[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-carl-hansen-and-son-collection-2018":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":492},{"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":487,"matched_pages":488,"match_count":489,"two_pages":490,"show_text":491},24392,"Collection 2018","carl-hansen-and-son-collection-2018","\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fba\u002Fcf8bf8bc9a43aabae4efd75c0f7f4a-28f5fa6740.pdf","Carl Hansen and Son",2477,"carl-hansen-and-son","31.9 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.2.png","Timeless beauty, comfort, craftsmanship,\nand sustainability are so deeply ingrained \nin all our furniture works that only sight \nand touch are required to understand and \nfall in love with them.\nKnud Erik Hansen\nCEO and owner\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.3.png","EVERY PIECE \nCOMES WITH A STORY\nWhen you choose a Carl Hansen & Søn product, you gain more than just a piece of furniture.\nYou become part of a proud tradition of distinctive and beautiful craftsmanship, where nothing \nhas been left to chance. Where all furniture is manufactured with great love for design and \nthe history of the crafting process. Where each piece passes through numerous expert hands \nbefore taking pride of place in your chosen space, recounting a story of masterful design\nin quality wood from sustainable forrests. We hope you enjoy these stories and find iconic \ndesign favorites to complete your space.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.4.png","3\nCRAFTING MODERN DESIGN \nFOR OVER A CENTURY\nAt Carl Hansen & Søn, we believe that iconic design is \na combination of simplicity, aesthetics and functionality \nbrought to life through skillful work with the highest\nquality materials.  \nFor over 100 years, we have specialized in providing the \noutstanding furniture craftsmanship that brings visionary \ndesign concepts to life.\nOur story began in 1908 when Danish cabinetmaker \nCarl Hansen opened a small furniture workshop on the \nDanish island of Funen. Since then, the company’s success \nhas depended on two core ideas: an uncompromising  \ncommitment to the finest craftsmanship, and alliances \nwith exceptional designers who continually reinvent and \nrefine the concept of modern design.\nCarl Hansen & Søn’s evolution has been deeply influenced \nby our long-term relationship with one of the greatest  \ndesigners of all time: Hans J. Wegner. \nThe creative partnership began in 1949, when Carl Hansen’s \nson Holger Hansen took a chance on the then-unknown  \ndesigner, and Wegner developed a successful furniture \nseries that included the now-iconic Wishbone Chair. \nThis collaboration and the many that followed demonstrated \nwhat can be achieved when unprecedented design and  \nuncompromising production come together. \nIn the 1950s, Wegner emerged as a driving force in the \ninternational success of the Danish Modern design \nmovement. He has since become Carl Hansen & Søn’s \nbest known and bestselling designer, his works becoming \nwidely recognized as modern classics and treasured \ncollector’s items around the world – and his legacy \nremaining an essential part of the company’s DNA. \nToday, Carl Hansen & Søn continues to work closely with \nthe Hans J. Wegner Studio and is the world’s largest \nproducer of Wegner’s furniture.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.5.png","4\nPASSIONATE\nCRAFTSMANSHIP\nThrough the years, Carl Hansen & Søn has maintained \na strong focus on preserving Danish design classics \nwhile continuing to expand our collection to represent \ninfluential new designers. Our goal: to gather the best, \nmost iconic modern furniture designs under one roof. \nWe produce important works by the renowned mid-\ncentury Danish masters Hans J. Wegner, Ole Wanscher, \nFrits Henningsen, Kaare Klint, Mogens Koch and \nPoul Kjærholm, working closely with their families and \nstudios to ensure absolute adherence to their visions. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.6.png","7\nTRADITIONAL VALUES \nIN TODAY’S CONTEXT\nWe also partner with contemporary designers who uphold \nthe core Danish Modern principles of simplicity, functionality \nand craftsmanship while breathing new life into modern \nspaces. \nThese collaborations are rooted in shared respect for \nthoughtful design and production, and in perspectives that \nbring new dimensions to our portfolio. Our partnerships \nwith the design duo Strand + Hvass, the designer \nThomas Bo Kastholm, and the multidisciplinary artist \nNaja Utzon Popov – modern Danish visionaries who have \nembraced the legacy of the great designers before them \nto create tomorrow’s classics – embody these values. \nCarl Hansen & Søn’s recent international partnerships with \nJapanese architect Tadao Ando and the Austrian design trio \nEOOS have expanded our collection with works that reshape \ntheir categories and highlight their designers’ creative \nedge, ability to push the latest technologies to new limits, \nand focus on marrying innovation with sustainability.\nSince Knud Erik Hansen, Carl Hansen’s grandson, became \nthe third-generation leader of the family-owned business \nin 2002, Carl Hansen & Søn has significantly expanded\nits international presence.\nToday, the furniture we manufacture can be found all \nover the world. Our flagship stores and showrooms span \nNew York, Los Angeles, Tokyo, London, Milan, Oslo and \nCopenhagen, and we have sales subsidiaries in the USA, \nJapan and Hong Kong.\nYet with all this change, our century-long commitment to \nproducing world-class design has remained constant. \nWe manufacture our furniture at our modern production \nfacilities in Denmark to ensure the highest quality \nstandards, using a combination of traditional techniques \nand new technologies to create timeless, modern design\nthat endures for generations. From the start of production \nto the moment our furniture takes pride of place in a new \ninterior, we are guided by dedication to honest, sustainable \npractices that uphold the legacies of our founder and \ndesigners.\nToday, Carl Hansen & Søn chairs, tables and sofas complete \nmany of the most exciting, beautiful and daring modern \nspaces. They set the tone at some of the world’s best \nrestaurants. They serve in meeting spaces where world \nleaders make history. They enhance millions of people’s \ntravel experiences in hotels and airports. They bring a new \ndimension to healthcare and wellbeing facilities, elevating \nthe human experience. They regularly appear on the pages \nof top architecture and design publications showcasing the \nwork of the best architects and interior designers working \ntoday.\nAnd they tell the story of Danish Modern in the permanent \ncollections of such seminal museums as the Metropolitan \nMuseum of Art and the Museum of Modern Art in New York.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.7.png","HONEST & \nSUSTAINABLE\nDedication to working with the best designers and  \nmaterials has always been fundamental to  \nCarl Hansen & Søn, as has our commitment to honoring \ndesigners’ original ideas.\nGreat design and sustainable production are inseparable. \nThis deeply ingrained belief shapes the work of our \ndesigners – and every process in our manufacturing \nfacilities. We work continuously to ensure healthy, \nsafe work conditions for our craftspeople, and use only \nresponsibly sourced, safe materials to protect our \ncustomers and the environment.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.8.png","11\nWe purchase wood from sustainably managed forests and \nresponsible sawmills with which we have long-established \nrelationships. We use nearly every bit of wood we source, \nrecycling the little that remains in district heating plants. \nOur paper cord, too, comes from renewable forests and \nis biodegradable, and our leather and other upholstery \nmaterials come from tanneries and producers with strict \nsustainability requirements. \nTo do our part in protecting the world’s natural resources, \nwe continually improve our production techniques, logistics \nand sales methods to work in ways that are as gentle as \npossible on our planet. From investing in the most modern \nand energy-efficient equipment to setting annual targets \nfor reducing the amount of energy we use in production, \nwe make every effort to minimize our footprint, striving to \nleave behind nothing but beautiful furniture and a legacy of \nuncompromising craftsmanship.\nCarl Hansen & Søn create \nfurniture for everyone who shares our passion \nfor lasting quality around the world\nMODERN ORIGINALS\nCASES\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.9.png","12\n13\nNeuendorf House\nA VACATION HOME IN MALLORCA\nSix Gallery\nA DESIGN GALLERY IN MILAN\nNobis Hotel\nA HOTEL IN COPENHAGEN \nSTORIES\nExplore a variety of diverse and appealing locations around the world where \nCarl Hansen & Søn furniture forms a unique relationship with the surrounding spaces, \nembracing the architecture, colors, textures and light to create an \ninviting atmosphere and an inspiring sensory experience.\nToday, Carl Hansen & Søn furniture completes \nmany of the most exciting, beautiful and daring \nmodern spaces. Carl Hansen & Søn pieces set \nthe tone in some of the world’s best restaurants. \nThey serve in meeting spaces where world  \nleaders make history. They enhance millions \nof people’s travel experiences in hotels and \nairports. They add to the allure of exotic holiday \nhomes and new creative and cultural centers. \nThey bring a new dimension to healthcare  \nand wellbeing facilities, elevating the human  \nexperience. They regularly appear on the pages \nof top architecture and design publications  \nshowcasing the work of the best architects  \nand interior designers and are documented  \nby expert writers and photographers around  \nthe world.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.10.png","15\nNobis Hotel\nA HOTEL IN COPENHAGEN\nThe former Royal Danish Conservatory of Music has been \ndelicately and respectfully transformed into an elegant  \nhotel by renowned architect Gert Wingårdh.\nPhotography by SOLK Photography\nThe landmark building from 1903 in the heart of  \nCopenhagen is now a haven for guests from all corners \nof the world. The developer responsible for the project, \nRalf Thalén, stresses that the Nobis Hospitality Group \nwants every hotel they create to have its own  \nexpression and atmosphere that is unique and  \nmemorable. For Thalén it is key that each hotel starts \nwith a great location, an intriguing story and has at \nleast one outstanding feature, be it a view of the ocean, \na nearby attraction or an inspiring architectural  \nfeature. In the case of Nobis Hotel Copenhagen, the \nlocation is perfect. Right in the city center, just off  \nHans Christian Andersen Boulevard and next to the  \nGlyptoteket Art Museum – a sculptural oasis with a lush \nwinter garden. It is the hotel’s breathtaking entrance \nstairway, however, that completely convinced Thalén \nand his business partners. He says that when they first \nvisited the site and saw it, they said: ‘We have to do this!’\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.11.png","16\n17\nRalf Thalén\nNOBIS HOSPITALITY GROUP BUSINESS  \nDEVELOPMENT MANAGER\nRalf Thalén began his career in the travel business in Ibiza, \nthen started a restaurant with his wife in his native Sweden \nand, for the last 15 years, he has been Business Developer \nfor the Nobis Hospitality Group. Nobis Hotel Copenhagen \nis his seventh hotel. Hospitality has been the focus of his \nentire working life. For him, the story and design of a hotel \nare crucial, together with the cornerstones of service and \npersonality. Without these, he says, everything else  \nis irrelevant.\nThe design influences in the hotel are global and diverse. \nThe magical i-RAIN light cascading down from the \nthird-floor ceiling is French; the lounge area has Italian \ninfluences; the antique lamps in the hallways are from \nFinland and Norway. Thalén stresses, however, that he \nlikes interiors to represent the country you are in, \nwelcoming visitors not only to Copenhagen, but also the \nbeauty and clean expression of Danish design history. \nIn light of this, hotel guests are greeted by luxurious \nconstellations of Carl Hansen & Søn’s Embrace Chairs in \nthe impressive new Restaurant Niels. Other furnishings have \nbeen specially designed to complement these supremely \ncomfortable chairs. Rooms invite distant daydreams in  \nsunlit CH25 Wegner lounge chairs and the largest, luxury \nsuite in the hotel has its very own Wegner CH338 dining \ntable surrounded by CH20 Elbow Chairs in natural oak. \nMany pieces have been custom-made especially for the hotel: \nrugs, desks, lamps, and there are a bounty of beautiful \nanecdotes and details that may escape the casual viewer. \nFrom the ‘stucco’ that have been painstakingly re-created \nto blend in perfectly with the historic feel of the hotel to the \nbasement stairway railing beautifully hand-crafted by a \nlocal blacksmith on site to perfectly match the original.\nThroughout the 77-room hotel, the design team has chosen \nmostly wood, marble and leather as key components of the \ndesign as they are not only beautiful and natural materials, \nbut also extremely durable and age with dignity. This aging \nis what Thalén calls “the last five percent” of any space.  \nIt is what gives true atmosphere, charm and character.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.12.png","18\n19\nNobis Hotel Copenhagen has a contemporary and inviting \nfeel. The quality, natural materials used throughout this \n5500m2 hotel give a feeling of warmth and timelessness. \nAn experience for the senses.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.13.png","21\nSix Gallery\nA DESIGN GALLERY IN MILAN\nAn inspiring Gallery and design space in Milan dedicated  \nto new ideas, constant flux and the aspirations of  \nyoung, contemporary designers.\nPhotography by Alberto Strada\nMilan is a city experiencing a creative renewal. \nSpaces where eager young designers pave new paths \nare on the rise. Six Gallery, created by entrepreneur \nMauro Orlandelli, curated by Fanny Bauer Grung and  \nDavid Lopez Quincoces and opened in the autumn of \n2017, is a shining example of this. The Gallery is housed \nin a 500m2 abandoned 16th century monastery in the \nDarsena district. Together with Bistro Sixieme, \narchitectural firm Quincoces-dragò & Partners and a \nflorist, it now gives new life as a design laboratory, \ntropical plant haven and cultural experiment.  \nThe building itself is situated between the traditional \narea of Sant. Ambrogio and the more bohemian, Ticinese. \nIt’s near a park where families play while others enjoy \ntheir last drink at sunrise. This kind of polarity is the \nperfect fit for Six Gallery’s purpose. Its beauty lies in \nits playful impermanence. What you see so carefully \narranged one day may be completely different the  \nnext – as pieces sell, they’re replaced and the space \ntransforms into something new. \n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.14.png","22\n23\nFanny Bauer Grung  \nand David Lopez Quincoces\nARCHITECTS AT QUINCOCES-DRAGÒ & PARTNERS  \nAND CURATORS AT SIX GALLERY\nFanny Bauer Grung and David Lopez Quincoces are a couple \nin work and in life. Fanny is Norwegian, but has lived in Italy \nher whole life. Her Scandinavian roots mean she has always \nbeen close to design. David has lived in Milan for 15 years, \nbut originally comes from Spain – he is the son of an artist \nand an engineer. So, just like the space they curate and work \nin, this couple are an eclectic blend. \nThe idea behind the Gallery is a space in flux, where new \nand older pieces combine and varying styles and influences \nmix. The couple are clear, however, that their design choices \nare not purely whimsical. History and research are what \ngive them real freedom to play and explore. For Fanny, it is \nimportant that everything ultimately has coherence, that \nthings come together and make sense as a whole – “These \ndays things change so quickly and there are so many trends. \nWe still feel, however, that you should recognize one vision \nin all the work”.\nThe couple’s architectural office looks down onto the Gallery \ncourtyard where an open archway frames two Kaare Klint \nSafari Chairs, placed neatly next to one another. The chairs \nare surrounded by lush palms, unknown pieces and diverse \nitems. The couple like it this way as they feel this encourages \nthe pieces to “talk to one another”. Fanny also feels that the \ntradition and heritage of the Carl Hansen & Søn furniture \nlends strength to the other pieces. \nPlants feature prominently in the space as does the natural \nlight beaming in from the roof skylight. But the plentiful \nfoliage is not only decorative. Fanny and David use plants to \ndivide rooms and create spaces. They believe that plants offer \nelasticity and bring life to a space. They remove the need for \nwalls and are a different way of delineating, of seeing things \nfrom a fresh perspective. It is this perspective that makes \nSix Gallery so appealing – an inspiring and evolving space \nworth revisiting.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.15.png","24\n25\nSix Gallery is an exciting and vibrant new space that embraces \nchange and variety. Modernity and tradition combine effortlessly \nin this beautifully-restored 16th century monastery enriched \nwith natural elements and bold design choices.\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.16.png","27\nNeuendorf House\nA VACATION HOME IN MALLORCA\nSurrounded by sea and mountains, this tranquil, \nfour-bedroomed vacation home on the island of Mallorca \nis a welcome retreat from urban life.\nPhotography by Richard Bryant and Mari Luz Vidal\nNeuendorf House, the vacation home of a German \nart dealer, was designed between 1987 and 1989 and \ncompleted the following year by renowned architect, \nJohn Pawson. Pawson is known for harnessing nature’s \nraw beauty and innate potential, and Neuendorf House \nis a perfect example of this. It was created using the \nstrong reddish orange pigments from the soil to tint the \nrender. The result is as powerful as it is beautiful. The \nearth’s raw color is translated into the graphic refinement \nof the building’s forms, from the sun-drenched clay \nsurface of the sunken tennis court to the building’s \nsmooth terracotta surfaces. It is light, however, that \nis the key material for Pawson. He considers light as \none of the fundamental building blocks of architecture, \nciting Le Corbusier’s vision that “architecture is masses \nbrought together in light”. Color and texture, while also \nimportant, play quieter roles in enriching the sensory \nexperience for the eye, as well as the hand.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.17.png","28\n29\nJohn Pawson\nTHE ARCHITECT\nOF NEUENDORF HOUSE\nKnown as the Master of minimalism, John Pawson’s life \njourney became clear at just 18-years of age whilst reading \nthe Danish journal for art and design called Mobilia – “It \nwas amazingly purist and had everything I liked in it”. \nNeuendorf House was the first full architectural project \nPawson worked on, together with Claudio Silvestrin. At the \ntime, it was a potentially career-defining chance to express \ntheir ideas, so they lavished a great deal of time and energy \non getting every detail right. The character of the site and \ntheir strong ideas about atmosphere were key focal points \nin the architectural approach. \nOne of the key characteristics of Neuendorf House is the \nway it removes conventional divisions between inside and \noutside space, aiming to achieve a quality of proportion in \noutside space more usually associated with interiors. \nFurniture plays a major role in this fusion. \nPawson kept pieces to a minimum, allowing them to transcend \nthese categories with equal freedom, reading and functioning \ncomfortably, regardless of where they’re placed. \nThe CH24 Wishbone Chairs, for example, are placed both \ninside and scattered around semi-enclosed living areas \nlooking out on the 30m swimming pool. For Pawson, it is all \narchitecture. Whether it’s a wall or a chair or table, every \ncomponent of a space contributes to or detracts from the \nquality of wholeness. For this reason, he starts thinking \nabout furniture choices right from the very beginning of the \ndesign process, choosing pieces that neither disappear in \na space, nor distract the eye.