Man of the World and King of Furniture

Transcription

1 True aesthetics

2 No.7 dk3 is a Danish design furniture company established in Our collection combines exclusive classic and contemporary furniture from great Danish architects and designers such as Jeppe Utzon, Kaare Klint, Børge Mogensen, Poul Cadovius and others. We create furniture pieces shaped and crafted by true enthusiasts, always with the ambition to unite the finest carpentry traditions with modern and classic furniture design through the fusion of timeless steel or brass components and high quality wood. The love for organic material and uncompromising focus on quality is evident throughout the entire process, from the first design sketches to the manufacturing in the carpentries, where the furniture is finished and surface treated by hand.

3 Less is more 4 5

4 Man of the World and King of Furniture The 1950s and the 1960s was the golden age of Danish furniture design. It was a time, when the whole world longed for designs from Wegner, Jacobsen, Juhl, Kjærholm and all the other well known star designers. We have heard this story so many times, but there is today one name in this succession of kings, which all too often is missed - Poul Cadovius. His ROYAL SYSTEM was the greatest export success with showrooms and factories worldwide. You will remember the special wall hung shelves, once you see them, but for many, the name is forgotten. Re-launching of the system has changed all that. Poul Cadovius Poul Cadovius ( ) possessed a unique talent for both design and business. He was an inventor and a producer, and was equally at home both in the Danish world of business as in the worldwide forum. Not very many would embody all these skills, and no one with the same degree of success as Poul Cadovius. He personally took out nearly 400 patents and had sales organizations all over the world. He was a one-off, but therewith also an outsider in a world of furniture, where handcrafted work was setting the agenda. Trained as a Painter and Decorator you would not have expected, that he - in 25 years - would create the largest furniture emporium in Scandinavia. It began just after the 2nd World War. After the War the black-out blinds were discarded, and this is when Poul Cadovius had the idea of replacing these with Venitian blinds. He was employed at the wallpaper factory, Fiona in Faaborg, and together with one of his colleagues, Hother Brønner, he begun the production in a very small workshop - only 120 m 2 in Aarhus. At the time, Venetian blinds were a novelty in Denmark, but they soon became sought after and as early as 1947 the business was able to expand the premises in Aarhus. ROYAL SYSTEM Poul Cadovius soon had new ideas and already a few years later the company was able to present a complete furniture collection, consisting of bookshelves, tables, plantholders etc.. But, in 1948 he developed his idea of that shelving system - ROYAL SYSTEM - which during decades would prove to be the golden egg for his business. Two wooden rails, which together with brass fittings supports shelves or cabinets. Shelves without legs! After the War, flats were often small and with fitted carpets, so this system proved to be a brilliant solution. It took up less room, made cleaning underneath easy, contrary to traditional bookcases. Furthermore, it was easy to add to the arrangement with new cabinets. Poul Cadovius designed many of the pieces of furniture, produced at the factory, himself - but also engaged outside designers. However, he did prefer to do everything himself. He thus developed much of the machinery himself - for instance to produce the venetian blinds. This is why he became a regular visitor at The Patent Office. Poul Cadovius sought functional solutions, when developing new designs, but he also had a clear idea of, what the customers wanted for their home. Contrary to many of the contemporary Danish designers he was not afraid of experimenting with new materials. Teak and mahogany were the main materials for ROYAL SYSTEM, but he also worked with both steel tubes, aluminium and fibre glass. Poul Cadovius experimenting bore fruit, especially creatively. In 1956 Poul Cadovius exhibited at the IX Triannale in Milan - with his System Ultra, for which he was presented with a silver medal. The same year, during one sleepless night, the idea came to him for a new shelving system, which gained nearly as much recognition as ROYAL SYSTEM. Again it was based on a completely simple but genius basic principle. Chrome finish metal tubes held together with connectors. The System Abstracta could be assembled in numerous ways and was the ideal display system. It was during these years that Poul Cadovius name begun to appear in the press. His infectious energy and numerous projects proved exciting material in the press during a period where the country was experiencing a major up-turn and an enormous rise in living standards. His ROYAL SYSTEM became within everyones reach, but he became equally known for his visions