Stemlite was the first ‘total look’ lamp, a pioneering new typology \nconceived by American Designer Bill Curry, which replaced the \ntraditional base-plus-shade form with a single self-contained unit.\nThe Stemlite was inspired by the strong, organic, yet slender stems \nthat support flower heads in nature. It comprises a die-cast metal \nbase, evocative of a tulip-stem, topped with a mouth–blown glass \nglobe, and a simple cylinder-shaped rotary switch underneath that \ngently rolls between the fingers from “on” through “off”. Today’s \nStemlite remains true to Curry’s designs, comprising three of the \noriginal heights: two table heights, one of which was originally \nconceived as a floor lamp and the original floor lamp height. A \nsecond, taller floor lamp has been added and a pendant light has \nbeen engineered by simply flipping the original design upside-down.\nThe visual consistency across the collection and carefully curated \ncolor palette offer the opportunity to combine the lights in any \ncombination, making them ideal for residential, commercial and \nhospitality settings alike. Their subtle organic form complements \nbold modern interior spaces as well as more traditional surroundings.\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.66.png","128\n129\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.67.png","130\n131\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.68.png","133\nDESIGNER PORTRAIT\n132\nRobert Dudley Best was heir to the world’s largest lighting \nmanufacturing company Best & Lloyd, founded in Birmingham in \n1840. Despite the company’s proud history of providing traditional \nlamps to a prestigious clientele, including the Titanic and the \nOrient Express, Dudley Best was interested in a new collection that \nsymbolised the spirit of the new age by appealing to the more avant-\ngarde architects and setting a new agenda for lamp design.\nRobert Dudley Best, a keen design enthusiast on top of his \nprominence as a young industrialist, spent the 1920s travelling \naround Europe meeting designers and furthering his interest in \nmodernist movement. Interested in breaking the barriers between \nindustrial and artistic merit, Dudley Best’s ideals were shared by his \nfriend Walter Gropius, the founder of the Bauhaus movement. It \nwas during this period that Dudley Best made the first sketches of \nwhat would become the iconic Bestlite design.\nRobert Dudley Best was strongly influenced by Bauhaus, which \nwas taking Europe by storm with its stringent lines and clean style. \nFollowing Bauhaus principles, Dudley Best had done away with \nthe trimmings and detail of traditional Best & Lloyd products; he \nhad both commercial and domestic use in mind and believed that \nlighting should be functional and practical as well as elegant. With \nthis in mind, he returned to Birmingham in 1930, determined to put \nhis Bestlite lamp design into production.\n1892 - 1984\nRobert Dudley Best\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.69.png","135\nGUBI PRESENTS\n134\nThe Bestlite Collection, designed by Robert Dudley Best, has been \nin continuous production since 1930. Developed at the end of the \nrevolutionary Bauhaus movement, the collection’s utilitarian forms \nand clean lines are strongly representative of the period.\nThe Bestlite lamp was first adopted by garages and the Royal Air \nForce engineering departments due to its functionality. A feature \nin the Architects’ Journal calling the Bestlite the first evidence of \nBauhaus in Britain brought the lamp to the attention of the design-\nconscious public. Retail demand for the Bestlite lamps soon followed \nand, when Winston Churchill chose the BL1 Table Lamp for his desk, \nBestlite's iconic status was secured. \nThe Bestlite Collection is one of the most comprehensive and \nhardworking lighting collections of all time, including 10 different \ntable lamps, floor lamps, wall lamps and pendant lamps, all of which \ncan be adjusted in multiple directions. \nBestlite Collection\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.70.png","136\n137\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.71.png","138\n139\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.72.png","141\nDESIGNER PORTRAIT\n140\nBonderup & Thorup\n1944 - \n1943 -\norsten Thorup (born 1944) and Claus Bonderup (born 1943) are both \ngraduates from the Royal Danish Academy of Fine Arts, School of \nArchitecture in 1969, and subsequently went to work together at \nDanish architect, Henning Larsen’s studio in Copenhagen. \nThe two architects teamed up professionally and worked together \nfor the majority of their careers. Together they have designed \nwatches and in-store displays for Georg Jensen, the Arktikum \nmuseum in Finland and the harbour area in Elsinore, where they \ndesigned everything from urban planning to the ticket offices. They \nhave through their long career served many Danish and international \nclients.\nThorup and Bonderup works are characterized by their honest and \nclassic simplicity, and the attention paid to the designs' details and \nquality, which can be seen in the Semi Pendant from 1968.\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.73.png","143\nGUBI PRESENTS\n142\nSemi Collection\nThe Semi Pendant was designed in 1968 and came out of the dynamic \ncreative partnership between Claus Bonderup and Torsten Thorup. \nReacting against the soft organic forms that dominated the so-called \n‘cozy era’ in Denmark at the time, Bonderup and Thorup wanted to \ncreate a lamp that incorporated sharp, clean lines and a geometric \nshape. They submitted the Semi Pendant for a competition at the \nRoyal Danish Academy of Fine Arts, School of Architecture and won \nfirst prize. In the 1980s, the pendant became Denmark’s best-selling \ndesign and gained worldwide recognition.