\nPawson is also eternally curious about the materials he \nchooses. He likes to explore limitations, asking questions \nsuch as: “What is the widest wooden board or the thinnest \nslice of a particular stone I can specify?” He enjoys \nexpeditions to quarries, forests and timber mills and uses \nonly the most skilled craftspeople who really understand \nthe possibilities and limits of a particular material. \nNature’s limits seem endless at Neuendorf House as the divide \nbetween the visible surface and what lies beneath disappear. \nThe interplay with light and shadow create a unique experience \nto be enjoyed with every Mediterranean sunrise and sunset.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.18.png","30\n31\nArchitecture, furniture and nature become one as the beauty of \nthe earth’s colors, textures and raw materials blur boundries \nbetween inside and outside space in Neuendorf House.\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.19.png","33\nCHAIRS\nImagining in Chairs\nPAGE 34\nLOUNGE CHAIRS\nDancing in Lounge Chairs\nPAGE 96\nCOFFEE TABLES\nConnecting at Coffee Tables\nPAGE 158\nTABLES\nSharing at Tables\nPAGE 76\nSOFAS & DAYBEDS\nRelaxing in Sofas \nPAGE 138\nBOOKCASES & CABINETS\nCreating in Bookcases\nPAGE 174\nDESKS \nCHILDREN’S FURNITURE\nRUGS\nPAGE 182\nOUR DESIGNERS\nPAGE 196\nILLUSTRATED GUIDE\nPAGE 207\nANNUAL BOOK OF\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.20.png","34\n35\nImagining in Chairs\nCLARISSE DEMORY\nCreative Director\nPARIS\nClarisse Demory likes to follow her intuition. She feels she has \nunconsciously memorized billions of interiors and pictures and \nshapes and colors, and somehow resurrects these when working. \nShe respects the past and likes to recycle what is already there \ninstead of rebuilding, even if this poses challenges. Clarisse says \nthat this limitation pushes her to work with shapes, colors and \nmaterials she would not necessarily have chosen. It gives a soul and \nsome charm she would not be able to create herself – “I believe that \nthe past can teach us modernity. Pieces with history are an infinite \nlibrary that should make us humble as designers and artists”. \nClarisse has a lively imagination when it comes to furniture. \nFor her, a chair can be many things. Each one has its own personality \nand use. Her favorite is her kitchen chair where she enjoys her \nmorning routine of coffee, mail, radio, iPhone and brioche or, as \nshe puts it, “Being greedy with life – when I open my eyes, the first \nthing I visualize is that chair waiting for me in the kitchen”.\nChairs are my ‘four-legged companions’ that I collect  \nand find a use for – to me, a chair can also be a table or  \nbookstand or a display area or clotheshorse.\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.21.png","36\n37\nCH327 DINING TABLE  \nTABLETOP + LEGS Oak, soap\nCH24 WISHBONE CHAIR  1X FRAME Beech, olive green SEAT Natural paper cord\n \n1X FRAME Beech, red brown SEAT Natural paper cord\n \n2X FRAME Oak, soap SEAT Natural paper cord\nCH24  \nWISHBONE CHAIR\nOne of the very first models Hans J. Wegner designed especially for Carl Hansen & Søn, \nthe CH24, or Wishbone Chair, has been in continuous production since 1950.\nThis chair’s lightness and sculptural shape capture the very essence of  \nmodern Danish design, timelessness and universal appeal.\nWith an unprecedented form that is uniquely its own, the \niconic work – inspired by portraits of Danish merchants \nsitting in Chinese Ming Dynasty chairs – holds a special  \nplace in the world of modern design. \nWegner took a giant leap in furniture design with the CH24, \ncombining the top rails and arms into a single piece. To give \nstability to this steam-bent top and ensure comfortable \nsupport, Wegner developed the characteristic Y-shaped back \nthat earned the chair its famous nickname.\nMany view the CH24 as an ideal chair as it fulfills functional \ndemands for comfort and stability as well as aesthetic desires \nfor distinctive, beautiful form. In other words: it captures the \nessence of modern Danish design.\nMore than 100 operations are required to manufacture each \nchair, with most carried out by hand. The envelope-woven seat \nalone takes a skilled craftsman about one hour to create using \napproximately 120 meters of paper cord, whose impressive \ndurability makes the chair strong and long lasting.\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.22.png","CH24 WISHBONE CHAIR FRAME Walnut, oil SEAT Natural paper cord\nCH327 DINING TABLE \nTABLETOP Walnut, oil LEGS Oak, oil\nCH24 WISHBONE CHAIR FRAME Beech, black SEAT Natural paper cord\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.23.png","40\n41\nCH23\nFirst introduced in 1950, the CH23 dining chair features clean, organic contours \nand refined styling, demonstrating young Hans J. Wegner’s unique design approach \nand insightful craftsmanship.\nThe reassuring feel of natural materials and the loving touch of expert hands  \nare evident in this chair. A closer look reveals many crafted details.\nAlthough it may appear uncomplicated at first glance,  \nthe CH23 incorporates many fine, sophisticated details, \namong them the elegant cruciform cover caps in the  \nbackrest, a double-woven seat, and arched rear legs that \nensure optimal stability. \nThe CH23 was one of the first chairs Wegner designed \nexclusively for Carl Hansen & Søn in 1950, alongside  \nthe CH22 lounge chair, the CH24 Wishbone Chair, the \nCH25 lounge chair, and the CH26 chair. The pieces were not \nonly unique, but also set new standards for modern furniture \ndesign with their artistic expression and ergonomic form.\nCarl Hansen & Søn reintroduced the CH23 in 2017, once \nagain making the first masterpieces part of its collection. \nAs always, the design remains true to Wegner’s original, \nhand-drawn sketches, with all aesthetic and structural \ncomponents intact.\nCH23 DINING CHAIR \n2X FRAME Oak, oil BACK Walnut, oak, oil SEAT Natural paper cord\n \n1X FRAME Oak, soap SEAT Natural paper cord\nCH327 DINING TABLE \nTABLETOP Oak, oil LEGS Oak, oil\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.24.png","42\n43\nCH23 DINING CHAIR \nFRAME Oak, oil SEAT Natural paper cord\nCH23 DINING CHAIR \n1X FRAME Walnut, oil SEAT Natural paper cord \n \n1X FRAME Oak, oil BACK Walnut, oak, oil SEAT Natural paper cord\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.25.png"," \n44\n45\nCH26\nAfter designing his first lounge chair for Carl Hansen & Søn, Hans J. Wegner  \nreimagined its elegant wooden form as a dining chair – but only on paper.\nAn elegant chair that is made to last with curved, organic shapes,  \nnatural materials and exceptional craftsmanship.\nCH26 DINING CHAIR \n1X FRAME Oak, oil BACK Walnut, oil SEAT Natural paper cord\n \n1X FRAME Oak, oil SEAT Natural paper cord\n \n1X FRAME Walnut, oil SEAT Natural paper cord \n \n1X FRAME Oak, black SEAT Black paper cord \nIn 1950, as part of his first collaboration with  \nCarl Hansen & Søn, Wegner designed a wooden lounge  \nchair he called the CH22 – the first piece in what would  \nbecome a legendary series. Unbeknownst to the world, \nhe also created a blueprint for transforming the lounge \nchair into a dining chair, yet never manufactured or \nproduced a mock-up of the design. \nWorking closely with the Hans J. Wegner Studio and in exact \naccordance with Wegner’s original, hand-drawn sketches, \nCarl Hansen & Søn brought the CH26 design to life in 2016, \nalongside its lounge counterpart. The dining chair closely \nresembles the lounge version with its organic shapes, \nbold back, light-colored wood and woven seat, but features \nproportions ideal for longer periods of sitting at a dining \ntable or a desk.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.26.png","46\n47\nCH26 DINING CHAIR \nFRAME Oak, black SEAT Black paper cord\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.27.png","48\n49\nCH88\nAn artful fusion of wood and steel, Hans J. Wegner’s versatile CH88 chair epitomizes \nhis characteristically playful approach to working with diverse materials. \nA mix of materials meet for the first time in an array of colors  \nsourced from Wegner’s original color palette.\nAlthough primarily known for his work in wood, Wegner \nregularly experimented with other materials, seeking to \nunderstand their potential and compatibility. The CH88 \nis a testament to his skill in this realm – as well as to his \noften-overlooked use of color.\nWegner originally developed the CH88 as a prototype with \ncolored legs for the international Helsingborg Exhibition of \n1955 in Sweden. Carl Hansen & Søn reintroduced the design \nin 2014 in celebration of Wegner’s centennial. \nIn 2015, we unveiled new colors for the CH88 seat and  \nbackrest selected from Wegner’s original palette. \nVersatile and elegant, with a simple, stackable design \nthat seamlessly joins organic wood and industrial steel, \nthe CH88 showcases Wegner’s ability to lend softness to \nminimalist form. The linear steel frame supports a lightly \ncurved, oval wooden seat and a steam-bent wooden  \nbackrest whose upturned ends create a natural resting \nplace for the arms. \nCH88 DINING CHAIR  \n3X BACK Oak, oil SEAT Sif 90 leather LEGS Stainless steel \n \n2X BACK Beech, white SEAT Canvas 124 LEGS Stainless steel\nCH327 DINING TABLE \nTABLETOP Oak, oil LEGS Oak, oil\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.28.png","51\nCH338 DINING TABLE \nTABLETOP + LEGS Oak, oil\nCH88 DINING CHAIR \n2X BACK Oak, oil SEAT Fjord 821 LEGS White powder-coated steel\n \n1X BACK Beech, black SEAT Clara 188 LEGS Black powder-coated steel\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.29.png","52\n53\nPK1 DINING CHAIR \n3X FRAME Black powder-coated steel SEAT + BACK Black flag halyard \nPK52 PROFESSOR TABLE \nTABLETOP Oak, oil FRAME Black-lacquered steel \nPK1\nThe light and elegant PK1 – Poul Kjærholm’s first dining chair – was designed in 1955 \nand marked the beginning of an impressive career.\nKjærholm’s endless exploration of lightness and form are beautifully  \ncaptured in every detail of this comfortable chair.\nWith function and clarity as his hallmarks, Kjærholm \nbecame known as one of the most uncompromising  \nfurniture designers of his generation, as well as one  \nof the finest representatives of modernism.\nThe PK1 serves as an outstanding example of Kjærholm’s \nunique ability to realize the full potential of his chosen \nmaterials, and demonstrates his search for authenticity \nand perfection in form, function, and execution. \nA complex design with a straightforward, minimalist \nexpression, the PK1 is brought to life through highly skilled \ncraftsmanship, including the precise weaving of 55 meters \nof flag halyard. The pairing of the organic flag halyard with \na dynamic steel frame results in exceptional comfort and \nvisual lightness, making the stackable chair an ideal fit for \nboth classic and modern interiors.\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.30.png","54\n55\nCH20  \nELBOW CHAIR\nHans J. Wegner designed the stackable Elbow Chair in 1956. After producing a single \nprototype, he set the intricate, production-intensive design aside in his archives,  \nwhere it remained for nearly half a century.\nFrozen in time for almost half a century, this classic design  \nproudly greets the light of day, for work or relaxation.\nWhen Carl Hansen & Søn put the Elbow Chair into \nproduction for the first time in 2005, the design quickly  \nestablished its place in the modern world, winning the  \nICFF Editors’ Award in New York the same year.\nThe Elbow Chair’s characteristic steam-bent backrest, \ncrafted from a single piece of solid wood, provides arm and \nlower back support and enables a variety of seating positions.\nThe shape of the backrest is mirrored in the uniquely \nconstructed upholstered seat, which is crafted from curved, \ncompression-molded veneer and appears to float above  \nthe legs. \nThe exceptionally stable, easily stackable chair offers hours \nof seating comfort, making it an equally appealing choice for \ndining and working.\nCH20 ELBOW CHAIR \nFRAME Oak, oil SEAT Thor 307 leather\nCH338 DINING TABLE \nTABLETOP Oak, oil LEGS Oak, oil\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.31.png","56\n57\nCH33 DINING CHAIR \n1X FRAME Beech, black SEAT Beech, black\n \n1X FRAME Beech, petrol green SEAT Beech, petrol green \n \n1X FRAME Beech, grass green SEAT Beech, grass green\nCH318 DINING TABLE \nTABLETOP Oak, soap LEGS Stainless steel\nCH33\nInviting, organic contours and clean lines keep this classic Hans J. Wegner design as \nrelevant and modern as ever.\nLess becomes more as superior comfort and elegant lines elevate  \nshared moments into truly memorable experiences.\nDesigned for Carl Hansen & Søn in 1957, Wegner’s CH33 chair \nwas subsequently in production for ten consecutive years. \nCarl Hansen & Søn reintroduced the design in 2012, adding \ncolors from Wegner’s own working palette to the original \nwood variant. \nThe chair’s light, graceful silhouette exemplifies many \nelements typical of Wegner’s best designs. It epitomizes \norganic simplicity, with every part employing gently rounded \nforms. The tapered legs and crosspieces are thickest where \nthey need to support load-bearing joints and become more \nslender when the design allows. \nWith clear references to the clean lines of the 50s and 60s \nand a beautiful wood construction with a warm, human feel, \nthe CH33 is an ideal fit for contemporary interiors.\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.32.png","58\n59\nCH36 \u002F CH37\nHans J. Wegner’s clean, geometric CH36 and CH37 dining chairs are as comfortable  \nto sit in as they are beautiful to behold.\nPure craftsmanship and careful consideration for every detail  \nare clear to see in these beautifully-designed chairs.\nSimple, functional, and thoughtfully made, these 1962 \nWegner designs demonstrate the influence of Shaker furniture \nprinciples and craftsmanship on Wegner’s aesthetic.\nOf course, the master of chair design infused the CH36 chair \nand CH37 armchair with his own subtle touches. \nThe legs taper off slightly toward the floor, creating a light, \nelegant appearance. The top of the curved back is more \nrounded than the bottom, enhancing back support.  \nAnd the frame and beautifully hand-woven paper cord seat, \nwhile delicate in appearance, are sturdily constructed to \ncomfortably seat generations.\nCH36 DINING CHAIR \n2X FRAME Oak, white oil SEAT Natural paper cord\nCH37 DINING CHAIR  \n1X FRAME Oak, black SEAT Black paper cord\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.33.png","60\n61\nCH327 DINING TABLE \nTABLETOP Walnut, oil LEGS Oak, oil\nCH29 SAWBUCK CHAIR \nFRAME Beech, black SEAT Thor 301 leather\nCH29  \nSAWBUCK CHAIR\nHans J. Wegner designed the Sawbuck Chair for Carl Hansen & Søn in 1952, inspired by \nthe simple sawbucks or saw horses traditionally used by carpenters and woodcutters.\nThe ‘Sawbuck’ craftsmen tool is the functional origin of this classic chair,  \nyet its form is the very essence of lightness and style.\nThe Sawbuck Chair’s unique construction resulted in a \nsturdy design that required fewer parts than traditional \nchairs – yet enhanced user comfort with a wider seat front \nand lightly reclined back.\nThe chair was taken out of production in the 1970s, and \nrelaunched 20 years later at the suggestion of Wegner’s \ndaughter Marianne, becoming an immediate success thanks \nto its simple, comfort-driven structure and unique aesthetic.\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.34.png","62\n63\nCH46 \u002F CH47\nBeautiful examples of Hans J. Wegner’s Shaker influences, the CH46 and CH47 chairs \ncombine organic materials and shapes into statement minimalist forms.\nThe superbly-crafted, graceful curves of these classic Wegner chairs  \nallow for great comfort and hours of sitting pleasure.\nFrom entryways to dining rooms, waiting rooms to \nconference rooms, these elegant 1965 chair designs \nshowcase Wegner’s affinity for functional, elegant simplicity.\nBoth the CH46 armchair and the CH47 chair share a lightly \nreclined composition that gives the overall form a dynamic \nexpression. This sculptural back design, together with\nthe hand-woven, paper cord seats, ensure a comfortable \nsitting experience.\nCH47 DINING CHAIR \n1X FRAME Oak, black SEAT Natural paper cord\nCH46 DINING CHAIR \n1X FRAME Oak, black SEAT Black paper cord\n \n1X FRAME Oak, soap SEAT Natural paper cord\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.35.png","64\n65\nE005 EMBRACE CHAIR \nFRAME Oak, oil SEAT + BACK Remix 123 EDGING Natural\nE015 LOUNGE CHAIR \nFRAME Oak, oil SEAT + BACK Clara 983 EDGING Black\nE005 \nEMBRACE CHAIR\nThe result of Carl Hansen & Søn’s first collaboration with EOOS in 2015 was a dining \nchair so novel and expressive, it easily functions as a stand-alone, sculptural addition  \nto any interior.\nEnjoy superior comfort with this modern and inviting blend  \nof skillfully-sculpted organic and soft materials.\nThe Embrace Chair unites the Austrian design trio’s strong \nsense of modern aesthetics with Carl Hansen & Søn’s  \ncentury-old tradition of quality craftsmanship and \noutstanding comfort. \nTo achieve a precise yet relaxed expression, EOOS paired \nsoft, modern upholstery with a classic, light, solid wood \nframe. The wooden structure is continuous, with the legs \nserving as an essential element of the overall silhouette \nrather than appendages to the upholstered upper section. \nThe back of the frame, composed of three pieces assembled \nin classic finger joints, is especially striking. \nA soft, three-dimensional cushion functions as seat, back \nand armrests, embracing the wooden structure and appearing \nto float within the frame.\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.36.png","66\n67\nE005 EMBRACE CHAIR \n2X FRAME Oak, black SEAT + BACK Hallingdal 126 EDGING Black\n \n1X FRAME Oak, black SEAT + BACK Fiord 981 EDGING Black\nPK52 PROFESSOR DESK \nTABLETOP Oak, oil LEGS Black-lacquered steel\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.37.png","68\n69\nKK96620  \nFAABORG CHAIR\nKaare Klint created his iconic Faaborg Chair in 1914 and first presented the landmark \ndesign to the public at the inauguration of the Danish Faaborg Museum in 1915. \nContemplate a significant piece of artwork, in an artwork. This iconic design is one  \nof life’s rare pleasures, designed for everyone who appreciates beauty.\nWidely regarded as the first Danish modern design classic, \nthe chair ushered in a new era for Danish design, creating \na foundation for the Danish Modern phenomenon that \nemerged onto the global stage in the 1950s.\nThe young Klint meticulously considered every aspect of the \nFaaborg Chair to ensure it fulfilled its intended function, \narriving at a light and portable solution that allowed museum \nvisitors to position the chair before artworks they wished to \nstudy in greater detail. \nThe Faaborg Chair’s unadorned design and the unity \nbetween its structure, materials and function set it apart \nfrom its predecessors while showcasing Klint’s traditional \ndesign values and modern approach. \nThe elegant form highlights Klint’s outstanding sense of \nspace and proportion and his ability to combine architecture \nand design into a seamless whole.