and inventions. Furthermore he was one of the major employers in the country, employing more than 600 people at factories in Randers and Tønder, and when Poul Cadovius in 1966 took over the large furniture manufacturer, France & Søn in Hillerød, it made his furniture empire the largest in Scandinavia. The Abstracta System was further developed by Poul Cadovius to also encompass the construction of exhibition halls, the so called dome houses. These were the forerunners to international exhibitions. In 1962 at the Cologne Exhibition, he built 4 of these halls, where not only his own furniture collection was exhibited, but they also housed the entire Danish furniture exhibition. This was the year when Poul Cadovius became the one the World s Press was talking about. FROM FURNITURE TO HOUSES AND SAILINGBOATS Already in 1958 Poul Cadovius opened a fashionable showroom on Third Avenue in New York, and during the following years Poul Cadovius opened branches all over the world. More than 80% of his furniture empire s turnover originated either from abroad, was generated by export or was due to the fact that ROYAL SYSTEM and System Abstracta were produced on license in 26 countries. No other Danish furniture producer was taking advantage of this business model, but this was the key to Poul Cadovius s fast expansion. ROYAL SYSTEM and System Abstracta were good businesses, but as the visionary businessman, he was, Poul Cadovius reinvested in new projects and technology. For instance he used the relatively new fibreglass material for a new collection of furniture, but he also used it as the basis for a completely new company, CADOMUS, which produced building components, and especially the still today iconic busstop shelters - of course, his own design - which still today can be seen scattered all around the Danish landscape. Poul Cadovius had already in the 1950s built his first yacht at his factory in Aarhus, but in 1963 he opened his first real shipyard, where he developed and mass produced the so called Sagitta sailing boats - up to 35 feet. Firstly in Randers and later in Svendborg. Sailing was a long-term passion, and being an entrepreneur, of course he had to build his own boats, in which he utilized his knowledge of fiberglass. The impressive expansion experienced by Poul Cadovius s many businesses, were followed up by just as impressive exhibition venues, such as his private home, Christianshus at Hørsholm. In 1972 he bought and modernized the old Student Society building at H.C. Andersen s Boulevard in Copenhagen - and based his new Head office there: The CADO Center. The 1970s were difficult for the Danish furniture industry, even Poul Cadovius furniture business experienced a down-turn during the oil crisis, which later let to the closure of most of the production, although he carried on with a smaller design company until RELAUNCH ROYAL SYSTEM came close to becoming a Danish nationwide phenomenon at the height of its heyday, and many homes worldwide invested in these shelves in order to be able to add to them further in the future. The system was not cheap, but it would last you for years. However, the production ceased, and likewise the press news regarding Poul Cadovius s projects also disappeared. New generations of furniture customers knew about ROYAL SYSTEM from their parent s or grandparent s homes, but have forgotten the name behind the design. In 2010 the newly started furniture business, dk3 was scouting for new products. Originally, they were not interested in relaunching old products, but were looking for new designs, but - as founder, Jacob Plejdrup recounts: We were astounded that there was no shelving system amongst Danish furniture classics - apart from Mogens Koch s boxshelves. We did not come upon Poul Cadovius at all, and had only vaguely heard of him, but as one acquaintance happened to mention ROYAL SYSTEM, we became deeply interested in the history behind the person. dk3 put ROYAL SYSTEM into production just one year before the death of Poul Cadovius, aged 99 years, and it was reintroduced at the Formland Exhibition in Denmark, where the press showed some interest. However, it was not until they showed it at Salon del Mobile in Milan, that they realized, just what they had started. Here the interest was completely overwhelming, also from the international furniture markets. Interest in the ROYAL SYSTEM was significant in the USA and Asia. In the USA, the name of Poul Cadovius ranked high as a Danish furniture Icon, contrary to in his home country, where he was almost forgotten. For them the shelves are cool and Scandinavian, and they think it is great, that they are designed back in 1948, says Jacob Plejdrup. Poul Cadovius ( ) possessed a unique talent for both design and business. ROYAL SYSTEM came close to becoming a Danish nationwide phenomenon at the height of its heyday, and many homes worldwide invested in these shelves in order to be able to add to them further in the future. Text by Frank C. Motzkus for Antik & Auktion 6 7