\nConceived by placing two crescent shapes back to back, the Semi \nPendant’s distinctive flared metal shade echoes and inverts the form \nof a single-stem circular dining table. The new Semi Pendant Ø90 \nemphasizes the dramatic increase in the shade’s gauge – its striking \ncurves expanding effortlessly from the vertical line of the wire to the \nsuggested infinite horizon of the shade. The wide flare of the Semi \nPendant ensures light is cast broadly across a space, enabling it to \nact as a primary light source over a kitchen surface, or even for very \nlarge meeting rooms or workspaces.\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.74.png","144\n145\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.75.png","146\n147\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.76.png","148\n149\nFEATURING\nGUBI FOR LIFE\n2021\nVOL.01\nGUBI  ICONS\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.77.png","GUBI PRESENTS\n151\n150\nBeetle Collection\nBy GamFratesi\nReferencing the ingenious construction of insect shells, the Beetle \nDining Chair by GamFratesi has become one of GUBI’s most iconic \ndesigns and a global success story within less than a decade.\nIts durable outer shell is a continuous, curvilinear form, reminiscent \nof the strong and graceful contours of the insect that inspired it. \nDespite its robustness, it is designed to gently flex in response to the \nbody’s micromovements, echoing the complex movements a beetle \ncan make while keeping its parts rigid and defined. This intelligent \nflexibility provides unparalleled comfort in this typology, even after \nprolonged sitting periods.\nThe sleek, conical legs elevate the seat, lending lightness and \nelegance to the design, which can be customized in a vast variety \nof shells, bases and fabrics. This distinctive expression lends the \nBeetle Chair a chameleon-like quality, which enables it to contribute \nto the narrative of any space.\nThe initial design has evolved into a collection comprising the Beetle \nDining Chair, Lounge Chair, Dining and Lounge Tables, Sofa, Stool, \nOttoman, Counter and Bar Stools and Meeting Chair.\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.78.png","152\n153\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.79.png","154\n155\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.80.png","GUBI PRESENTS\n157\n156\nThe TS Collection was designed in 2013 by GamFratesi, for the \nrenowned restaurant The Standard in Copenhagen. 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The latest addition to the TS Collection features a solid \ntabletop made in Italy from travertine limestone, which emphazises \nthe materiality of the stone, the natural beauty of its veins, and the \nvibrant texture of its unique patina – in which a new detail can be \ndiscovered with every use.\nTS Collection is a friendly combination of classic and contemporary \nlines in union with exceptional quality and craftsmanship – and the \ntables create different expressions with varying functions, depending \non the size and number of tables combined. \nTS Collection\nBy GamFratesi\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.81.png","158\n159\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.82.png","160\n161\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.83.png","GUBI PRESENTS\n163\n162\nPedrera Collection\nBy Barba Corsini & Joaquim Ruiz Millet\nBarba Corsini (1916-2008) was a leading functionalist architect. In \n1955, he was assigned to remodel the attics of the prominent Antoni \nGaudí landmark La Pedrera. Used as a laundry room and a storage \narea, Corsini transformed the space into 13 modern apartments.\nTo complete the architectural experience, he specifically designed \nand decorated the apartments with his own designs, inspired by the \ncharacteristic appearance of the building – the Pedrera Coffee Table \nbeing one of them. For the base of the table, inspiration came from \nthe vaulted ceilings of La Pedrera. It has a powerful simple character, \nwhich also is an apt description of Corsini's personal design style \nand fits well into any contemporary home.\nIn 1991, it was decided that the loft space of La Pedrera should be \nrestored according to the original conception of Gaudí. The interior \nmade by Corsini was torn down and most of it thrown away. During \nthe renovation the architect and gallerist, Joaquim Ruiz Millet, \ndiscovered Corsini’s work – and the two started to collaborate to \nmake his designs more known and available for the public.\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.84.png","164\n165\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.85.png","166\n167\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002F57\u002Ffcc4fcdc4d5777a4cbd392fb51044f-28fc2d035e.86.png","GUBI PRESENTS\n169\n168\nPaavo Tynell’s (1890-1973) designs were derivative of a traditional \naesthetic with a modern sensibility, mixed with an extensive use of \nperforated and polished brass as material. Marked by delicacy and \nsoftness, his most famous forms in lightning echo the structures \nof nature; he adroitly created sculptural shapes reminiscent of the \nbranches of trees, swirling snowflakes and seashells.\nPaavo Tynell’s fanciful take on nature is gracefully echoed in the 5321 \nTable Lamp. Under the distinctive shell-inspired brass shade, the \nbulb subtly appears from beneath; a picturesque detail resembling \nthe desirable sea shell pearl. The 9602 Floor Lamp is characterized by \nits elegant and airy lampshade and rattan-covered stem, showcasing \nthe designer’s limitless imagination and unparalleled ability to create \ndesigns of enduring beauty.\nPerfecting the techniques of metal finishes, Tynell developed the \n1965 Pendant with his exceptional ability to capture and translate a \ngrace and exuberant lightness into his brass creations and reflects \nhis distinguished craftsmanship. The 9464 Wall Lamp is a great \nexample of how Tynell elevated illumination into an art form. 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