\nKK96620 FAABORG CHAIR \nFRAME Mahogany, lacquer BACK French cane SEAT Black goat hide\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.38.png","70\n71\nMK99200 FOLDING CHAIR \nSEAT + BACK Natural canvas LEGS Beech, oil\nMK98860 FOLDING TABLE  \nTABLETOP + LEGS Oak, oil\nMK99200  \nFOLDING CHAIR\nMogens Koch’s Folding Chair – a tribute to the classic director’s chair – made its  \ndebut in 1932. \nThere when needed, swiftly folded away when not. Feel supported by  \nthe elegant simplicity of this highly-functional folding chair.\nKoch designed the chair for a supplemental church seating \ncontest, reinterpreting the traditional folding stool archetype \nby pairing easy folding functionality with modern aesthetics.\nThe forward-thinking concept was deemed too radical in its \nexpression at the time of its inception. In the 1960s, however, \nthe chair began to attract design connoisseurs and gain \npopularity, and soon went into serial production.\nUniquely self-stabilizing – the act of sitting in the chair gives \nit stability – the Folding Chair continues to appeal to design \naficionados seeking to balance singular form and comfort \nwith space constraints. \nThe chair offers an elegant alternative to traditional guest \nseating, and is easy to set up and pack away thanks to Koch’s \ningeniously simple folding mechanism.\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.39.png","72\n73\nRED CHAIR SERIES\nThe chairs Kaare Klint designed between 1927 and 1933 won international acclaim \nfor their prominent roles at two key showcases for the finest in Danish design: \nthe Danish Museum of Art and Design and the Danish Pavilion at the Barcelona \nInternational Exposition.\nA classic series designed for a higher purpose – to withstand the  \ntest of time in support of Prime Ministers and politicians.\nKlint firmly believed that long-existing archetypes could \nand should inform contemporary design. In developing his \nRed Chair Series, he carefully studied several English chair \ndesigns, including the Chippendale, combining elements to \ncreate a new construction with a modern expression and \nexcellent support.\nThe Large Red Chair, the first in the series, was designed for \nthe lecture hall of the new Danish Museum of Art and Design \nin central Copenhagen, and shown at the Danish Pavilion at \nthe 1929 Barcelona International Exposition. \nKlint then designed the Large Red Chair with Armrests for \nDanish Prime Minister Thorvald Stauning’s office at the \nChristiansborg Palace, and developed the Small Red Chair \nand the Medium Red Chair to fit various tables. \nKK47510 MEDIUM RED CHAIR  \nLEGS Walnut, lacquer SEAT + BACK Red goat hide\nKK37581 LARGE RED ARMCHAIR \nFRAME Walnut, lacquer SEAT + BACK Black goat hide\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.40.png","v\n74\n75\nCH56 \u002F CH58\nSimple and practical, this compact barstool, designed by Hans J. Wegner in 1985,  \ncombines solid wood, leather and stainless steel to beautiful effect.\nA functional, minimalist bar stool combining modern expression  \nwith effortless movement and versatility.\nCH56 BARSTOOL \nSEAT Sif 92 leather LEGS Walnut, oil FOOTREST Stainless steel\nDecades later, it remains an ideal fit for modern kitchens, \ncreating an inviting and stylish gathering spot with its soft, \norganic silhouette and comfortable leather-upholstered \nseat. The design is available in two sizes to suit various \nfunctions and interiors: the taller, bar-height CH56 and  \nthe smaller, counter-height CH58.\nThe CH56 and CH58 barstools are light and easy to move \naround a room. The metal ring ensures both stability and \ncomfort for resting your feet. Simply choose the height best \nsuited to your needs.\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.41.png","76\n77\nSharing at Tables\nThere is a warmth in the simple act of sitting around \na table and eating a meal. You pass the bread, you taste the  \nflavors of the season, you share that moment in time.\nFREDRIK BERSELIUS\nChef and Owner of Aska restaurant\nNEW YORK\nFredrik Berselius feels that the most beautiful design can often \nbe found in things you do not necessarily notice. A perfect butter \nknife. A room that lets you walk through without much diversion. \nOr lighting that ensures you only pay attention to the object it \nilluminates. His Scandinavian roots nourish his love of design, \nwhether relating to buildings, fonts, magazines, plates or tables \n– “Design is about utility and beauty, but it can also serve to tell a \nstory. It can add nuance to our experiences to make us more \npresent, more at ease, simply because the atmosphere invites that”. \nMany of his guests at Aska are experiencing ingredients, tastes \nand flavors for the first time, and everything is orchestrated to \nenhance their experience. Growing up in Sweden inspired Fredrik’s \nvision on bringing people together through food. Scandinavians \nare known for making environments inviting and Fredrik believes \nthat every element in his restaurant can have a meaning, purpose, \nor story to share.\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.42.png","78\n79\nCH339 DINING TABLE \nTABLETOP + LEGS Oak, oil\nCH24 WISHBONE CHAIR  FRAME Beech, black SEAT Natural paper cord CUSHION Loke 7150 black\nNUP004 WOODLINES \nRUG White with black lines\nHans J. Wegner designed this beautiful, solid wood table concept in 1962.\nCH337 \u002F CH338 \u002F CH339\nThe eye of a Master has created effortless variety and choice  \nfor a range of dining needs in all kinds of spaces.\nIdeal both for everyday use and for entertaining, the tables \n– which come in three different sizes and are available with \nextension leaves – fit most spaces and easily adjust to any \noccasion. The core design, characterized by its seamless \nfusion of organic, geometric forms and impeccable \ndetailing, features an elliptical tabletop and rounded legs \nthat elegantly taper toward the floor. \nThe natural variations in the solid wood tabletop add depth \nand personality and make each table unique.\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.43.png","80\n81\nHans J. Wegner’s 1962 table exemplifies how dedication to craftsmanship can fulfill  \nthe inherent promise of a great designer’s work.\nCH327\nExperience Wegner’s delicate, yet confident, touch with elegant  \nedges and a sharp eye for each intricate detail.\nThe solid wood tabletop is made from hardwood staves that \nrun the entire length of the table, resulting in a harmonious \nsurface. The tabletop appears to float above the frame \nthanks to its tapered edges, making the design appear very \nlightweight. An alluring dining table, the CH327 can also \nserve as a beautiful desk or conference table. \nCH327 DINING TABLE \nTABLETOP + LEGS Oak, white oil\nCH36 DINING CHAIR \nFRAME Oak, white oil SEAT Natural paper cord\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.44.png","82\n83\nCH002 DINING TABLE \nTABLETOP + LEGS Beech, oil\nCH88 DINING CHAIR \n1X BACK Beech, black SEAT Clara 188 LEGS Black powder-coated steel\n \n1X BACK Beech, white SEAT Remix 682 LEGS Stainless steel\nDesigned in 1982, this series of minimalist, versatile dining tables typifies  \nHans J. Wegner’s visionary approach, excelling in contemporary urban spaces  \nthat require flexible solutions. \nCH002 \u002F CH006\nA table series that adapts effortlessly to any environment with grace and ease.  \nThe perfect balance of form and function.\nHighlighting Wegner’s attention to detail and focus \non function, the clean, intelligent design offers numerous \noptions for creating the optimal size and look for any \ninterior. The two tables – the CH002 for smaller \nenvironments such as kitchens, the CH006 for more \nspacious settings – come equipped with generous hinged \nleaves at both ends that easily lift up to accommodate guests. \nThe solid wood design pairs beautifully with Wegner’s \ndining chairs, taking on a different persona depending on \nthe chosen chair style and finish.\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.45.png","84\n85\nPK52\nDesigned to inspire with strong, striking lines and exceptional details.  \nThis table encourages endless creation and enjoyment.\nDrawing on his cabinetmaking experience, Kjærholm \ndeveloped a new table structure that showcased his mastery \nof steel and wood – and highlighted his signature ability to \nunite traditional craftsmanship and industrial design. \nThis design laid the groundwork for Kjærholm’s pioneering \nrole in Danish functionalism – and established his reputation \nas one of the world’s leading furniture designers. The  \nmodern, highly versatile PK52 table is ideal for dining, \nseating larger groups and serving as an inviting focal point \nfor social gatherings. The PK52’s unique, reversible tabletop \ncomes in Oregon pine, oak veneer, or a laminate version with \nblack and gray sides for easy décor changes. The PK52 also \nmakes an excellent desk or worktable in a studio or office.\nPK52A STUDENT DESK  \nTABLETOP Gray laminate FRAME Black-lacquered steel\nPK1 DINING CHAIR  \nFRAME Stainless steel SEAT + BACK Natural flag halyard \nIn 1955, Poul Kjærholm developed a table concept for the Royal Danish Academy \nof Fine Arts that would change the course of his career.\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.46.png","86\n87\nHans J. Wegner’s 1960 CH388 dining table offers another beautiful example of the \nvisionary experimentation that characterized much of the designer’s work in the 1960s.\nCH388\nFor everyone passionate about design and quality, this carefully-constructed \npiece will make a clear statement in any contemporary space.\nCH388 DINING TABLE \nTABLETOP Oak, oil FRAME Stainless steel\nCH24 WISHBONE CHAIR FRAME Beech, steel blue SEAT Natural paper cord\nIn this pared-down, dynamic design, Wegner paired a solid \nwood tabletop with elegant stainless steel legs and a unique \nsteel frame, the industrial lower half visually anchoring the \ntop. The resulting minimalist, visually engaging composition \ncontinues to feel quintessentially modern half a century later. \nThe round tabletop is available in solid oak, either as a \nsingle piece or a split tabletop that opens in the middle \nto accommodate insert leaves, making it easy to adjust \nto any need.\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.47.png","88\n89\nThe elegant CH318 table, designed in 1960, embodies Hans J. Wegner’s penchant for \nsimplicity – as well as for dynamic, unexpected pairings of distinct materials. \nCH318\nClear-cut lines and beautiful wood from end to end create  \nan inviting and calm natural surface for all occasions.\nWith his unique understanding of wood in all its possibilities \nand limitations, Wegner created many designs highlighting \nthe material – each with its own personality yet always in a \nconsistent design language. \nThe rectangular CH318 exemplifies Wegner’s innovative \nwood and stainless steel combinations. To create a  \nharmonious tabletop surface, Wegner selected hardwood \npieces that run the full length of the table. The tabletop  \nis joined to the stainless steel legs via a unique stainless \nsteel frame, resulting in an exceptionally light and stable \nconstruction.\nA modern classic, the CH318 table is available in two \nlengths, works well as a dining, work, or conference table, \nand pairs beautifully with Wegner’s many chair designs. \nCH318 DINING TABLE \nTABLETOP Oak, soap LEGS Stainless steel\nCH33 DINING CHAIR \n1X FRAME Beech, petrol green SEAT Beech, petrol green\n \n1X FRAME Beech, black SEAT Beech, black\n \n1X FRAME Beech, grass green SEAT Beech, grass green\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.48.png","90\n91\nCH322 DINING TABLE \nTABLETOP Oak, soap LEGS Stainless steel\nCH88 DINING CHAIR \nBACKREST Oak, oil SEAT Thor 301 leather LEGS Stainless steel\nThe CH322 dining table, designed in 1960, is one of the fortuitous results of  \nHans J. Wegner’s experimentation with combinations of wood and stainless steel.\nCH322\nFeel the strength of well-crafted, natural materials supporting  \nand expanding for a variety of needs and spaces.\nUnderscoring Wegner’s deep understanding of his materials \nand their possibilities, as well as his ability to balance form \nand function, the CH322 table serves as a sculptural and \nversatile addition to any contemporary interior.\nThe CH322 can be extended with up to four extension leaves \nwith the natural wood grain running lengthwise. This feature \nensures long, beautiful lines that add elegance to the overall \ndesign aesthetic. \n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.49.png","92\n93\nIn 1962, Hans J. Wegner created a number of iconic tables that have since stood the  \ntest of time. This bold series exemplifies design that satisfies the perennial desire  \nfor flexibility and crisp, modern aesthetics.\nCH334 \u002F CH335 \u002F CH336\nThis flexible table series fits perfectly in almost any space and  \nstretches the imagination with endless possibilities.\nThe design showcases Wegner’s experimentation with diverse \nmaterials and his emphasis on creating functional objects that \nserve multiple needs. The elliptical tabletop comes in either \nlaminate or solid wood with a variety of finishes, the legs \nanchor the design with industrial yet elegant stainless steel.\nAvailable in three different lengths and with expansion \nleaves, the table is as well suited to family breakfasts as  \nto celebratory soirées. Like all Wegner dining tables,  \nit can also serve as a conference table.\nCH334 DINING TABLE \nTABLETOP Oak, oil LEGS Stainless steel\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.50.png","94\n95\nSH900  \nEXTEND TABLE\nSH900 EXTEND TABLE \n TABLETOP + LEGS Oak, oil LEAVES Black, honeycomb\nA bold table that blends new and known materials to create  \na novel take on functionalism. A true feast for the eyes.\nThe resulting Extend Table represents a new era of modern \nDanish design with its minimalist, visually engaging  \ncomposition and integration of new structural possibilities. \nFeaturing strong, clean lines, the table offers a perfect \npairing of style and stability. Perhaps most importantly, \nthe Extend Table simplifies table extension to an  \nunprecedented degree, with a cleverly hidden foldout system \nproviding easy access to built-in extensions leaves in a bold, \nmodern black finish.\nIn 2007, Strand + Hvass set out to design a table that would pay tribute to previous  \nmasters while exploring new forms and structural directions.\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.51.png","96\n97\nDancing in Lounge Chairs\nI have never bought a chair just because I needed one or to  \nfill a space. I only buy a piece of furniture if I feel it is something  \nspecial that will stay with me for the rest of my life.\nELENA HEATHERWICK \nPhotographer\nLONDON\nElena Heatherwick believes that light, color and texture are always \ndoing a kind of vibrant dance together as they bounce differently off \na dark or a light wall, off objects, textures and colors. For her,  \nall these elements come into play in her work whether she is  \nphotographing a meal on a table or a person in a chair in their living \nroom. Elena is not interested in showing a graphic, over-saturated \nversion of reality. More than anything, she wants to capture an \natmosphere and feeling in her photographs in order to tell a story. \nTo achieve this, she looks at what is around and behind a person, \nthe way a room is painted, the angle of the light. And, if a location is \ndifficult, she will pick up a chair and walk around with it, trying out \ndifferent spots until she eventually finds somewhere suitable. \nA place where the chair makes the space, makes the photograph.  \nOr, in her words: “The chair creates the setting for the photograph”.\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.52.png","98\n99\nCH07 SHELL CHAIR \nFRAME Smoked oak, oak oil BACK + SEAT Hallingdal 600 LEGS Oak, oil\nCH07  \nSHELL CHAIR\nWegner’s architectural expertise and absolute determination  \ncreate the ultimate sense of proportion and balance.\nWhen Wegner unveiled the design in 1963, some critics \nloved the avant-garde look, but the general public was  \nreluctant to accept its bold expression. The mixed reviews \nof the 1960s resulted in very limited production. When  \nCarl Hansen & Søn reintroduced the Shell Chair in 1998, \nhowever, it immediately won broad public admiration.\nThe design’s floating lightness is achieved through its \nwing-like lines and the arches of its tapered, laminated legs. \nThe curved shells of the chair’s signature seat and back are \ncrafted from compression-molded veneer and upholstered, \ncradling the user in generous comfort. The front legs are \ncrafted from one piece of veneer and the back leg from \nanother, resulting in a uniquely stable and beautiful form. \nIn short, the Shell Chair is an ideal embodiment of Wegner’s \nbelief that a chair should have no back side, but rather be \nbeautiful from all angles.\nConsidered today as one of Hans J. Wegner’s most iconic, groundbreaking works,  \nthe Shell Chair patiently waited for the spotlight for several decades.\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.53.png","100\n101\nCH445  \nWING CHAIR\nDistinctive to the eye and complex beneath the surface.  \nThis unique design gives a bold statement as well as supreme comfort.\nCH445 WING CHAIR \nBODY Canvas 794 LEGS Stainless steel\nCH446 FOOTSTOOL \nSEAT Canvas 794 LEGS Stainless steel \nWegner built the fully upholstered easy chair upon a solid \nbeech frame that rests on hand-finished stainless steel legs. \nThe composition showcased his excellent understanding of \nmaterial and structural dynamics and resulted in a dramatic, \nsculptural silhouette with instant visual appeal.\nThe true beauty of this sophisticated work, however,  \nlies beneath the surface. Hidden out of view is a seat and \nbackrest design that enables a variety of positions, \nalways providing superb support for the back, shoulders, \nneck and head. The thin legs, slightly higher in front than in \nback, give the chair an ideal pitch.\nDesigned in 1960, the Wing Chair was originally produced \nin very limited numbers, and relaunched in 2006 based on \nWegner’s original design. The Wing Chair is available with \nthe matching CH446 footstool for added comfort.\nHans J. Wegner’s Wing Chair takes us on a fascinating journey through the \ntalented designer’s skills and aesthetics.\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.54.png","102\n103\nCH468 OCULUS CHAIR \nBODY Clara 2 793 LEGS Stainless steel \nCH415 COFFEE TABLE \nTABLETOP Oak, oil LEGS Stainless steel\nNUP007 OCEANIA SEABED \nRUG Jade green, gray\nCH468  \nOCULUS CHAIR\nA mystery for many years, this chair is now an iconic and irresistible  \ninvitation for luxurious relaxation and enjoyment.\nDesigned in 1960, Hans J. Wegner’s stunning Oculus Chair went into production  \nhalf a century later.\nIn examining the vast archives of the Hans J. Wegner Studio, \nCarl Hansen & Søn came across a clay model of a previously \nunknown lounge chair, along with photos of an early \nprototype. A later discovery of Wegner’s drawings of the \nchair enabled production to begin in 2010 in accordance \nwith the designer’s original vision.\n“Oculus,” Latin for eye, refers to the eye-like shape in the \nupholstery of the chair’s back. The pairing of an unusual \ndesign with a supremely comfortable, supportive structure \nmade the Oculus Chair an instant favorite. The chair’s \ncurved, oversized backrest and large, sloping armrests \ncreate an inviting nook for relaxation and provide a dramatic \ncontrast to the lightweight stainless steel legs. The bold \nsilhouette can serve as the centerpiece of any room on its \nown, and functions well in groups.\nThe Oculus Chair is available with the matching  \nCH446 footstool for added comfort.\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.55.png","104\n105\nOW149  \nCOLONIAL CHAIR\nRefined and luxurious all at once with contrasting forms and materials.  \nThis stylish chair is a true pleasure to experience.\nKnown as a minimalist and functionalist, Wanscher also \nhad a predilection for the slim and refined. Yet despite its \nslender dimensions, the Colonial Chair is very stable, its \nstrength lying in the carefully designed bracing.\nThe design’s sophisticated, slightly curved armrests rise  \nto a point before taking a turn downward – a trademark  \nWanscher feature. The front and back legs are made of \nroundwood timber, with the back legs curving gently  \noutward for added stability and a more refined silhouette.\nFifteen years later, Wanscher would design the matching \nColonial Sofa and Colonial Coffee Table, creating the  \nColonial Series. The Colonial Chair is available with the \nmatching OW149F footstool for added comfort.\nIn 1949, Ole Wanscher introduced his Colonial Chair – a modern design with  \nhistorical roots that remains his most famous furniture work. \nOW149 COLONIAL CHAIR \nFRAME Walnut, oil CUSHIONS Sif 95 leather\nOW149 COLONIAL FOOTSTOOL \nFRAME Walnut, oil CUSHIONS Sif 95 leather\nNUP003 WOODLINES \nRUG White with black lines\nOW150 DAYBED \nFRAME Oak, oil CUSHION Sif 95 leather\nOW449 COLONIAL COFFEE TABLE \nTABLETOP + LEGS Oak, oil\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.56.png","106\n107\nOW124 BEAK CHAIR \nFRAME Oak, oil SEAT + BACK Sif 95 leather\nOW449 COLONIAL COFFEE TABLE \nTABLETOP + FRAME Oak, oil \nOW124\nBEAK CHAIR\nClassic methods, Mother Nature and an adventurous mind inspired this elegant chair.  \nDecades later, it is still eye-catching and inviting.\nWanscher presented the Beak Chair, or OW124, at the \nCopenhagen Cabinetmakers’ Guild Furniture Exhibition in \n1951. An elegant example of Wanscher’s refined design and \nbold pushing of boundaries, the chair was also a testament \nto his masterful grasp of furniture-making. \nThe Beak Chair’s distinctive appearance is thanks in part to the \nbeak-like armrests that inspired its name. This unique design \nfeature demands carefully selected materials and exemplary \ncraftsmanship, as do the upholstered seat and back. \nReflecting Wanscher’s predilection for slender dimensions \nand resilient shapes, the design features slim, gently \nundulating elements that seamlessly unite in an organic \nflow. Only the armrest cover caps remain visible: a functional \nand decorative detail reminiscent of a bird’s eye.\nOle Wanscher possessed a unique ability to add sculptural dimension to his furniture, \nand his Beak Chair is no exception.\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.57.png","108\n109\nThe CH22 was the first model in Wegner’s debut collection created exclusively  \nfor Carl Hansen & Søn in 1950 – a series that also included such iconic designs as  \nthe Wishbone Chair and the CH25 lounge chair. \nCH22\nAn early design that displays Wegner’s natural flair for honest craftsmanship  \nand passion for subtle intricacies in materials and techniques.\nAfter several decades, Carl Hansen & Søn brought the \nintricately detailed CH22 back into production in 2016, \nmanufacturing the design to Wegner’s exacting original \nspecifications. \nThe lounge chair features Wegner’s characteristically \nshaped armrests, an envelope-woven paper cord seat, and \na distinctive back shell in form-pressed veneer with striking \noblong cover caps. The chair’s refined joinery is evident in \nthe finger-joined corners of the seat frame, with the \nforelegs locking into wooden wedges in a color contrasting \nthat of the frame. \nToday, while parts of the production process have been \nmodernized, the CH22 is still manufactured as it was when \nWegner oversaw initial production at the Hansen family \nfacilities in 1950: with expert hand craftsmanship from \nassembly through to surface treatment and seat weaving.\nCH22 LOUNGE CHAIR \n1X FRAME Walnut, oil SEAT Natural paper cord\n \n1X FRAME Oak, walnut, oil SEAT Natural paper cord\nCH417 TRAY TABLE \nTABLETOP Smoked oak RIM Oak, oil BASE Stainless steel\nNUP003 WOODLINES \nRUG Charcoal with black lines\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.58.png","110\n111\nCH25 LOUNGE CHAIR \nFRAME Oak, soap SEAT + BACK Natural paper cord\nCH417 TRAY TABLE \nTABLETOP Smoked oak RIM Oak, oil BASE Stainless steel\nThe CH25, one of the first four chairs Hans J. Wegner designed especially for \nCarl Hansen & Søn in his first three weeks with the company in 1950, was somewhat  \nof a revolution.\nCH25\nWegner’s uncompromising choice of materials and many hours of skill  \nand care have gone into creating this revered design icon.\nLike the Wishbone Chair, the CH25 lounge chair is \nambitious and bold in its sculptural shape. But it also caused \na stir with its materials. Wegner’s choice of woven paper \ncord – a wartime substitution material – for the seat and \nback was unheard of at the time. But Wegner liked the look \nand durability of the material, and so have generations of \nhis fans. \nThe lounge chair has remained tremendously popular and in \ncontinuous production ever since: a testament to Wegner’s \nvisionary approach.\nIt takes a skilled craftsman 10 hours to complete the seat \nand back by hand, using about 400 meters of paper cord and \na double weaving technique that creates the unique pattern.\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.59.png","112\n113\nFunctional and sculptural, with an exceptional finish, Hans J. Wegner’s 1952  \nCH28 lounge chair design features many of the master’s signature elements.\nCH28\nSharp and shapely lines contrast beautifully in this highly-appealing chair.  \nEase back in comfort with rounded edges and delicate touches.\nThough angular and precise in its expression, the CH28  \n– closely related to Wegner’s famous Sawbuck Chair – \nshowcases Wegner’s dedication to finding the optimal \nbalance of function and visually pleasing form. The design \nalso achieves excellent comfort.\nNoteworthy details include rounded armrests, wooden seat \nbuttons that contrast with the wood grain of the seat and \nback, and the intriguing dynamic between the thin, bent seat \nand back and the more robust round legs.\nCH28 LOUNGE CHAIR \nFRAME Oak, oil SEAT + BACK Walnut, oil\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.60.png","114\n115\nCH44 LOUNGE CHAIR \nFRAME Oak, black SEAT Black paper cord \nCH53 FOOTSTOOL \nFRAME Oak, black SEAT Black paper cord\nWith the heart of a cabinetmaker and the mind of a modern functionalist,  \nHans J. Wegner continually worked to simplify form and perfect functionality.\nCH44\nSimplicity perfected. This honest construction allows for complete  \nrest and contemplation in outstanding comfort. \nHe found a kindred design approach in American Shaker \nfurniture, which inspired his 1965 CH44 design, as well as \nthe closely related CH46 and CH47 chairs.\nThe CH44 features Wegner’s characteristic, visible joints \nbetween the front legs and armrests, with the armrests \nwidening to provide strength to the joints that connect to the \nback legs. \nThe chair is crafted from solid wood and features a durable \npaper cord seat. It is available with optional seat and back \ncushions and the matching CH53 footstool for added comfort.\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.61.png","116\n117\nFH419  \nHERITAGE CHAIR\nDrawing from global inspiration, this early design with its matching  \nfootstool embodies relaxed sophistication.\nCharacterized by soft, elegant lines and high quality down \nto the smallest detail, the Heritage Chair bears testimony to \nHenningsen’s constant pursuit of perfection.\nWith this 1930 design, Henningsen drew on inspiration \nfrom earlier style epochs, particularly French imperial and \n17th-century British styles, to create a classic so comfortable \nand inviting that it easily becomes the favorite chair in any \nspace.\nThe fully upholstered easy chair is built upon a meticulously \ncrafted, solid beech frame. It is available with the matching \nFH420 footstool for added comfort.\nThe mounting interest in Frits Henningsen’s work in recent years points to the \ntimelessness of his aesthetic values and design approach. \nFH419 HERITAGE CHAIR \nBODY Canvas 124 BUTTONS Canvas 124 LEGS Oak, oil\nFH420 HERITAGE FOOTSTOOL \nSEAT Canvas 124 LEGS Oak, oil\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.62.png","118\n119\nFH429 SIGNATURE CHAIR \nFRAME Walnut, oil BODY Sif 95 leather\nFH429  \nSIGNATURE CHAIR\nCapturing a lifetime of work, this completely unique, exceptionally pure and  \nsuperbly-crafted lounge chair is as easy on the eye as it is to relax in. \nA cabinetmaker who held his profession to very high \nstandards, Henningsen always manufactured his own \ndesigns. He often began the process by creating a small \nmodel – in this case, using modeling clay and toothpicks. \nThe frame was then manufactured in his Copenhagen \nworkshop, undergoing months of testing and adjustments \nbefore Henningsen was content with the result. \nAfter the chair was completed in 1954, fewer than 20 pieces \nwere produced. Carl Hansen & Søn reintroduced the design \nin 2015.\nOver the course of his career, Henningsen’s work evolved \ntowards increasing simplicity, with the Signature Chair \nbecoming his purest, most pared-down design. His interest \nin achieving comfort and elegance through the use of \ngraceful, curved lines is apparent in this final project. Its \nsoft, inviting shapes and floating armrests create a simple, \norganic form that calls for quiet contemplation.\nThe Signature Chair is available with the matching FH430 \nfootstool for added comfort.\nAs the last piece of furniture Frits Henningsen designed and produced,  \nthe Signature Chair crowned his life’s work and consummated his legacy as one  \nof Denmark’s greatest furniture designers.\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.63.png","120\n121\nE015  \nEMBRACE LOUNGE CHAIR\nThis modern blend of organic and soft materials is skillfully  \nsculpted to surround with supreme comfort.\nThe resulting Embrace Lounge Chair continues the \nEmbrace story, but with key revisions to create the ultimate \nrelaxation experience. \nIn both designs, the wooden structure is continuous, with \nthe legs serving as an essential element of the overall  \nsilhouette, and the striking back featuring three pieces \nassembled in classic finger joints. The seat, back and \narmrests are crafted from a single soft, three-dimensional \ncushion, its upholstery embracing the wooden structure \nand appearing to float within the frame. \nThe Embrace Lounge Chair’s proportions, however, differ \nsignificantly from its dining chair counterpart, influencing  \nthe chair’s entire geometry. The lounge chair’s more padded \ncushions achieve an even more enveloping feel, and create \ngreater visual contrast between the soft upholstery and the \nsimple wood frame. \nThe Embrace Lounge Chair is available with the matching \nE016 footstool for added comfort.\nHaving changed the dining chair conversation with the uniquely enveloping  \nEmbrace Chair in 2015, EOOS translated the design into the lounge category in 2016, \ncontinuing Carl Hansen & Søn’s evolution while keeping strong ties to the original DNA.\nE015 EMBRACE LOUNGE CHAIR \n1X FRAME Oak, oil SEAT + BACK Clara 2 188\n \n1X FRAME Oak, oil SEAT + BACK Clara 2 983\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.64.png","122\n123\nAB001 ROCKING NEST CHAIR \nFRAME Walnut, oil, stainless steel SEAT + BACK Sif 95 leather \nAB001\nROCKING NEST CHAIR\nMeditative movement, considered design and practical construction  \nmake the Rocking Nest Chair a sanctuary of peace and harmony. \nLike his other imaginative, innovative work, Bak’s  \nRocking Nest Chair was borne out of a real human need.  \nBak conceived the design when his sister needed a  \ncomfortable place to relax with her newborn baby, creating \na one-of-a-kind form with unprecedented functionality. \nDynamic in its expression and clear in its construction, the \nseemingly floating Rocking Nest Chair unites a light steel \nand wood frame, a seat with a canvas back and a canvas or \nleather front, and a soft leather cushion into a welcoming, \norganic silhouette. For Bak, who is fond of nomadic living \nand fascinated by society’s ever-changing needs, the chair \nalso needed to be flexible and meet the constraints of urban \nspaces. To this end, the Rocking Nest Chair incorporates a \nmechanism that makes it easy to fold the chair flat with just \na few steps. \nRepresenting minimalism and craftsmanship at their best, \nthe Rocking Nest Chair reinterprets the Danish design  \nheritage for modern interiors – while highlighting the  \npotential of Bak’s chosen materials.\nThe result of Carl Hansen & Søn’s collaboration with the designer Anker Bak,  \nthe Rocking Nest Chair fully reimagines an age-old concept for modern living  \nand unwinding.\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.65.png"," \n124\n125\nKK47000 \nSAFARI CHAIR\nFrom the wild plains of Africa to living rooms and hotels, this iconic design has come a long way.  \nImagine great adventures in its simple yet sturdy construction.\nThe Safari Chairs in the couple’s photos were likely based \non Indian Roorkhee Chairs used by the British military  \n– possibly the first examples of self-assembled furniture. \nThe archetype featured glueless joints, tool-free assembly, \nand an intelligent construction that caused the joints to \ntighten when the chair was occupied, enhancing strength \nand stability.\nKlint delved into simplifying, clarifying and refining the \nchair’s composition, exhibiting his final Safari Chair design \nin 1933 at the Copenhagen Cabinetmakers’ Guild Exhibition. \nWhile inspired by its British predecessor, Klint’s  \nsophisticated, lightweight chair is defined by his signature \nsystematic approach, fine craftsmanship, well-conceived \nproportions, and remarkable material effects.\nCaptivated by the chairs an American cinematographer and his wife had used  \non their African safari, Kaare Klint set out to transform the portable knockdown  \narchetype into an elegant design for modern interiors. \nKK47000 SAFARI CHAIR \n1X FRAME Ash, oil SEAT + BACK Natural Canvas\n \n1X FRAME Smoked ash, oil SEAT + BACK Sif 92 leather\nKK97170 SAFARI FOOTSTOOL \nFRAME Ash, oil SEAT Natural canvas\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.66.png","126\n127\nKK53130 EASY CHAIR \nBODY Sif 95 leather LEGS Walnut, oil\nKK53130 \nEASY CHAIR\nSoft to the touch and pleasing to the eye, this Klint chair with its perfect  \nconstruction and balanced proportions is easy to fall in love with.\nThe Copenhagen Saddlemakers’ and Upholsterers’ Guild’s 475th anniversary in 1935 \noffered Kaare Klint an opportunity to showcase his excellent upholstery skills.\nKlint submitted four distinct designs to the Guild’s \ncelebratory competition under the title “Christmas 1934”: \nthe Red Chair with armrests; a sofa bed upholstered with \nGreek fabric; a sectional sofa; and the elegant, upholstered \nEasy Chair featuring a loose, down-filled seat cushion. \nLauded as a very modern contribution due to its precise, \ntight lines and composition, the Easy Chair was produced \nfor the 1937 Copenhagen Cabinetmakers’ Guild Exhibition. \n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.67.png","128\n129\nKK43960  \nMIX CHAIR\nRecline with grace in this Klint masterpiece. It is curvaceously shaped  \nfor the human form and destined to complement any space.\nKaare Klint’s Mix Chair has earned iconic status among collectors since  \nits unveiling in 1930, admired as much for its elegant, flowing form as its  \nintricate construction concept.\nKK43960 MIX CHAIR \nBODY Sif 98 leather LEGS Oak, oil\nThe culmination of a sophisticated geometric exercise, the \ndesign features a series of convex and concave curves that \nrepeat and mirror one another to form the main frame and \narmrests. By contrast, the solid wood legs are kept square, \nwith just the back legs gently sloping back to support the \nchair’s slightly reclined profile.\n The armchair embodies Klint’s signature systematic design \napproach, using geometry and mathematics to achieve ideal \nshapes, proportions, and overall balance. The loose, \nfirm cushions offer exceptional comfort while reiterating \nthe design’s gentle curves and helping to maintain the \nintended form.\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.68.png","v\n130\n131\nKK87830 PROPELLER STOOL \nFRAME Ash, oil SEAT Natural canvas\nKK87830 \nPROPELLER STOOL\nAn impressive design made with ingenious multi-functionality  \nand a highly-appealing and compact form. \nAlthough initially too complex to put into production, the \n1930 design quickly attracted attention and was featured as \na concept in several design books. \nA prototype was created in 1956 for the major memorial \nexhibition for Klint at the Danish Museum of Art and Design, \nand the design went into production in 1962, eight years  \nafter Klint’s death. In 1964, the Propeller Stool was presented \nat the Copenhagen Cabinetmaker’s Guild Exhibition,  \norganized by Klint’s son, Naur Klint. \nThe idea of a folding stool was certainly not new; the \nconcept existed as early as the Bronze Age. Klint, however, \nrefined and optimized it, adding the innovative propeller \nelement. \nThe stool is manufactured using wood with long, strong \nfibers that help support the slim, sophisticated construction. \nAn optional tray transforms the stool into a low table.\nAn exercise in mathematical construction, the Propeller Stool expressed Kaare Klint’s \nvision of the ideal fold, with the two intersecting, propeller-shaped legs forming a \nperfectly round rod when folded flat. \n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.69.png","132\n133\nLM92  \nMETROPOLITAN CHAIR\nArt and design meet in this elegant and desirable chair.  \nEvery detail has been carefully thought out.\nThe Metropolitan Chair, designed by Ejner Larsen and Aksel Bender Madsen,  \nwas first presented at the Copenhagen Cabinetmakers’ Guild Exhibition in 1949  \nand went into production the following year. A decade later, the design rose to  \ninternational fame – and earned its moniker.\nLM92 METROPOLITAN CHAIR \nFRAME Walnut, oil SEAT Sif 98 leather\nLM92 METROPOLITAN CHAIR \nFRAME Walnut, oil SEAT + BACK Black saddle leather\nThe chair’s big breakthrough came in 1960 at the  \nMetropolitan Museum of Art in New York, where the most \nprominent symbols of Danish design and culture were \nshowcased in an exhibition titled “The Arts of Denmark.” \nThe design consequently earned the great honor of being \ncalled the Metropolitan Chair.\nThe result of many late-night work sessions, the  \nMetropolitan Chair is distinguished by a tensioned \nback- and armrest crafted from a single piece of veneer. \nThe chair is available in two variants: one fully upholstered \nin luxurious saddle leather, the other combining a \nleather-upholstered seat with an exposed veneer back.\nKnown for its excellent seating comfort, the  \nMetropolitan Chair can be used as a conference, dining  \nor desk chair. \n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.70.png","134\n135\nMG501 CUBA CHAIR \nFRAME Oak, soap SEAT + BACK Cotton webbing, natural\n \nMG501 \nCUBA CHAIR\nThis stylish lounge chair displays exquisite textures and natural materials.  \nExpert functionalism also make folding it away an absolute pleasure.\nTaking extra seating to a new level, the Cuba Chair features \na solid oak frame, with the cotton girths around the frame \nforming a comfortable seat and back and providing excellent \nsupport as they gently follow the body’s contours.\nIdeal as an extra or a permanent fixture, the light and  \nflexible folding lounge chair can easily be hung on a wall  \nor placed on a floor stand for convenient storage.\nDesigned by Morten Gøttler in 1997, the Cuba Chair exemplifies contemporary  \ndesign with its ideal balance of form and function, and nods to previous masters  \nwho experimented with elevating the folding chair concept.\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.71.png","136\n137\nTA001  \nDREAM CHAIR\nThis chair’s sculptural appeal is captivating and comforting all at once  \n– the perfect place to dream away the hours. \nIn 2013, the acclaimed Japanese architect Tadao Ando designed the Dream Chair for \nCarl Hansen & Søn as a tribute to Hans J. Wegner, seeking to capture the sculptural \nminimalism that defined Wegner’s work.\nTA001 DREAM CHAIR \nFRAME Oak, oil NECK REST Thor 325 leather\nResiding at the intersection of art and design, the Dream Chair \nmerges beauty and comfort as it invites relaxed reflection. \nTrue to Wegner’s mantra, the chair is designed to be enjoyed \nfrom all angles, its form as captivating when viewed from \nthe front as from the sides and back. To create the necessary \ncharacteristics of a chair from the fewest possible parts, \nAndo and the cabinetmakers at Carl Hansen & Søn used \nthree-dimensional veneer that can be curved along two \naxles during the molding process. \nPushing the size and curvature of the veneer sheet beyond \nwhat was thought possible, Ando succeeded in creating \na form that is dreamlike both in its construction and its \nsoothing effect. \n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.72.png","138\n139\nRelaxing in Sofas\nYosuke Aizawa finds the materials and textures he works with and is \nsurrounded by extremely meaningful. In his workspace, he does not \nwant to look at a desk or chair unless it stimulates inspiration.  \nHis workshop atelier is a space only for him and is based on the  \ncolor black for concentration power. In his home, however, he uses \ncompletely different materials and colors, these help him relax.  \nHe emphasizes the elimination of black and likes to feel the warmth \nof trees and nature. Yosuke spends much of his home time relaxing \non the sofa, enjoying a drink with his wife, watching a movie or  \nplaying with his kids – “We have an old leather sofa, from before our  \nmarriage. It has marks, scratches and some drawings on it, which \nfor me are proof of time well spent with our children. I think that it  \nis a very loving thing”. \nAt home, I spend most of my time relaxing on the \nsofa with my family. I believe that furniture can show that time,  \nspace and memories equal a life together.\nYOSUKE AIZAWA\nFashion Designer and Founder of White Mountaineering\nTOKYO\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.73.png","140\n141\nCH103 SOFA \nFRAME Stainless steel SEAT + BACK Sif 92 leather\nCH101 LOUNGE CHAIR \nFRAME Stainless steel SEAT + BACK Sif 92 leather\nCH106 COFFEE TABLE \nTABLETOP Clear glass FRAME Stainless steel\nCH101 – CH104 \nCH100 SERIES\nA highly-geometric design that visually unifies natural and industrial  \nelements to remain relevant and inspiring decades later.\nDesigned by Hans J. Wegner in 1970, this series was relaunched in 2008 in celebration \nof Carl Hansen & Søn’s 100th anniversary.\nComprising the CH101 lounge chair and three sofas, \nCH102-104, Wegner’s CH100 Series represents some of the \nfinest steel work of his career. \nEvery CH100 Series design is handcrafted on a solid wood \ninterior frame to enable the finest upholstery methods. \nFor the visible part of the frame, Wegner selected \nhand-polished stainless steel whose inherently industrial \nfeel is offset by its elegant form. \nThe reversible cushions are made from a combination of \nsmall foam pieces and down around a layer of foam, making \nthem exceptionally comfortable.\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.74.png","142\n143\nWhen Hans J. Wegner designed this sofa in 1965, he merged new ideas for  \ncomfort with his signature emphasis on making the structural elements visible  \n– to impeccable results.\nCH162 \u002F CH163\nThis classic design with strong lines and visible construction  \noffers plenty of natural support and luxurious comfort.\nCarl Hansen & Søn discovered the design in Wegner’s vast \narchives – and relaunched it in 2013.\nWegner’s unparalleled attention to detail is visible throughout, \nas is his ability to transform functionally necessary elements \ninto unique, essential aspects of the design.\nThe sofa is built upon a solid wood frame, its vertical and \nhorizontal lines softened by upholstered cushions. \nUsing down in sofas – a brand new idea at the time –  \nenabled Wegner to infuse exceptional comfort into a fairly \ngeometric form.\nThe enlarged wooden plugs in the armrests artfully conceal \nscrews that simplify reupholstering, while bringing attention \nto the elegant frame construction. The sofa is available as \nthe two-seater CH162 and three-seater CH163.\nCH163 SOFA \nFRAME Walnut, oil SEAT + BACK Sif 90 leather\nCH008 COFFEE TABLE \nTABLETOP + LEGS Walnut, oil\nNUP003 WOODLINES \nRUG Black with black lines\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.75.png","144\n145\n  KASTRUP SERIES \nFRAME Stainless steel SEAT + BACK Sif 95 leather\nCH401 – CH404  \nKASTRUP SERIES\nThoughts fly away in this beautifully-designed series with balanced,  \nclean lines and bold material combinations. \nThe minimalist Kastrup Series lounge seats, notable  \nfor their stainless steel legs and gently curved lines, are \navailable as a single chair and as two-, three- and  \nfour-seat sofas.\nAll pieces are handcrafted using a solid wood interior frame \nto enable the finest upholstery methods. This construction \nalso provides excellent durability, making the chair and \nsofas well-suited for generations of use in public areas  \nor private homes.\nWegner’s pairing of cool steel and warm, organic shapes \nand upholstery creates a balanced expression and lends the \npieces exceptional versatility.\nHans J. Wegner designed this sofa series in 1958 for Copenhagen Airport, where it \ncontinues to set an inviting, relaxed tone to this day.\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.76.png","146\n147\nMK10040 \u002F MK10041\nEnjoy the honest craftsmanship in this series with its sculpted curves and \nvisible materials revealing Koch’s intelligent design philosophy.\nKoch developed a striking construction for the pair of \ndesigns, loosely placing the upholstered section on a \nvisible, solid wood frame, with the top row holding the seat \nsecurely in place. \nA believer in honest design, Koch disliked legs that  \nseemingly appeared out of nowhere, seeing this as cheating. \nHe similarly disapproved of using upholstery to hide cheap \nwood and felt that every design’s construction should be  \nof high quality throughout. \nThe exposed frame structure exemplifies the Danish \nfunctionalists’ idiom of separating the bearing and borne \nparts – or the frame from the seat – to highlight the beauty \nof the natural materials and make the construction a design \nfeature in and of itself. \nMK10040 LOUNGE CHAIR \nSEAT + BACK Sif 90 leather FRAME Walnut, oil\nMK10041 SOFA \nSEAT + BACK Sif 90 leather FRAME Walnut, oil\nNUP007 BOTANICA KIRI \nRUG Green, gray\nMogens Koch designed the low, elegant Easy Chair 51 and Model 52 sofa and for the \n1936 Copenhagen Cabinetmakers’ Guild Exhibition as a set of fireside furniture. \n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.77.png","148\n149\nKK48650 ADDITION SOFA \nSEAT + BACK Natural goat hide LEGS Walnut, oil\nNUP03 \nRUG Black with black stripes\nKK48650 \u002F KK48651 \nADDITION SOFA\nA testament to simplification and purpose. This series can be enjoyed for generations  \nwith crafted details that capture the essence of classic design.\nInspired by a French rococo sofa, Klint designed a versatile, \nmodern sectional. The first variant was created in the early \n1930s for the prestigious New Carlsberg Foundation offices \nin Copenhagen. Klint then continued to refine the design, \npresenting the final Addition Sofa at the 1933 Copenhagen \nCabinetmakers’ Guild Exhibition. \nThe Addition Sofa is trimmed with piping to ensure beautiful, \nclean seams around the seat and back. The leather pleats \ncreate rhomboid panels that are held in place with  \nleather-covered buttons and open up when pressure is \napplied to the sofa to keep the leather from overstretching. \nThe sofa quickly earned accolades for its simple construction \nand sophisticated upholstery, including an award at the \nCopenhagen Saddlemakers’ and Upholsterers’ Guild’s 475th \nanniversary competition in 1935. Today, the modular design \nremains a coveted choice for contemporary interiors.\nDesigned in 1933, Kaare Klint’s Addition Sofa is composed of two modules – one with \nand one without a back – that can be combined to create the ideal seating arrangement \nfor any space. \n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.78.png","150\n151\nOle Wanscher originally designed the two-seater OW602 and three-seater  \nOW603 sofas in 1960 as part of a complete living room set. They have since become  \ntreasured classics.\nOW602 \u002F OW603\nExperience a blend of influences from near and far in the superior  \ncraftsmanship and comfort of these classic sofas. \nOW603 SOFA \nSEAT + BACK Thor 359 leather LEGS Oak, soap\nOW449 COLONIAL COFFEE TABLE \nTABLETOP + LEGS Oak, oil\nNUP003 WOODLINES \nRUG Black with white lines\nAs with many of his other works, Wanscher found the \ninspiration for this series beyond the borders of his native \nDenmark, merging elements of classic English and \nOriental furniture to create a new expression.\nComfortable and elegant, with a clean and dynamic \ndesign, the sofas combine linear and organic forms to \ngreat modern effect. They continue to be crafted by hand \nover solid wood frames, carrying on Wanscher’s legacy \nof exacting craftsmanship.\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.79.png","152\n153\nOW149-2 COLONIAL SOFA \nFRAME Oak, oil CUSHIONS Sif 98 leather\nOW149-2  \nCOLONIAL SOFA\nAppreciate the intriguing contrast of slender wooden details  \nand comforting, upholstered cushions in this elegant sofa. \nThe Colonial Series’ name and styling reflect Wanscher’s \nfascination with 18th century English furniture design, \nwhich was often inspired by styles and materials used in  \nthe colonies.\nBased on the same core design as the armchair, the  \nColonial Sofa communicates Wanscher’s fondness for  \nrefined detailing. The sofa features a relatively simple  \nlattice construction, its elements supporting one another. \nThe slender dimensions are kept minimal, the design’s \nstrength achieved instead through a well-conceived \nstructure that includes double center legs for necessary \nstrength. \nWanscher’s trademark interpretation of classic shapes \naccording to modern needs for functionality is evident in the \nColonial Sofa’s combination of a timeless expression and a \nmodern approach to materials and construction.\nIn 1964, Ole Wanscher reimagined his popular 1949 Colonial Chair as a two-seater  \nsofa. Manufactured in very small quantities, the design was virtually unknown until  \nCarl Hansen & Søn launched the entire Colonial Series, including a coffee table, in 2015.\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.80.png","154\n155\nOW150 DAYBED \nFRAME Oak, soap CUSHION Hallingdal 65 694\nOW2000 EGYPTIAN CHAIR \nSEAT Black sattle leather LEGS Oak, soap\nIntrigued and inspired by classic furniture, Wanscher \nstudied it wherever he went, incorporating the styles and \nelements he felt best merged functionality and aesthetics \ninto his own work. \nThe clean, classic 1949 daybed features a single long  \ncushion that appears to float above an angular, solid oak \nframe, but is in fact supported by a delicate yet strong \ncotton webbing. Hand-sewn buttons create a simple square \npattern that accentuates the daybed’s geometric form, \nwhile an optional bolster pillow enhances user comfort.\nIn Wanscher’s Egyptian Stool, we see the influence of  \nhis travel outside of Denmark. While in Egypt, Wanscher  \nbecame fascinated with old seats of power, and in 1957  \ndesigned the elegant, lightweight Egyptian Stool with  \nTemple of Thebes furniture in mind. \nThe design eloquently nods to his source of inspiration, \nyet is distinctly modern in its expression and construction. \nThe seat, crafted from saddle leather, easily collapses \ninto the chair when folded. \nOW150 DAYBED \nOW2000 EGYPTIAN STOOL\nCreate a new dynamic in any room with these iconic pieces, crafted from natural  \nmaterials that express a passion for exploration and original thought.\nMany of Ole Wanscher’s designs have become collector’s items by virtue of their  \ntimeless simplicity and beautiful finishes. His distinctive daybed and folding stool  \nexemplify his creative vision and masterful touch. \n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.81.png","156\n157\nTK8 DAYBED \nFRAME Oak, oil CUSHION Sif 98 leather LEGS Chromed steel\nTK8\nDistinctive, simple and confident. This refined design made with great  \npassion and quality materials is a true modern masterpiece.\nWith its sleek and straightforward appearance and seamless \ncombination of leather, wood and stainless steel, the TK8 has \na powerful presence that fits as neatly into living rooms as \ninto public spaces like the modern Copenhagen Airport.\nThe frame, produced without welding, is easy to assemble \nusing just a few bolts. The daybed is available in two sizes \nwith an optional pillow for added comfort.\nDesigned in 2009 to enhance any lounge setting, Thomas Bo Kastholm’s TK8 daybed \nbecame an instant classic.\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.82.png","158\n159\nConnecting at Coffee Tables\nHenrietta Thompson is greatly inspired by the abundance of designs \nshe writes about. In her own space, however, she uses mostly natural \nmaterials, like wood. She enjoys ‘pops’ of color which is why wood \nworks so well. It goes with any color. Craftsmanship is also vital. \n“A well-crafted piece just feels different. You experience all the \nlove and care that has gone into the making. You can feel the soul \nof a piece and can build a kind of relationship as it wears over time, \nknowing it was once a living thing that will just get more beautiful \nwith age”. As a magazine writer, Henrietta has a soft spot for coffee \ntables, the perfect place to display her favorite publications, like the \ncolorful design magazine, Cabana. She also appreciates the human \ncontact a shared cup of coffee brings – “I do much of my work over \nemail and skype, but there really is nothing better than actually  \nconnecting with someone face to face over a coffee”. \nEven though a coffee table is by no means the biggest  \npiece of furniture, it can anchor a room – together with a rug,  \na coffee table can create a kind of island, a place to connect.\nHENRIETTA THOMPSON\nArchitecture and Design Writer\nLONDON\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.83.png","160\n161\nML10097 EGYPTIAN TABLE \nTABLETOP + FRAME Oak, oil\nML10097  \nEGYPTIAN TABLE\nThe beauty and organic lines of this functional coffee table do justice  \nto its complex origin of intricate study and foreign lands.\nThe elegant table easily collapses for storage with the  \nrelease of a small brass sliding latch beneath the tabletop  \n– a flexible design that exemplifies the functionalism  \ninherent in classic furniture types. \nFor Lassen and his contemporaries, function was  \nparamount. Their approach – strongly influenced by  \nKaare Klint – often began with the careful study and \nrefinement of long-existing archetypes such as safari-style \nknockdown chairs, British Windsor and Chippendale chairs, \nand flexible, practical tables like the Egyptian Table. \nThese clear, proven furniture types appealed to mid-century \ndesign and architecture visionaries, upholding their core belief \nthat intelligent, purposeful design never goes out of style.\nMogens Lassen first exhibited this round coffee table, inspired by folding stands found \nin Tutankhamen’s tomb in 1922, at the Copenhagen Cabinetmakers’ Guild Exhibition  \nin 1940. \n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.84.png","162\n163\nMK98860  \nFOLDING TABLE\nEvery possible functionality has been thought of with this carefully-constructed  \ncoffee table – simply enjoy its elegance and ease.\nA testament to Koch’s dedication to systematic design with \nideal proportions, honed during his years with Kaare Klint, \nthe table has an ideal surface width and width-to-depth \nratio, making it easy and comfortable to carry. \nThe design adjusts to two heights to match varying needs. \nTo ensured that it would remain decorative even when folded, \nKoch added a saddle leather strap that makes it easy to \nhang flat on a wall. \nLight, clean, and intelligently constructed, Mogens Koch’s 1960 Folding Table offers  \na stable, elegant extra surface.\nMK98860 FOLDING TABLE \nTABLETOP + FRAME Oak, oil\nLM92 METROPOLITAN CHAIR \nFRAME Oak, oil SEAT + BACK Cognac saddle leather\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.85.png","164\n165\nCH008 COFFEE TABLE \nTABLETOP + LEGS Walnut, oil\nCH25 LOUNGE CHAIR \nFRAME Oak, black SEAT + BACK Natural paper cord\nDesigned in 1954, Hans J. Wegner’s three-legged coffee table has since become one  \nof his most iconic.\nCH008\nGraceful and useful, this coffee table series effortlessly complements  \nits surroundings with crafted details and a smooth, natural finish.\nWegner spared nothing in his pursuit of perfection – an \napproach thoroughly exemplified by the CH008 coffee table. \nFinding it as important to emphasize more hidden structural \nparts as the key visible elements, Wegner devoted the same \namount of time and effort to designing the tabletop as the \nframe that connects it to the three legs. The table works \nbeautifully with groups of other Wegner icons, particularly \nhis lounge chairs, and is available in three different sizes.\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.86.png","166\n167\nThe CH011 coffee table, designed by Hans J. Wegner in 1954, deftly combines utility  \nwith a contemporary, stylish form that naturally complements its surroundings.\nCH011\nA spacious coffee table with a sturdy construction and natural surface  \nfor exploring different functionalities and displays.\nCrafted from solid wood, with tapered legs that lend  \nlightness and gently curved elements throughout, this  \nversatile rectangular table lends warmth to any space  \nand pairs well with most Wegner chairs. Wegner’s generous \ntabletop offers an ideal spot for everything from books and \nlaptops to cocktails and canapés.\nCH011 COFFEE TABLE  \nTABLETOP + LEGS Oak, oil\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.87.png","168\n169\nCH417 TRAY TABLE \nTABLETOP Smoked oak RIM Oak, oil BASE Stainless steel\nCH22 LOUNGE CHAIR  \nFRAME Oak, walnut, oil SEAT Natural paper cord\nCH417 \nTRAY TABLE\nWhether for guests or for displaying beautiful objects,  \nthe incredibly flexible and light Tray Table delivers in style.\nThe CH417 Tray Table combines two parts – a reversible \nround tray and a collapsible base – into a smart, easy-to-\nstore solution that is at once light and sturdy; practical  \nand elegant.\nA natural oak rim contains the thin, laminate tray, which  \nis available with Wegner’s original black and white sides  \nor with light oak veneer and smoked oak veneer sides.\nA single cutout along the tray’s edge creates a convenient \nhandle, making it comfortable to carry when serving  \nrefreshments or hors d’oeuvres.\nThe rim is held together by a narrow piece of smoked oak \nwedged into its center: a classic example of the refined, \nclever design details for which Wegner was well known.\nHans J. Wegner’s 1970 reversible Tray Table stands out as a quintessential example of \nhis mindful approach to creating versatile, unique, and above all functional design.\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.88.png","170\n171\nOne of Hans J. Wegner’s later designs, created in 1990, this coffee table shows  \nWegner at his minimalist best.\nCH415\nSmall and lightweight, yet extremely sturdy – let this elegant  \ndesign gem find its perfect home in any space.\nCH415 COFFEE TABLE \nTABLETOP Oak, oil LEGS Stainless steel\nCH468 OCULUS CHAIR  \nBODY Clara 2 793 LEGS Stainless steel \nNUP007 OCEANIA SEABED \nRUG Jade green, gray\nThe CH415 coffee table pairs a solid wood tabletop with \nslim stainless steel legs, underscoring Wegner’s \ncareer-long interest in working with and pairing different \nmaterials.\nLike all Wegner tables, the CH415 can serve multiple  \nfunctions. When positioned and used as a coffee or side \ntable, it works particularly well alongside Wegner’s iconic \nupholstered lounge chairs.\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.89.png","172\n173\nOW449 COLONIAL COFFEE TABLE \nTABLETOP + FRAME Oak, oil\nOW150 DAYBED \nFRAME Oak, oil\nOW449  \nCOLONIAL COFFEE TABLE\nAs an integral part of the Colonial furniture series, this coffee table  \nstands proud with elegant lines and an appealing aesthetic. \nThe Colonial Coffee Table communicates Wanscher’s desire \nto lend modern style and utility to classic objects. \nFeaturing a square veneer tabletop and framing that mirrors \nthat of the Colonial Chair and Colonial Sofa in its precise \ndetailing, raised corners, and geometric aesthetic, the  \ntable enhances contemporary settings with its understated, \nthoroughly thought-through form.\nOle Wanscher designed this classic table in 1964 – the same year he developed  \na two-seater version of his Colonial Chair – creating a harmonious focal point for  \nthe entire Colonial Series.\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.90.png","174\n175\nCreating in Bookcases\nBooks are knowledge, memories, enlightenment and wisdom \n– a sort of cultural backbone – magazines are too, in their own right. \nThey are the ‘fast kick’ that keeps your outlook updated.\nVIBEKE ROHLAND \nTextile Artist and Designer\nCOPENHAGEN\nVibeke Rohland feels that working on a lot of different projects \nsimultaneously and being alone in her space necessitates some \nkind of order. Yet, she still likes to move things around from time to \ntime as she feels this makes her space come alive again. Visibility \nis also important to her and the layout of her studio reflects this. \nAll kinds of objects, from paints and ornaments to customized, \nco-created Adidas sneakers are on display. As a very tactile artist, \nshe likes to have easy access to all her things, her gems, her archives \nthat come in all sizes. For her, shelves and bookcases are not just \na way of ordering a space, they are changing tableaus that show her  \ncultural stance and passion. The items they display act as constant \nreminders to keep her on track, or as she puts it: “They are small \nscenes and stories from my life – and to display them makes them \nmore accessible – like an open book”.\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.91.png","177\nMK88360 \nCABINET Oak, black\nMK98400 \nBOOKCASE Oak, black\nKK87830 PROPELLER STOOL \nLEGS Ash, oil SEAT Natural canvas\nNUP004 WOODLINES \nRUG White with black lines\nMK BOOKCASE SYSTEM\nThe simple square is elevated to an art form in this visionary bookcase system.  \nFind peace and calm knowing that there is a place for everything.\nKoch envisioned a concept so clear in its form and function \nthat it could become quintessential: the storage solution for \nmodern homes. \nBegun in 1928 and completed in 1932, the MK Bookcase  \nSystem was the first modular system of its kind and remains \nin demand many decades later, its functional design and \noutstanding quality a testament to the timelessness of \nKoch’s thoughtful vision.\nThe exceptionally flexible system of square bookcases  \nfeatures an extensive range of modular elements. Its classic \nsix-section unit, which can be set up so that the sections are \neither wide or tall depending on the dimensions of their  \ncontents, is a brilliant construction in its own right.  \nMinimalist and thought-through in every detail, the individual \nunits feature beautiful dovetail and rabbet joints that lend \nthem strength and stability.\nSeeking to develop a straightforward, universal solution to the challenge of everyday \nstorage, Mogens Koch designed a bookcase system ingenious in its versatility, \nstrength and elegant simplicity.\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.92.png","MK88360 \nCABINET Oak, oil\nMK40880 \nBOOKCASE Oak, oil\nMK95800 \nBOOKCASE Oak, oil\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.93.png","180\n181\nThough its stylish exterior exudes modern simplicity, a closer look at Hans J. Wegner’s \n1959 credenza reveals multiple sophisticated features.\nCH825\nA range of materials combined with sophisticated construction and considered  \nfunctionality make this credenza an appealing focal point in any room.\nOriginally one of a series of three credenzas, the CH825 \nbecame a coveted item at auctions, valued for its style and \nfunctionality. In 2014, Carl Hansen & Søn relaunched the \ndesign based on Wegner’s original drawings to commemorate \nthe 100th anniversary of Wegner’s birth.\nThe credenza offers an ideal surface for artistically arranging \nfavorite objects, with plenty of additional storage space \nbehind the elegant roller shutter doors. The interior features \nadjustable shelves and pullout drawers and is designed to \nenable simple installation of additional drawers.\nThe credenza can be mounted on round legs in solid wood or \non steel loops, which are also used in Wegner’s CH100 series. \nThe various options allow the CH825 to be matched to a wide \nrange of design styles and settings.\nCH825 CREDENZA \nBODY Walnut, oil FRAME Walnut, oil\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.94.png","182\n183\n Desks,\nChildren’s Furniture\n& Rugs\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.95.png","184\n185\nPK52 \u002F PK52A  \nPROFESSOR & STUDENT DESKS\nThe PK52 Professor Desk, together with the smaller PK52A Student Desk, designed for  \nthe Royal Danish Academy of Fine Arts, established Poul Kjærholm’s reputation for uniting  \nthe best of traditional craftsmanship and industrial design.\nDESKS\nPK52 PROFESSOR DESK \nTABLETOP Oak, oil DRAWER Oak, black FRAME Black-lacquered steel \nPK52A STUDENT DESK \nTABLETOP Oak, black FRAME Gray-lacquered steel\nThe Academy needed a number of tables for lecturers \nand students, and Kjærholm, who had recently joined the \nacademic staff, designed a pair of bespoke tables for the \noccasion: the larger Professor Desk and more compact \nStudent Desk.\nDrawing on his cabinetmaking experience, Kjærholm  \ndeveloped a new table structure that showcased his mastery \nof steel and wood. Metal ferrules separate the steel and \nwood to lend these desks a dynamic, light appearance and  \nhighlight his signature ability to unite traditional \ncraftsmanship and industrial design. \nBoth desks offer reversible tabletops, allowing the user \nto work on both sides – or use one side for work and the \nother for meals. \nThey embody the lightness and simple, geometric elegance \nfor which the designer became renowned and established \nKjærholm’s pioneering role in Danish functionalism. \nThey also confirmed his position as one of the world’s leading \nfurniture designers.\nAn optional drawer in both desks offers elegant storage \nspace, and both can easily double as dining tables.\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.96.png","186\n187\nCH110\nHans J. Wegner’s CH110 desk was, \naesthetically speaking, a significant departure \nfrom the master’s usual style.\nDESKS\nCH110 WRITING DESK \nTABLETOP Oak, oil FRAME Stainless steel \nCH111 CHAIR \nSEAT + BACK Thor 301 leather FRAME Stainless steel\nIn 1970, Wegner came up with an exclusive office concept \nconsisting of a desk, an accompanying chair, and an easy \nchair. The series represented some of Wegner’s finest  \n– and most distinctive – steel-framed furniture. \nThe desk in particular introduced a new and unexpected \nbalance between the slender industrial legs and the sizeable \nwood tabletop that lightly rests upon them. Merging function \nand form with his trademark detail-oriented approach, \nWegner equipped the desk with long, sleek drawers finished  \nwith dovetail joints and small yet bold stainless steel handles. \nThe drawers are, of course, thoughtfully designed with \nflexible interior compartments.\nA part of Wegner’s CH100 Series, whose relaunch began in \n2008 in celebration of Carl Hansen & Søn’s 100th anniversary, \nthe CH110 desk was put back into production in 2011.\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.97.png","188\n189\nCH410 \u002F CH411  \nPETER’S CHAIR & TABLE\nDesigned as the perfect gift decades ago, \nthis furniture set continues to offer children the \nultimate combination of usefulness and fun.\nCH410 PETER’S CHAIR \nBeech, untreated\nCH411 PETER’S TABLE \nBeech, untreated\nProcuring quality gifts in wartime Europe was no easy \nfeat. So when Hans J. Wegner failed to find a suitable \nchristening gift for Peter, the son of his friend and fellow \nfurniture designer Børge Mogensen, he took matters \ninto his own hands.\nAn accomplished cabinetmaker, Wegner conceived and built \na simple yet ingenious table and chair set that would function \nas both a functional object and an engaging toy. Designed as \na life-size 3D puzzle, the chair and table are easily assembled \nwithout the use of tools. There are no sharp edges. And \nall pieces are crafted from untreated beech, making them \ncompletely safe for children of all ages.\nSince going into production in 1944, Peter’s Chair and Table \nset has remained a cherished classic.\nCHILDREN’S FURNITURE\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.98.png","190\n191\nMK99190 GRANDCHILD CHAIR \nSEAT + BACK Natural canvas FRAME Beech, oil\nCHILDREN’S FURNITURE\nMK99190  \nGRANDCHILD CHAIR\nNearly three decades after the unveiling of his  \niconic Folding Chair, Mogens Koch created a children’s version  \nof the director chair-inspired design. \nLike its adult-size counterpart, the smaller 1960 version \noffers exceptional stability. Indeed, part of what drew Koch \nto the director chair concept was the fact that sitting in the \nchair gives it stability – an especially important safety and \ncomfort feature for children. Thanks to the smart folding \nmechanism with sliding brass rings, the chair is easy to \nfold up for storage. And like its parent design, the timeless \nGrandchild Chair lasts for generations, its exquisite materials \ngrowing even more beautiful over time.\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.99.png","192\n193\nNUP004 WOODLINES \nRUG Black with white stripes\nMK10040 LOUNGE CHAIR \nSEAT + BACK Sif 98 leather FRAME Oak, oil\nMK10041 SOFA \nSEAT + BACK Sif 98 leather FRAME Oak, oil \nNAJA UTZON POPOV RUGS\nNUP003 \u002F NUP004 WOODLINES\n BOTANICA \u002F OCEANIA\nSince Carl Hansen & Søn joined hands with Naja Utzon Popov in 2015,  \nthe multidisciplinary artist has brought new dimensions to the collection with  \nnature-inspired rugs that unite compelling visuals and luxurious textures.\nWOODLINES\nBased on reflective study of the intrinsic poetry of natural \nmaterials, the WOODLINES collection zooms in on wood \ngrain to explore its graphic composition. The characteristic \nlinear pattern emerges as a symbol of the simple, beautiful \nessence of a material central to the Carl Hansen & Søn story. \nThe soft, tightly hand-knotted wool rugs are available in \nseveral combinations of black, white, and charcoal gray.\nBOTANICA\nNaja Utzon Popov found inspiration for the Midori and Kiri rugs \nof her BOTANICA collection in the peaceful, natural  \nenvironments of Japanese Zen gardens and Danish forests, \nas well as in the swaying movements of the traditional \nChinese dragon dance. Rendered in a palette of gray, \nbrown, beige, and green, with hints of lilac or pink, the soft, \nluxurious rugs are hand-tufted from wool and sustainable \nTencel® derived from beech tree fibers.\nOCEANIA\nIn the OCEANIA collection, Utzon Popov ushers us toward \nthe open sea. Both the Coral and Seabed variants reference \nthe vibrant, mysterious underwater universe, with the \nsoft, tactile materials and subdued color palettes evoking \na meditative mood and a sense of connection to the earth. \nOCEANIA rugs are hand-tufted from wool and sustainable \nTencel® derived from beech tree fibers, resulting in a \nsilky finish.\n",99,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.100.png","194\n195\nNUP008 OCEANIA CORAL \nRUG Jade green, gray\nCH327 DINING TABLE \nTABLETOP + LEGS Oak, oil\nCH23 DINING CHAIR \nFRAME Oak, oil BACK Walnut, oil SEAT Natural paper cord\nNUP007 BOTANICA KIRI \nRUG Green, gray \nCH25 LOUNGE CHAIR  \nFRAME Oak, soap SEAT + BACK Natural paper cord \n",100,{"image":414,"text":415,"number":416},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.101.png","196\n197\nINTRODUCING\nOUR DESIGNERS\nA Story of Creativity and Collaboration\nSpanning over 100 years, Carl Hansen & Søn’s collection of iconic design  \nis a testament to timeless values and aesthetics – and the power of innovative  \nthinking to enhance our lives and the spaces we inhabit.\nIllustrations by Anna Topuriya\nOur story began in 1908 with a clear purpose: to create \nmeaningful design rooted in deep respect for natural  \nmaterials and uncompromising craftsmanship. That \ntradition has since grown through the work of pioneering \ndesigners with a passion for pushing the boundaries of \nform and elevating function.\nToday, the Carl Hansen & Søn collection covers the entire \nGolden Age of Danish Design, which began with the first \nmodern Danish design classic: the 1914 Faaborg Chair \ndesigned by Kaare Klint, the father of modern Danish furniture \ndesign. Representing the entire evolution of Danish Modern, \nour collection of icons then extends into the present day, to \nnew designs created by contemporary visionaries.\nThe work of Hans J. Wegner, a student of Klint’s and one \nof the greatest and most prolific designers of all time, has \nplayed an integral role in the Carl Hansen & Søn story. \nVirtually unknown when he entered into his first partnership \nwith Carl Hansen & Søn in 1949, Wegner developed an \nexclusive collection of masterpieces for the company – \nincluding the now-iconic Wishbone Chair, which we have \nmanufactured continuously ever since. We also represent \nthe epoch-defining masters Ole Wanscher, Mogens Koch, \nPoul Kjærholm, Frits Henningsen, Mogens Lassen, and \nthe Axel Bender Madsen and Ejner Larsen duo, whose work \ncontinues to inspire contemporary architects, furniture \ndesigners and cabinetmakers. Their legacies live on \nthrough such modern-day masters as the internationally \nacclaimed architect Tadao Ando, who created the sculptural \nDream Chair, and the Austrian design trio EOOS, who \nconceived the irresistible Embrace Series. \nMultidisciplinary Danish artist Naja Utzon Popov adds new \ndimensions to our collection with luxurious rugs, Danish \ndesigner Anker Bak solves real-life challenges with an intuitive \ngrasp of materials and craftsmanship, and Strand + Hvass, \nThomas Kastholm and Morten Gøttler add bold new chapters \nto a tradition of thoughtful simplicity and comfort.\nOur vision of becoming the ultimate destination for the most \niconic modern furniture is attainable only through close \ncollaboration with exceptional creative minds who celebrate \ntrue craftsmanship. This philosophy has defined  \nCarl Hansen & Søn for generations, and will continue to \nguide us as we work together to create tomorrow’s classics.\n",101,{"image":418,"text":419,"number":420},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.102.png","198\n199\nAmong Danish furniture designers, Hans J. Wegner is  \nconsidered one of the most creative, innovative and prolific. \nOften referred to as the master of the chair, he designed \nmore than 500 – many of them considered masterpieces.\nWegner was part of the spectacular generation that created \nthe first wave of Danish Modern design. “Many foreigners \nhave asked me how we made the Danish style,” Wegner once \nsaid. “And I’ve answered that it was rather a continuous  \nprocess of purification, and for me of simplification, to cut \ndown to the simplest possible elements of four legs, a seat, \nand combined top rail and armrest.”\nThe core of Wegner’s legacy is his focus on bringing the inner \nworkings – the soul – of the furniture to the exterior, where \nthe simplicity and functionality can be appreciated. \nThe son of a cobbler, Wegner was born in 1914 in Tønder, a \ntown in southern Denmark. He began his apprenticeship with \nDanish master cabinetmaker H. F. Stahlberg when he was \njust 14 years old. Three years later he moved to Copenhagen \nand attended the School of Arts and Crafts from 1936 to 1938 \nbefore setting out as a designer.\nIn 1940, Wegner joined architects and designers  \nArne Jacobsen and Erik Møller in Aarhus, working on  \nfurniture design for the new Aarhus City Hall. That same \nyear, Wegner began collaborating with master cabinetmaker \nJohannes Hansen, who was a driving force in bringing new \nfurniture design to the Danish public.\nWegner’s background as a cabinetmaker gave him a  \ndeep understanding of how to integrate exacting joinery  \ntechniques with exquisite form. His aesthetics were also \nbased on a deep respect for wood and its characteristics, \nHANS J. WEGNER\n1914 — 2007\nand on an abiding curiosity about other natural materials \nthat enabled him to bring an organic, natural softness to \nformalistic minimalism.\nWegner established his own design office in 1943, and  \ndesigned his first chair for Carl Hansen & Søn in 1949. His \nCH24 chair, or the Wishbone Chair, became an immediate \nsuccess and has been in production at Carl Hansen & Søn \never since.\nOver the course of his career, Wegner received almost all \nmajor recognitions awarded to designers, including the  \nLunning Prize, the Grand Prix of the Milan Triennale,  \nSweden’s Prince Eugen Medal, and the Royal Danish Academy \nof Fine Arts’ Eckersberg Medal. \nWegner was also named Honorary Doctor of the Royal  \nCollege of Art and Honorary Royal Designer for Industry  \nof the Royal Society of Arts in London. \nAlmost all of the world’s major design museums, from the \nMuseum of Modern Art in New York to Die Neue Sammlung  \nin Munich, include his furniture in their collections.\nKAARE KLINT\n1888 — 1954\nOLE WANSCHER\n1903 — 1985\nRecognized as the father of modern Danish design, Kaare Klint \nmade a name for himself as a furniture designer, educator and \nvisionary. He designed icons such as the 1914 Faaborg Chair \nand the 1933 Safari Chair, as well as the design for the Danish \nPavilion at the 1929 Barcelona International Exposition.\nAs the son of architect, Peder Vilhelm Jensen-Klint, \nKaare Klint was immersed in architecture from an early age, \nbut made his mark on Danish design history as a furniture \ndesigner. In 1924, he helped establish the Department of \nFurniture Design at the Royal Danish Academy of Fine Arts. \nAs associate professor and later professor, he inspired some \nof the greatest Danish furniture designers and architects – \nincluding Hans J. Wegner, Mogens Koch, Arne Jacobsen and \nPoul Kjærholm – who would continue shaping the Golden Age \nof Danish design from the early 1940s. \nToday, Klint is regarded as a reformer. As one of the first \ndesigners to put functionalism and the practical study of \narchitecture and furniture design principles above style, he \nredefined a period otherwise characterized by style-focused \nacademic teaching. Klint had an outstanding sense of space \nand proportion, and created “human furniture” based on \nstudies of the human body. He studied an object’s uses over \nits form, and renewed Danish furniture design by refining \ntradition and developing objects perfectly in relation to their \nprimary purpose. Klint was also aware of designs’ relationship \nto its environment, insisting his pieces never dominate a \nspace, but unite form and function for a greater whole. \nIn all his work, he insisted on clear, logical design, clean \nlines, the best materials, and superb craftsmanship. Klint \nearned many accolades, including the Eckersberg Medal in \n1928 and the C.F. Hansen Medal in 1954. In 1949, he became \nan Honorary Royal Designer for Industry in London.\nOle Wanscher was closely linked with Kaare Klint and the \ncore aesthetic and functional ideas of modern Danish design. \nWanscher studied under Klint at the Royal Danish Academy \nof Fine Arts and later worked at Klint’s design studio before  \nbecoming an independent furniture designer. He helped \nshape Danish furniture design as a designer and as an educator \nwhen he took over Klint’s professorship at the Academy.\nWanscher’s classic and contemporary designs made him \npopular. In 1958, the Danish newspaper Politiken wrote: \n“Owning a Wanscher chair is an adventure every day, and will \nbe so even several hundred years from now, for this is how \nlong it lasts.” Today, his modern classics are still revered for \ntheir detail and his deep respect for materials.\nWhile traveling through Egypt and Europe, Wanscher  \nstudied furniture design, finding inspiration in varied visual \nexpressions that he incorporated into his own unique design \naesthetic. He viewed furniture design as a branch of  \narchitecture and emphasized slim dimensions and resilient \nforms – a quest exemplified in many of his works, particularly \nthe Colonial Chair and Colonial Sofa. Wanscher created his \nbest-known designs primarily between the late 1940s and \nearly 1960s, in the post-war era when the “design for everyone” \nphilosophy emerged. In Denmark, some of design’s biggest \nnames created functional and affordable furniture for the \nDanish people and the small spaces they lived in. Wanscher \ntook great interest in industrially produced yet high-quality \nfurniture, designing several successful pieces.\nWanscher’s design earned him numerous accolades, \nincluding the Copenhagen Carpenters’ Guild Annual Award \nand the gold medal at the Milan Triennale in 1960 – honors \nthat underscored Wanscher’s esteemed reputation both in \nDenmark and internationally.\n",102,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.103.png","200\n201\nMOGENS KOCH\n1898 — 1992\nFRITS HENNINGSEN\n1889 — 1965\nPOUL KJÆRHOLM\n1929 — 1980\nEJNER LARSEN\n1917 — 1987\nAKSEL BENDER MADSEN\n1916 — 2000\nMogens Koch’s designs reveal some of the most elegant \nand important solutions to the requirements of function, \ncomfort and aesthetics. His works – which included homes, \nmonuments, building extensions, graphic design, and objects \nfor the home and, of course, furniture – stand out as original \nexamples of universal utility. \nFrom 1925 to 1932, Koch experienced the principles of \nDanish functionalism in a number of design studios – including \nKaare Klint’s. Koch’s patient study, analytical mind and \ncreative spirit resulted in functional solutions, showing a \nclear simplicity of form that respected and built on the work \nof previous generations. A focus on essential structural \ncomponents and mathematics also played key roles in Koch’s \nprocess. Traditional ornamentation and decoration for its \nown sake were not part of Koch’s vernacular – an object’s \npurpose led the way. \nIn his search for meaning and mathematical order, Koch  \ndeveloped the modular concept for one of his major design \nsuccesses: his Bookcase System, with dimensions based on \nthe most common book heights. His Folding Series is similarly \nrenowned for its versatility, detail, and functionality based on \neveryday needs and the space constraints of modern living.\nThe Bookcase System design – initially developed for Koch’s \nown home – offered a highly flexible, practical storage solution. \nIn 1928, he drew the first sketches for the core square \nmodule, offering a minimalist aesthetic and intelligent, \nvaried storage. Following Klint’s ideologies, Koch’s Bookcase \nSystem has succeeded in bringing everyday home objects \ninto graphic order for over 80 years. Koch was an influential \nprofessor at the Royal Danish Academy of Fine Arts in Copen-\nhagen from 1950 until 1968. His numerous awards include \nthe Eckersberg Medal in 1938, the C. F. Hansen Medal in 1963, \nand the ID Prize in 1992. \nRenowned as an uncompromising designer, Frits Henningsen \nviewed quality craftsmanship as essential, and unlike most \ncabinetmakers, always designed his own furniture pieces.\nIn 1911, at age 22, Henningsen completed his cabinetmaker \napprenticeship with one of the most recognized cabinetmakers \nof his day, I.P. Mørck. He then traveled around Europe to \ngather experience and inspiration, working in Germany, \nFrance and Great Britain before returning to Copenhagen \nin 1915. He opened his own furniture shop, drawing on \ncustomer input to better understand demand and improve \nproduction processes. \nAs a member of the Copenhagen Cabinetmakers Guild, \nHenningsen became a major driver of the furniture exhibitions \nof the period, gaining recognition for his perfectionist style \nand vibrant personality. His designs reinterpreted traditional \nexpressions from other style periods with a modern and \norganic flavor. He drew inspiration from the French Empire, \nrococo, and British 17th-century furniture. Henningsen was \ngreatly influenced by Kaare Klint, one of his teachers at \ntechnical college. The competition that arose between them \nled to a constant renewal and reinterpretation of furniture \ncraftsmanship on both sides.\nFor Henningsen, it was the furniture item – not its creator – \nthat deserved center stage. This was one of the main reasons \nhis designs never achieved the same popularity as those of \nsome of his contemporaries. Henningsen’s more functional \ndesign style developed from historically inspired to simpler, \ntimeless work that remains relevant today. Like the work of \nKaare Klint and Ole Wanscher, Henningsen’s oeuvre is rooted \nin classic craftsmanship with a design expression that has \nbroad appeal – a combination embodied in his Heritage Chair \nand his final design, the Signature Chair.\nThrough his influential work as an architect and a teacher, \nPoul Kjærholm became an international design figure and \nkey representative of modernism. He combined his strict, \nmodern idiom with an uncompromising approach to quality \nand materials rooted in Danish craftsmanship traditions. \nDespite his short career as a furniture designer, Kjærholm’s \nexquisite craftsmanship and clear expression resulted in \ntimeless designs whose influence extended globally and well \nbeyond his own lifetime. \nKjærholm became known for his functionalist steel, leather \nand glass furniture. After training as a cabinetmaker, he studied \nfurniture design at the Royal Danish Academy of Fine Arts in \nCopenhagen, graduating in 1952. He returned as a lecturer in \n1955, succeeding Ole Wanscher as professor in 1976. He stayed \nat the Academy until his death in 1980, influencing through \nhis work and teaching both within and outside the Academy. \nJust like Kaare Klint, Kjærholm removed superfluous \nornamentation in favor of clarity and function – the \nhallmarks in his work as both an educator and a designer. \nHe avoided easy solutions and fads in his search for each \nmaterial’s own language. Kjærholm’s linear aesthetic and \nexpression were influenced by global pioneers such as Gerrit \nRietveld, Mies van der Rohe and Charles Eames. \nIn the post-war, industrial years, Kjærholm distanced himself \nfrom the rounded, organic shapes of contemporary Danish \ndesign. He felt that Denmark could only industrialize production \nif its products were technically superior to their traditionally \ncrafted counterparts – he sought new ways to unite tradition \nand innovation. Kjærholm’s furniture is represented in many \ninternational museums, including the Museum of Modern Art \nin New York. His awards include the Lunning Award in 1958, \nthe Eckersberg Medal in 1960, and multiple ID Prizes.\nEjner Larsen and Aksel Bender Madsen, trained as furniture \nupholsterer and cabinetmaker, respectively, met while studying \nunder leading Danish designer Kaare Klint at the Royal Danish\n Academy of Fine Arts. \nTheir acquaintance developed into a lifelong friendship, and \nin 1947 they began designing together in their spare time. \nThey jointly exhibited furniture every year thereafter at the \nCopenhagen Cabinetmakers’ Guild Exhibition.\nWhile the chair was the duo’s favorite furniture piece, they \nalso designed complete lounge sets, bedroom suites, \nbookshelves, dining tables and office furniture. The resulting \nwork was always simple and timeless. Together, Larsen and \nBender Madsen designed approximately 300 works, of which \nthe Metropolitan Chair is considered the most significant. \nThe duo’s work has been exhibited within Denmark and \ninternationally, including at La Triennale in Milan, Italy, at the \n“Design in Scandinavia” and “The Arts of Denmark” exhibits \nin the USA, and at the Gewerbemuseum (Museum of Applied \nArts and Design) in Bern, Switzerland.\nSeveral of their works have also been purchased by museums \naround the world, including the Louisiana Museum of Modern \nArt in Denmark, the Metropolitan Museum of Art in New York, \nthe Busch-Reisinger Museum of the Harvard Art Museums \nin Boston, and several museums in Japan. Bender Madsen \nand Larsen were awarded the Copenhagen Cabinetmakers’ \nGuild annual prizes in 1956 and 1961, as well as several other \nawards in furniture and art competitions.\n",103,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.104.png","202\n203\nTADAO ANDO\nBorn 1941\nMOGENS LASSEN\n1901 — 1987\nEOOS\nMartin Bergmann — Born 1963\nGernot Bohmann — Born 1968\nHarald Gründl — Born 1967\nNAJA UTZON POPOV\nBorn 1973\nAcclaimed Japanese architect Tadao Ando bases his work \non a strong personal design philosophy that joins Japanese \ndesign traditions with modern Western expression. Born in \nOsaka, Japan, Ando’s interest in design began early on as an \napprentice with a local carpenter at the age of 10. He learned \nto explore wood’s many possibilities by building model \nairplanes and ships. His approach to learning was unusual \nin that he preferred to work independently, without input \nfrom his employers. \nAndo’s interest in architecture began at the age of 15 when he \npurchased a book of sketches by design pioneer, Le Corbusier. \nToday, Ando is still inspired by him and often evaluates his \nown projects in relation to Le Corbusier’s approach. Ando \nis also strongly inspired by Danish design culture and the \nScandinavian design philosophy – his style is minimalistic and \ninnovative, with a focus on functionality. His work embodies \nthe Japanese tradition of living simply and in harmony with \nnature – a cornerstone of the Scandinavian lifestyle.\nThe architect has great respect for Hans J. Wegner and has \nfrequently used his furniture in his architecture projects. Ando \nproduced his Wegner-inspired Dream Chair in collaboration \nwith Carl Hansen & Søn, relying on century-long tradition of \ncraftsmanship to fulfill his demands for perfection.\nAndo has been responsible for over 150 construction projects \nof various sizes in Japan and internationally, including the \nAzuma building in Osaka, Chichu Art Museum in Naoshima, \nthe Pulitzer Foundation for the Arts in St. Louis, and the \nTeatro Armani in Milan. His original works have earned him a \nnumber of prestigious awards, including the Carlsberg Prize \nin 1992, the Pritzker Architecture Prize in 1995, the Premium \nImperiale Award in 1996, and the Royal Institute of British \nArchitects Gold Medal in 1997.\nThe work of architect Mogens Lassen, one of the pioneers of \nfunctionalism in Denmark, was rooted in cubist architectural \nideals deeply inspired and influenced by Le Corbusier. Although \nLassen’s primary focus was architecture – he designed villas, \nhigh-rise buildings, sports complexes and shop interiors – he \nalso created significant furniture and home accessory designs.\nAfter training as a bricklayer from 1919 to 1923, Lassen \nattended the Royal Danish Academy of Fine Arts’ School of \nArchitecture. He also trained at a number of drawing offices, \nincluding that of Danish architect Tyge Hvass from 1925 to 1934. \nLassen’s sojourn in Paris from 1927 to 1928 sparked the \narchitect’s interest in Le Corbusier’s ideas about rethinking \nhome interiors, for instance by adding mezzanine floors \nin high-ceilinged rooms. Applying a similar, experimental \napproach, Lassen designed homes whose rooms were \nshaped by both function and the daylight flooding in through \nthe windows, and where outdoor spaces were just as carefully \ndesigned as the interiors. \nLike his architecture, Lassen’s furniture designs showcased \nhis interest in diverse materials and his ability to express his \nideas through both natural and man-made materials. \nHis simple, functional wooden furniture, like the folding \nEgyptian Table, have gone on to become furniture classics, \nwhile his 1930s works in steel continue to serve as original \nexamples of the innovations of international modernism.\nAs an exhibition architect for the “Permanent Exhibition of \nDanish Applied Arts and Industrial Design” in Copenhagen \nfrom 1939 to 1967, Lassen was behind a number of exhibitions \nwhose style of presentation helped Danish applied art win \ninternational recognition. In 1971, the Royal Danish Academy \nof Fine Arts awarded Lassen the C.F. Hansen Medal for his \noutstanding contribution to architecture.\nSculptor, textile designer and ceramicist Naja Utzon Popov \nwas born in Copenhagen, Denmark, into a family of artists. \nShe inherited her creative genes from her grandfather, \nJørn Utzon, a Danish architect known for designing the iconic \nSydney Opera House in Australia; her mother, the esteemed \nDanish artist Lin Utzon; and her father, the acclaimed \nAustralian architect Alex Popov.\nUtzon Popov’s childhood years in Denmark have always been \nan important source of inspiration for her work, as have the \nyears she spent studying drawing, painting and etching at the \nJulian Ashton Art School in Australia.\nAfter moving to England, Utzon Popov continued her formal \nartistic training at the University of Westminster School of \nMedia Arts and Design. Today, she is back in her native \nDenmark, where she works out of her studio in Copenhagen.\nUtzon Popov’s life-long exposure to contemporary design \nfinds expression in her work, where she translates her \nencounters with nature into textiles, glassware, ceramics \nand sculptures.\nThe approach has been highly successful. Utzon Popov’s \ndesigns were well received at the International Contemporary \nFurniture Fair in New York, and her large-scale clay \ninstallation for the event was acquired by the iconic SAKS \nFifth Avenue department store.\nUtzon Popov’s glass and ceramic designs can be seen around \nthe world, including in the Feng Sushi restaurant chain in \nLondon and the Galeria Kunstmann in Mallorca.\nEOOS, an Austrian design collaborative established in \n1995 in Vienna by Martin Bergmann, Gernot Bohmann, and \nHarald Gründl, consider design a poetic discipline whose \nend result should always accommodate the user’s changing \nneeds and desires.\nThe trio founded EOOS after graduating from the University \nof Applied Arts in Vienna. Today, the internationally \nrenowned collaborative approaches complex furniture, \nproduct and shop design challenges by examining past roots \nin a contemporary context. Termed Poetical Analysis®, \nEOOS’s unique process focuses on myths, rituals and\nintuitive expressions, creating connections that extend \nbeyond initial perceptions. \nCarl Hansen & Søn’s collaboration with EOOS evolved from a \nmutual respect for craftsmanship, quality and design. EOOS’s \nprogressive design approach enabled Carl Hansen & Søn to \nfurther develop and explore its own design DNA and introduce \na new aesthetic to its range.\nEOOS’s writing on style and design includes “The Death of \nFashion” and “The Cooked Kitchen: A Poetical Analysis”. In \n2015, the Austrian Museum of Applied Arts\u002FContemporary Art \ncelebrated EOOS’s work with their first major solo exhibition.\nEOOS designs for many of the world’s best-known brands. \nThe trio has published books on design, holds over 15 technical \npatents, and has won over 130 international awards, including \na red dot award, a Compasso d’Oro, the German Design Award, \nan iF Award, and a Wallpaper* Design Award.\n",104,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.105.png","204\n205\nTHOMAS BO KASTHOLM\nBorn 1963\nANKER BAK\nBorn 1983\nSTRAND + HVASS\nChristina Strand — Born 1968 \nNiels Hvass — Born 1958\nMORTEN GØTTLER\nBorn 1944\nFollowing in the footsteps of his father, designer  \nJørgen Kastholm, Kastholm studied interior design at the \nDanish Design School, graduating in 1989. After completing \nhis studies, Kastholm launched his own career, working for \nstudios in Denmark and Germany. \nHis collaboration with Carl Hansen & Søn began in 2009 \nwith the design of the TK8 Daybed. For this piece, he started \nwith the materials he knows and loves best: steel and leather. \n“I wanted to create a bench with simple, honest lines”, \nKastholm explained. “The materials should speak for \nthemselves and this happens best when the design is clear \nand straightforward”.\nThe TK8 Daybed, with its close ties to the core principles of \nclassic, modern Danish design, achieved the simplicity and \nclarity Kastholm strived for and became an instant success.\nDrawing on his unconventional background and personal \ndesign approach, Anker Bak pushes conceptual and physical \nboundaries via quality materials, sublime craftsmanship \nand ingenious functionality. He creates design that makes a \ndifference in people’s lives and meets real needs. \nBak’s creative path began as a child when he started carpentry \nlessons as an artistic outlet to help him focus in school. In his \ngrandfather’s workshop in Sweden, his ability to work with \nhis hands and wood became apparent. He was later educated \nat a boatyard, producing specialty fittings for yachts. He \nqualified as a cabinetmaker, winning a silver medal. After his \napprenticeship, Bak went traveling to pursue his passion for \nalpine climbing. He began to study production technology, \nworking with different designers and within different industries. \nUltimately though, it was woodwork and cabinetmaking that \nwon Bak over. After six months in a carpentry workshop in \nHawaii, he returned to Denmark, and got a Bachelor’s degree in \nfurniture design from VIA University College in Denmark.\nThe unorthodox designer gained attention after revitalizing \nthe concept of a standard crutch. He created a form-pressed \nwooden crutch when his 91-year-old grandmother needed \nsome support when out socializing. Bak later developed the \nRocking Nest Chair in collaboration with Carl Hansen & Søn \nwhen his sister needed a comfortable place to relax with \nher newborn baby. This design with its distinct, minimalist, \nfolding form demonstrates Bak’s understanding of materials, \nfunction and aesthetics, as well as society’s changing needs. \nBak was named the Danish Champion in cabinetmaking in \n2002. He won the Danish Design Talent title in 2014, and is the \nwinner of Next Project in 2015. He has also received grants \nfrom The National Bank of Denmark’s Anniversary Foundation, \nthe Danish Trade Council’s Foundation, and the Danish Arts \nFoundation, among others.\nBorn in Copenhagen and originally trained in shipping, \nMorten Gøttler became a self-taught designer and architect \nrecognized for his exceptional understanding of wood. \nAfter working with product development and design for a \nnumber of companies, Gøttler opened his own design studio \nin 1972. He has since worked in a wide range of genres, \nincluding domestic art, packaging, toys, graphics and lighting \nfor Danish and international companies. \nIn 1984, Gøttler decided to focus primarily on furniture \ndesign, using an approach rooted in the modern Scandinavian \ndesign tradition and the firm belief that innovation is the \nfoundation for successful design.\nGøttler’s clean, easy aesthetic characterized by carefully \nconsidered form, exquisite comfort, and close attention to \ndetail – all brought to life using high-quality materials.\nThe Strand + Hvass duo is part of a new breed of Danish \ndesigners whose work continues in a direct line from their \ncelebrated predecessors.\nIndustrial designer Christina Strand and architect \nNiels Hvass founded their Copenhagen-based design firm \nin 1998 to unlock the potential of two minds working \ntogether to create truly innovative, purposeful solutions \nto universal design challenges.\nTheir mutual design philosophy is user-centered, deeply \nrooted in Scandinavian culture, and based on research and a \nstrong emphasis on function. This has resulted in simple and \ncomprehensible furniture that conveys a deep understanding \nof the potential of various materials.\nStrand + Hvass focus on simplicity, superior quality, and \nthe combination of uniqueness and industrial production \nto create the modern classics of tomorrow. With the \nExtend Table design, Strand + Hvass infused the modern \nDanish furniture tradition with a bold new expression.\n",105,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.106.png","207\nILLUSTRATED GUIDE\nPRODUCTS\nA complete overview and useful reference for every piece  \nof Carl Hansen & Søn furniture. Explore every detail, \nfind every measurement and choose the perfect materials to create \nthe right look, proportion and atmosphere in any space.\n",106,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.107.png","54\n53\n50,3\n55\n59,2\n55\n46\n49\n50,3\n48\n51,9\n51\n1:10\n78,6\n50,3\n44,5\n50,3\n 50,3\n1:10\n78,6\n50,3\n44,5\n50,3\n 50,3\n46\n44\n71,5\n73\n81\n52\n39\n55\n58\n57\n55\n48\n36\n51\n50\n44,5\n51\n52\n48\n81\n45\n48\n52\n48\n81\n45\n48\n45\n68\n44\n81\n76\n79\n69\n44,5\n44\n44,5\n45\n71\n78,6\n74\n79,8\n76\n45\n44,5\n44\n68\n79\n81\n76,5\n53 \n49 \n81 \n44 \n49\n53 \n49 \n81 \n44 \n49\n74\n44 \n55 \n48 \n48\n74\n44 \n55 \n48 \n48\n55\n79\n69\n44\n51\n55\n79\n69\n44\n51\n55 \n51 \n79 \n44 \n51 \n55 \n51 \n79 \n44 \n51 \n76\n46\n39\n36\n68\n46\n36\n36\n1:10\n1:10\n76,5\n44,5\n57\n44,5\n1:10\n1:10\n76,5\n44,5\n57\n44,5\n61\n48\n52\n58\n59\n55\n48,5\n52\n54\n55\n45\n45\n45\n45\n63,5\n84,5\n84,5\n88\n79\n58\n50\n70\n50,4\n54\n50\n54,5\n47,4\n45\n45\n88\n87\n46,5\n85\n44\n47\n73\n76,9\n85\n67\n46\n59\n55\n52\n85\n67\n46\n59\n55\n52\n87\n46\n50\n50\n1:10\n51,7\n76,9\n47\n47,4\n50,4\n50,8\n1:10\n51,7\n76,9\n47\n47,4\n50,4\n50,8\n87\n46\n50\n50\n208\n209\nCHAIRS\nAll measurements in cm.\nCH20 Elbow Chair\nBeech or oak\nCH29\nBeech or oak\nCH23\nOak or walnut\nCH33\nBeech, oak or smoked oak\nCH26\nOak or walnut\nCH24 Wishbone Chair\nAsh, beech, oak, smoked oak, \ncherry or walnut\nHans J. Wegner 1956\np. 55\nHans J. Wegner 1952\np. 60\nHans J. Wegner 1950\np. 41 \u002F 42 \u002F 43 \u002F 194 \nHans J. Wegner 1957 \np. 56 \u002F 89\nHans J. Wegner 1950\np. 44 \u002F 47 \nHans J. Wegner 1950\np. 36 \u002F 37 \u002F 38 \u002F 78 \u002F 86 \nCH36\nBeech or oak\nCH56, CH58\nOak or walnut\nCH46\nOak\nCH37\nBeech or oak\nCH88\nBeech, oak or smoked oak\nCH47\nOak\nHans J. Wegner 1962\np. 59 \u002F 81\nHans J. Wegner 1985 \np. 74\nHans J. Wegner 1965\np. 63\nHans J. Wegner 1962\np. 59\nHans J. Wegner 1955\np. 49 \u002F 50 \u002F 51 \u002F 82 \u002F 90 \nHans J. Wegner 1965\np. 63\nCHAIRS\nCH111\nStainless steel\nKK39490 Red Chair \u002F small\nOak or walnut\nKK39490 Red Chair \u002F medium\nOak or walnut\nKK39490 Red Chair \u002F large\nOak or walnut\nE005 Embrace Chair\nOak or walnut\nHans J. Wegner 1970\np. 186\nKaare Klint 1928\nKaare Klint 1933\np. 73\nKaare Klint 1927\nEOOS 2015\np. 64 \u002F 66\nKK37581 Red Armchair \u002F large\nOak or walnut\nMK99200 Folding Chair\nBeech or oak\nKK96620 Faaborg Chair\nOak, mahogany or walnut\nPK1\nStainless steel\nKaare Klint 1930\np. 73\nMogens Koch 1932\np. 70\nKaare Klint 1914\np. 69\nPoul Kjærholm 1955\np. 52 \u002F 85\n",107,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.108.png","90\n90\n138\n90\n190 \u002F 248\n190 \u002F 240\n190 \u002F 240\n160\n40\n60\n190 \u002F 248\n138\n160\n49\n49\n49\n95\n95\n95\n49\n72\n72\n72\n72\n90\n90\n95\n95\n95\n90\n72\n140\n200\n240\n200\n240\n55\n60\n60\n60\n60\n60\n60\n160\n95\n72\n60\n95\n160\n95\n72\n60\n95\n160\n95\n72\n60\n95\n190 \u002F 248\n95\n72\n95\n190 \u002F 248\n95\n72\n95\n190 \u002F 248\n95\n72\n95\n140\n115\n60\n115\n72\n72\n115\n140\n115\n60\n115\n72\n140\n115\n60\n115\n72\n72\n115\n200\n115\n60\n115\n72\n200\n115\n60\n115\n72\n200\n115\n60\n115\n72\n72\n115\n115\n72\n115\n60\n240\n115\n72\n115\n60\n240\n115\n72\n115\n60\n240\n72\n51\n140\n115\n60\n72\n115\n140\n115\n60\n72\n115\n140\n115\n60\n72\n115\n72\n115\n200\n115\n60\n72\n115\n200\n115\n60\n72\n115\n200\n115\n60\n72\n115\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n240\n115\n60\n72\n115\n115\n115\n115\n115\n115\n115\n210\n211\nTABLES\nHans J. Wegner 1962\nHans J. Wegner 1962\nHans J. Wegner 1962\nHans J. Wegner 1962\nHans J. Wegner 1962\nHans J. Wegner 1962\nCH334\nOak\np. 93\nCH338\nBeech, oak or walnut\np. 50 \u002F 55\nCH336\nOak\nCH335\nOak\nCH339\nBeech, oak or walnut\np. 78\nCH337\nBeech, oak or walnut\nTABLES\nCH002\nBeech or oak\np. 82\nCH327\nAsh, beech, oak, walnut or oak \n39 \u002F 41 \u002F 49 \u002F 60 \u002F 81 \u002F 194\nCH318\nOak\np. 56 \u002F 89\nCH006\nBeech or oak\nCH322\nOak\np. 90\nHans J. Wegner 1982\nHans J. Wegner 1982\nHans J. Wegner 1960\nHans J. Wegner 1960\nHans J. Wegner 1962\nAll measurements in cm.\n",108,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.109.png","120\n190\n110\n120\n95,7\n78\n73\n69,5\n92\n71\n62\n67\n61,5\n83\n73\n45\n37\n36,8\n81\n77\n72,6\n64\n76\n94\n90\n75,1\n66\n95\n94\n90\n79,2\n39\n41\n40\n80\n102\n105\n35\n35\n74\n73\n39\n39,9\n62\n103\n85\n120\n120\n60\n120\n72\n120\n120\n60\n120\n72\n120\n60\n120\n120\n60\n120\n72\n120\n120\n60\n120\n72\n120\n72\n100\n72\n300\n190\n72\n100\n100\n72\n300\n190\n72\n100\n300\n72\n100\n100\n72\n300\n190\n72\n100\n83\n92\n83\n35\n74\n48\n78\n62\n62\n81\n45\n78\n62\n62\n81\n45\n83\n92\n83\n35\n74\n48\n71\n73\n55\n35\n73\n71\n73\n55\n35\n73\n73\n77\n61\n37\n67\n67\n73\n77\n61\n37\n67\n67\n64\n66\n80\n62\n39\n66\n64\n66\n80\n62\n39\n66\n90\n90\n103\n62\n39\n90\n90\n103\n62\n39\n94\n94\n105\n65\n40\n94\n94\n94\n105\n65\n40\n94\n79,2 cm\n31,2”\n75,1 cm\n29,6”\n85,0 cm\n33,5”\n79,2 cm\n31,2”\n1:10\n39,9 cm\n15,7”\n62,0 cm\n24,4”\n79,2 cm\n31,2”\n75,1 cm\n29,6”\n85,0 cm\n33,5”\n79,2 cm\n31,2”\n1:10\n39,9 cm\n15,7”\n62,0 cm\n24,4”\n1:10\n1:10\n76\n94\n102\n60\n41\n95\n1:10\n1:10\n76\n94\n102\n60\n41\n95\n85\n186,5\n72\n85\n186,5\n212\n213\nTABLES\nCH388\nOak\np. 86\nSH900\nOak\np. 94\nHans J. Wegner 1960\nChristina Strand and Niels Hvass 1998\nLOUNGE CHAIRS\nPK52 Professor Desk\nOak, oregon pine or laminate\np. 52 \u002F 66 \u002F 85 \u002F 185\nPoul Kjærholm 1955\nAll measurements in cm.\nAB001 Rocking Nest Chair\nOak or walnut\nCH28\nOak or walnut\nCH22\nOak or walnut\nCH07 Shell Chair\nBeech, oak, smoked oak, \nor walnut\nCH25\nOak, smoked oak or walnut\nAnker Bak 2017\np. 122\nHans J. Wegner 1951\np. 113\nHans J. Wegner 1950\np. 109 \u002F 168\nHans J. Wegner 1963\np. 98\nHans J. Wegner 1950\np. 110 \u002F 164 \u002F 195\nCH44\nOak\nFH419 Heritage Chair\nOak or walnut\nCH468 Oculus Chair\nStainless or black powder-coated steel\nCH445 Wing Chair\nStainless or black powder-coated steel\nEO15 Embrace Lounge Chair\nOak or walnut\nHans J. Wegner 1965\np. 114\nFrits Henningsen 1930\np. 117\nHans J. Wegner 1960\np. 102 \u002F 171\nHans J. Wegner 1960\np. 101\nEOOS 2016\np. 64 \u002F 121 \n",109,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.110.png","67\n50\n77,5\n57\n68,5\n65\n62,5\n69\n52\n58,8\n89\n39\n56\n57\n38\n80\n49\n72\n42\n55\n41\n47\n42,5\n34\n40,8\n102\n79,5\n80\n61\n54\n80\n65\n60\n68\n57\n65\n30\n79\n49\n86\n73\n40\n63\n57\n68\n55\n39\n45\n38\n40\n46\n76\n100\n79\n44\n37,5\n44\n37\n40,2\n78\n80\n44\n34\n46\n41\n75\n85\n1:10\n1:10\n66\n89\n101\n40\n89\n1:10\n1:10\n66\n89\n101\n40\n89\n44 cm\n17,3”\n69 cm\n27,2”\n80 cm\n31,5”\n72 cm\n28,3”\n69 cm\n27,2”\n72 cm\n28,3”\n44 cm\n17,3”\n69 cm\n27,2”\n80 cm\n31,5”\n72 cm\n28,3”\n69 cm\n27,2”\n72 cm\n28,3”\n79,5\n77,5\n77,5\n56\n42,5\n79,5\n77,5\n77,5\n56\n42,5\n76\n39\n79\n61\n79\n76\n39\n79\n61\n79\n 65\n 73\n79\n40\n 65\n 73\n79\n40\n1:10\n1:10\n65\n68\n85\nxx\n46\n68\n1:10\n1:10\n65\n68\n85\nxx\n46\n68\n39 \u002F 41\n43 \u002F 45\n39\n50\n39 \u002F 41\n43 \u002F 45\n39\n50\n1:10\n1:10\n1:10\n1:10\n38,0 cm\n15,0”\n68,5 cm\n27,0”\n40,8 cm\n16,1”\n38,0 cm\n15,0”\n1:10\n38,0 cm\n15,0”\n68,5 cm\n27,0”\n40,8 cm\n16,1”\n38,0 cm\n15,0”\n1:10\n1:10\n1:10\n40,2 cm\n15.8”\n54,9 cm\n21.6”\n58,8 cm\n23.1”\n47,5 cm\n18.7”\n42,4 cm\n16.7”\n40,2 cm\n15.8”\n54,9 cm\n21.6”\n58,8 cm\n23.1”\n47,5 cm\n18.7”\n42,4 cm\n16.7”\n1:10\n1:10\n40\n46\n60\n40\n40\n46\n60\n40\n1:10\n1:10\n41\n55\n30\n55\n1:10\n1:10\n41\n55\n30\n55\n214\n215\nLOUNGE CHAIRS\nFH429 Signature Chair\nOak or walnut\nCH53 \nBeech or oak\nLM92 \nMetropolitan Chair\nOak or walnut\nKK47000 Safari Chair\nAsh or smoked ash\nEO16 Embrace Footstool\nOak or walnut\nKK43960 Mix Chair\nOak or walnut\nCH446\nStainless or black powder-coated steel \nKK53130 Easy Chair\nOak or walnut\nFH420 Heritage Footstool\nOak or walnut\nFH430 Signature Footstool\nOak or walnut\nFrits Henningsen 1954\np. 118\nHans J. Wegner 1966 \np. 114\nLarsen and Bender Madsen 1950\np. 133 \u002F 163\nKaare Klint 1933\np. 125\nEOOS 2016\np. 64\nKaare Klint 1931\np. 129\nHans J. Wegner 1960\np. 101\nKaare Klint 1936\np. 126\nFrits Henningsen 1930\np. 117 \nFrits Henningsen 1954\nMG501 Cuba Chair\nOak\nKK87830 Propeller Stool\nAsh or smoked ash\nTA001 Dream Chair\nOak or walnut\nOW124 Beak Chair\nOak or walnut\nOW149F Colonial Footstool\nOak or walnut\nMK10040 Easy Chair 51\nOak or walnut\nKK97170 Safari Footstool\nAsh or smoked ash\nOW149 Colonial Chair\nOak or walnut\nOW2000 Egyptian Stool\nOak\nMorten Gøttler 1997\np. 134\nKaare Klint 1930\np. 130 \u002F 176\nTadao Ando 2013\np. 137\nOle Wanscher 1951\np. 106\nOle Wanscher 1949\np. 105\nMogens Koch 1936 \np. 147 \u002F 192\nMogens Koch 1933 \np. 125\nOle Wanscher 1949\np. 105\nOle Wanscher 1957\np. 155\nFOOTSTOOLS\nAll measurements in cm.\n",110,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.111.png","78\n60\n150\n124\n219\n189\n286\n254\n137\n92\n92\n61\n195\n128\n43\n43\n43\n43\n41\n41\n40\n45\n37\n44\n71\n71\n71\n71\n76\n76\n61\n61\n61\n61\n68\n68\n76\n83\n79\n75\n77\n77\n77\n77\n80\n80\n68\n68\n70\n64,5\n1:10\n1:10\n43\n61\n71\n77\n77\n78\n1:10\n1:10\n43\n61\n71\n77\n77\n78\n1:10\n1:10\n43\n61\n71\n77\n77\n78\n1:10\n1:10\n43\n61\n71\n77\n77\n78\n1:10\n1:10\n43\n61\n71\n77\n77\n78\n1:10\n1:10\n43\n61\n71\n77\n77\n150\n1:10\n1:10\n43\n61\n71\n77\n77\n150\n1:10\n1:10\n43\n61\n71\n77\n77\n286\n41\n68\n76\n80\n137\n195\n80\n76\n68\n41\n41\n68\n76\n80\n137\n41\n68\n76\n80\n137\n60\n68\n75\n44\n60\n68\n75\n44\n124\n68\n44\n85\n68\n189\n68\n44\n85\n68\n45\n83\n68\n189\n68\n44\n85\n68\n45\n83\n68\n189\n68\n44\n85\n68\n189\n68\n44\n85\n68\n254\n68\n45\n83\n68\n216\n217\nSOFAS & DAYBEDS\nCH101\nStainless steel\nCH401\nStainless steel\nCH102\nStainless steel\nCH402\nStainless steel\nCH103\nStainless steel\nCH403\nStainless steel\nCH104\nStainless steel\nCH404\nStainless steel\nCH162\nOak, smoked oak or walnut\nKK48650 Addition Sofa\nOak or walnut\nCH163\nOak, smoked oak or walnut\nMK10041 Model 52\nOak or walnut\nSOFAS & DAYBEDS\nHans J. Wegner 1970\np. 140\nHans J. Wegner 1958\nHans J. Wegner 1970\nHans J. Wegner 1958\nHans J. Wegner 1970\np. 140\nHans J. Wegner 1958\np. 144\nHans J. Wegner 1970\nHans J. Wegner 1958\nHans J. Wegner 1965\nKaara Klint 1933\np. 148\nHans J. Wegner 1965\np. 143\nMogens Koch 1936\np. 147 \u002F 192\nAll measurements in cm.\n",111,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.112.png","154\n214\n124\n180\n190\n45\n45\n46\n46\n36\n80\n80\n85\n76\n76\n69\n70\n90\n78 \u002F 88 \u002F 100\n78 \u002F 88 \u002F 100\n130\n55\n95\n70\n95\n170\n55\n55\n44 \u002F 48 \u002F 53\n44 \u002F 48 \u002F 53\n42\n42\n44\n44 \u002F 48 \u002F 53\n44 \u002F 48 \u002F 53\n95\n70\n55\n78 \u002F 88 \u002F 100\n130\n95\n170\n55\n78 \u002F88 \u002F 100\n78 \u002F 88 \u002F 100\n44 \u002F 48 \u002F 53\n78 \u002F88 \u002F 100\n78 \u002F 88 \u002F 100\n44 \u002F 48 \u002F 53\n78 \u002F88 \u002F 100\n78 \u002F 88 \u002F 100\n44 \u002F 48 \u002F 53\n130\n55\n44 \u002F 48\u002F 53\n55\n130\n55\n44 \u002F 48\u002F 53\n55\n130\n55\n44 \u002F 48\u002F 53\n55\n95\n95\n42\n95\n95\n95\n42\n95\n95\n95\n42\n95\n42\n170 \n70 \n70\n42\n170 \n70 \n70\n42\n170 \n70 \n70\n1:10\n1:10\n44\n55\n55\n55\n1:10\n1:10\n44\n55\n55\n55\n1:10\n1:10\n44\n55\n55\n55\n218\n219\nSOFAS & DAYBEDS\nCOFFEE TABLES\nOW602\nOak\nOW603\nOak\nOW149-2\nOak or walnut\nOW150\nOak\nTK8\nChrome steel\nOle Wanscher 1960\nOle Wanscher 1960\np. 151\nOle Wanscher 1964\np. 152\nOle Wanscher 1949\np. 105 \u002F 155 \u002F 172\nThomas Bo Kastholm 2009\np. 156\nCH008\nBeech, oak or walnut\nCH011\nOak\nCH106\nStainless steel\nCH108\nStainless steel\nCH415\nOak or walnut\nHans J. Wegner 1954\np. 143 \u002F 164\nHans J. Wegner 1955\np. 167\nHans J. Wegner 1970\np. 140\nHans J. Wegner 1970\nHans J. Wegner 1990\np. 102 \u002F 171\nAll measurements in cm.\n",112,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.113.png","52,5\n71,5\n85 \u002F 100\n60\n85 \u002F 100\n60\n33\n46,5\n54\n53\n62\n60\n62\n60\n62\n62\n141,5\n190\n95\n85\n85\n186,5\n72\n72\n72\n95\n85\n85\n190\n141,5\n186,5\n1:10\n1:10\nØ62\nØ62\n33\n1:10\n1:10\nØ62\nØ62\n33\n1:10\n1:10\nØ62\nØ62\n33\n1:10\n1:10\n46\n60\n60\n60\n1:10\n1:10\n46\n60\n60\n60\n1:10\n1:10\n46\n60\n60\n60\n85\n141,5\n85\n72\n85\n141,5\n85\n72\n85\n141,5\n85\n72\n220\n221\nCOFFEE TABLES\nDESKS\nCH417 Tray Table\nWhite laminate \u002F black laminate or oak \u002F smoked oak\nMK98860 Folding Table\nOak or walnut\nML10097 Egyptian Table\nOak or walnut\nOW449 Colonial Coffee Table\nOak or walnut\nHans J. Wegner 1970\np. 109 \u002F 110 \u002F 168\nMogens Koch 1960\np. 70 \u002F 163\nMogens Lassen 1940\np. 160\nOle Wanscher 1964\np. 105 \u002F 106 \u002F 151 \u002F 172\nCH110\nOak, smoked oak or walnut\nPK52A Student Desk\nOak, oregon pine or laminate\nPK52 Professor Desk\nOak, oregon pine or laminate\nHans J. Wegner 1970\np. 186\nPoul Kjærholm 1955\np. 185\nPoul Kjærholm 1955\np. 52 \u002F 66 \u002F 85 \u002F 185\nAll measurements in cm.\n",113,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.114.png","76\n76\n50,6\n27,7\n27,5\n36\n36\n76\n76\n76\n76\n76\n76\n76\n36\n27,7\n27,5\n76\n76\n50,6\n38\n27,7\n38\n76\n76\n36\n36\n36\n36\n76\n76\n38\n36\n36\n36\n38\n27,7 cm\n76 cm\n76 cm\n76 cm\n27,7 cm\n76\n36\n27,5\n76\n27,7 cm\n76 cm\n76 cm\n76 cm\n27,7 cm\n27,7 cm\n76 cm\n76 cm\n76 cm\n27,7 cm\n27,7 cm\n76 cm\n76 cm\n76 cm\n27,7 cm\n36 cm\n14,2”\n76 cm\n29,9”\n76 cm\n29,9”\n76 cm\n29,9”\n36 cm\n14,2”\n36 cm\n14,2”\n76 cm\n29,9”\n76 cm\n29,9”\n76 cm\n29,9”\n36 cm\n14,2”\n36 cm\n14,2”\n76 cm\n29,9”\n76 cm\n29,9”\n76 cm\n29,9”\n36 cm\n14,2”\n15,0”\n38 cm\n14,2”\n36 cm\n29,9”\n76 cm\n29,9”\n76 cm\n14,2”\n36 cm\n15,0”\n38 cm\n14,2”\n36 cm\n29,9”\n76 cm\n29,9”\n76 cm\n14,2”\n36 cm\n15,0”\n38 cm\n14,2”\n36 cm\n29,9”\n76 cm\n29,9”\n76 cm\n14,2”\n36 cm\n76 cm\n29,9”\n76 cm\n29,9”\n50,6 cm\n19,9”\n36 cm\n14,2”\n36 cm\n14,2”\n76 cm\n29,9”\n76 cm\n29,9”\n50,6 cm\n19,9”\n36 cm\n14,2”\n36 cm\n14,2”\n76 cm\n29,9”\n76 cm\n29,9”\n50,6 cm\n19,9”\n36 cm\n14,2”\n36 cm\n14,2”\n27,5 cm\n10,8”\n27,5 cm\n10,8”\n38 cm\n15,0”\n76 cm\n29,9”\n76 cm\n29,9”\n27,5 cm\n10,8”\n27,5 cm\n10,8”\n38 cm\n15,0”\n76 cm\n29,9”\n76 cm\n29,9”\n27,5 cm\n10,8”\n27,5 cm\n10,8”\n38 cm\n15,0”\n76 cm\n29,9”\n76 cm\n29,9”\n36 cm\n76 cm\n76 cm\n36 cm\n36 cm\n76 cm\n76 cm\n36 cm\n36 cm\n76 cm\n76 cm\n36 cm\n49\n49\n200\n52,8\n80,8\n200\n52,8\n52,8\n200,0\n49,0\n49,0\n80,8\n80,8\n80,8\n52,8\n52,8\n52,8\n200,0\n49,0\n49,0\n80,8\n80,8\n80,8\n52,8\n52,8\n52,8\n200,0\n49,0\n49,0\n80,8\n80,8\n80,8\n52,8\n52,8\n52,8\n200,0\n49,0\n49,0\n80,8\n80,8\n80,8\n52,8\n222\n223\nBOOKCASES & CABINETS\nBOOKCASES & CABINETS\nMK40880\nOak or walnut\n27,7 cm deep\nMK95801\nOak or walnut\n36 cm deep\nMogens Koch 1928\nMogens Koch 1928\nMK95800\nOak or walnut\n27,7 cm deep\nMK74180\nOak or walnut\n36 cm deep\nMogens Koch 1928\nMogens Koch 1928\nMK98400\nOak or walnut\n36 cm deep\nMK88360\nOak or walnut\n36 cm deep\nMogens Koch 1928\np. 176\nMogens Koch 1928\np. 176\nMK74182 + MK74181 \nOak or walnut\n36 cm deep\nMogens Koch 1928\nCH825\nOak or walnut\nHans J. Wegner 1959\np. 181\nAll measurements in cm.\n",114,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.115.png","42\n72\n37\n32\n45\n72\n37\n37\n26\n47\n46\n45\nxx\n35\n61\n72\n45\n46\n45\n72\n45\n46\n45\n72\n45\n46\n45\n2000 \u002F 3600 \n1400 \u002F 2400\n240\n140\n140\n170\n200\n200\n2000 \u002F 3000 \n1400 \u002F 2000\n 2400 \u002F 3000 \n1700 \u002F 2000\n1500 \u002F 3000\n150\n300\n2000 \u002F 3000 \n1400 \u002F 2000\n200\n140\n300\n200\n360\n200\n300\n300\n240\n200\n224\n225\nCHILDREN’S FURNITURE\nCH410\nBeech\nMK99190 Grandchild Chair\nBeech\nOceania Seabed NUP007\nWoodlines NUP003 \u002F NUP004\nCH411\nBeech\nHans J. Wegner 1944\np. 189\nHans J. Wegner 1944\np. 189\nMogens Koch 1960\np. 190\nRUGS\nBotanica Midori NUP005\nBotanica Kiri NUP006\nOceania Coral NUP008\nNaja Utzon Popov 2017\np. 102 \u002F 171\nNaja Utzon Popov 2017\np. 147 \u002F 195\nNaja Utzon Popov 2017\np. 194 \nNaja Utzon Popov 2015\np. 78 \u002F 105 \u002F 109 \u002F 122 \u002F 143 \u002F 151 \u002F 172 \u002F 174 \u002F 192\nAll measurements in cm.\n",115,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.116.png","226\n227\nTABLE AND SEAT OVERVIEW\nTABLE AND SEAT OVERVIEW\n4 seats\nCH002 \n0\nCH006 \n0\nOK52A \n0\nCH334 \n0\nCH337 \n0\nCH338 \n0\n2 seats\nCH002 \n0\n6 seats\nCH318 \u002F 190 \n0\nCH322 \n0\n8 seats\nCH318\u002F190 \n1\nCH318\u002F240 \n0\nCH322 \n1\nCH327\u002F190 \n1\nCH327\u002F248 \n0\nSH900 \n0\n10 seats\nCH318 \u002F 190 \n2\nCH318 \u002F 240 \n1\nCH322 \n2\nCH327 \u002F 190 \n2\nCH327 \u002F 248 \n1 \n12 seats\nCH318 \u002F 240 \n2\nCH322 \n3\nCH327 \u002F 248 \n2\nSH900 \n1\n3 seats\nCH002 \n1\nCH334 \n1\nCH335 \n0\nCH388 \n1\nCH336 \n0\nCH337 \n2\nCH338 \n1\nCH339 \n0\nCH336 \n1\nCH339 \n1 \nCH336 \n2\nCH339 \n2\nCH336 \n3\nCH339 \n3\nCH336 \n3\nCH339 \n3\nCH006 \n2\nCH327 \u002F 190 \n0\nPK52 \n0\nCH334 \n2\nCH335 \n1\nCH388 \n2\nCH335 \n2\nCH338 \n2\nCH337 \n1\nCH338 \n0\n14 seats\nCH322 \n4\nAll measurements in cm.\n",116,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.117.png","229\nCARL HANSEN & SØN\nWORLDWIDE\nHEADQUARTERS \u002F EUMEA\nCARL HANSEN & SØN A\u002FS\nHylkedamvej 77-79\n5591 Gelsted\nDenmark\nTel +45 66 12 14 04\ninfo@carlhansen.com\nCARL HANSEN & SØN COPENHAGEN\nFLAGSHIP STORE  \nBredgade 18, 21 & 23\n1260 København K\nDenmark\nTel +45 64 47 23 60\nretail@carlhansen.dk\nCARL HANSEN & SØN STOCKHOLM \nFLAGSHIP STORE\nKarlavägen 76\n114 59 Stockholm\nSweden\nTel +46 70-1907382\ninfosweden@carlhansen.dk\nCARL HANSEN & SØN OSLO\nSHOWROOM\nDrammensveien 130, B9\n0277 Oslo\nNorway\nTel +47 900 77 087\nCARL HANSEN & SØN LONDON \nSHOWROOM\n16A Bowling Green Lane\nLondon EC1R 0BD\nUnited Kingdom\nTel +44 (0) 207 632 7587\nukinfo@carlhansen.com\nCARL HANSEN & SØN MILAN\nFLAGSHIP STORE\nForo Buonaparte 18A (ang. Via Arco)\n20121 Milan\nItaly\nTel +39 02 89011837\noc@carlhansen.dk\nASIA \u002F PACIFIC\nCARL HANSEN & SØN JAPAN K.K.\n7F Esla Harajuku,\n3-25-14, Jingumae, \nShibuya-ku,\nTokyo 150-0001\nJapan \nTel +81 3 5413 6771 \nFax +81 3 5413 6772\ninfo@carlhansen.jp \nCARL HANSEN & SØN TOKYO  \nFLAGSHIP STORE \n1F \u002F 2F Aoyama Artworks\n2-5-10 Jingumae Shibuya-ku\nTokyo 150-0001\nJapan\nTel +81 3 5413 5421\nstore@carlhansen.jp\nCARL HANSEN & SØN\nASIA PACIFIC LIMITED\n16th Floor, 202 Centre\n202-204 Des Voeux Road West\nHong Kong\nTel +852 5631 0267\nasiainfo@carlhansen.dk\nCARL HANSEN & SØN CHINA\nSHOWROOM\nLevel 1, Building 22, No. 672 Changle Road\nXuhui District, Shanghai\nChina, 200030\nTel +852 56456646\nTel + 86 136 321 74216\nchinainfo@carlhansen.dk\nNORTH AMERICA\nCARL HANSEN & SØN NEW YORK\nSHOWROOM\n251 Park Avenue South\n13th Floor\nNew York, NY 10010\nUSA\nTel +1 212 242 6736\nshowroomny@carlhansen.com\n",117,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002F0c\u002Fb43e2d3ae67e1d853195d52a8f98be-28f5fb5188.118.png","The good chair is a task one is never\ncompletely done with.\nHans J. 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