5 8 ROYAL SYSTEM Design by Poul Cadovius,

6 Most of us live on the bottom of a cube. If we put the walls even with the floor, we get a lot of space to live on Poul Cadovius 10 11

7 12 ROYAL SYSTEM Design by Poul Cadovius,

8 14 ROYAL SYSTEM Design by Poul Cadovius, 1948 I STEEL COPILOT CHAIR Design by Asger Soelberg,

9 16 CADOVIUS BUTTERFLY SHELF Design by Poul Cadovius,

10 Rainer Bachschmid The RABA SIDEBOARD is designed by the Swiss-based German designer Rainer Bachschmid (1962), who was originally educated as a carpenter. His designs are characterized by a great passion for furniture of solid wood and raw, organic materials, and he has a unique craftsmanship approach to the entire design process. 18 RABA SIDEBOARD Design by Rainer Bachschmid,

11 Jacob Plejdrup Jacob Plejdrup (1972) is the designer behind the GRAND SIDEBOARD. A multicultural life in Denmark, England, Germany and Switzerland has had a decisive influence on Jacob Plejdrup s design philosophy, since he began his career in the furniture and interior business back in The culmination came in 2009, when Jacob Plejdrup founded dk3 to place his undivided focus on creating design furniture under the dk3 brand combining nature s aesthetic elements with pure and timeless design. 20 GRAND SIDEBOARD Design by Jacob Plejdrup,

12 Knudsen/Berg/ Hindenes & Myhr The PLANK SOFA is designed by the Norwegian designers Petter Knudsen, Anders Berg, Steinar Hindenes and Frode Myhr, all graduates from the Bergen Academy of Art & Design. They mainly work with furniture-, product- and interior design, always aiming to create material and production driven objects with a distinct character. The PLANK SOFA has been developed in collaboration with the world-famous Danish solid floor plank manufacturer Dinesen. The designers were fascinated by the enormous dimensions of the Dinesen floor planks, which inspired them to create new kinds of products based on these planks, and one of the results was the PLANK SOFA. 22 PLANK SOFA Design by Knudsen / Berg / Hindenes & Myhr,

13 Asger Soelberg Asger Soelberg (1978) is the designer behind the elegant COPILOT and STEEL COPILOT series. He is an independent, self-taught designer and consultant for product development institutions at home and abroad. As a designer Asger Solberg works in a strategic and process oriented way towards simple solutions to complex challenges. Always looking for a design with an overall greater value than the sum of its building components and always with a touch of magic. To me the COPILOT and STEEL COPILOT series are like a little handcrafted love story. Asger Soelberg 24 This page STEEL COPILOT CHAIR Design by Asger Soelberg, 2015 I LOWLIGHT TABLE Design by Jacob Plejdrup, 2014 Opposite page STEEL COPILOT CHAIR Design by Asger Soelberg, 2015 I STEEL COPILOT BAR STOOL Design by Asger Soelberg, 2016 I COPILOT CHAIR Design by Asger Soelberg,

14 Børge Mogensen Børge Mogensen ( ) was one of the most influential and famous furniture architects in Denmark. Along with colleagues such as Arne Jacobsen and Hans J. Wegner, he achieved to move Danish furniture design up on an international and highly respected level. His simple and functional designs created a natural connection between his furniture and its users, which was essential and evident in all his works. Børge Mogensen was productive as few. The ideas came to him at all times of the day, and they were enshrined on matchboxes, napkins, half curled envelopes, or whatever was at hand. Thus he created some of the 1950s and 1960s most recognized furniture classics, including the world renowned Shaker table, which became a role-model for many subsequent tables. In 1972 he was awarded with the title Honorary Royal Designer for Industry in London. The seat of the BM1 and BM2 CHAIR is made of hand-woven paper cordel. 26 This page BM2 CHAIR Design by Børge Mogensen, 1958 I Opposite page BM1 CHAIR Design by Børge Mogensen,

15 Kaare Klint Kaare Klint ( ) stands as a father figure for Danish furniture design. He was a furniture designer, theorist and teacher, and in 1942 he became assistant professor at the Art Academy in Copenhagen and started a whole new movement of furniture design. His students included names such as Børge Mogensen, Hans J. Wegner and other famous designers. Kaare Klint had a huge interest in the movements and measurements of the human body. A knowledge that he used to create furniture pieces perfectly adapted to the human anatomy. The CHURCH CHAIR was originally designed for the Grundtvig Church in Copenhagen. The chair is a challenge for any skilled carpenter, and requires high accuracy and patience throughout the entire manufacturing process. All four pieces of the back of the chair have different angels in order to suit the human spine, and the seat is made of hand-woven paper cordel a simple look with a complex structure. The CHURCH CHAIR remains one of Danish furniture design s biggest icons 28 CHURCH CHAIR Design by Kaare Klint,

16 Guadalajara, Mexico PLANK SOFA Dinesen Douglas Fir Carpentry stories Tokyo, Japan Carpentry stories Hand polished brass sign Aalborg, Denmark Taking a break in Copenhagen Surface treatment by hand Copenhagen, Denmark Melbourne, Australia ROYAL SYSTEM ad from 1962 Jeppe Utzon visiting the dk3 office SoHo New York City, USA Carpentry stories True aesthetics Our vision is to unite the finest craftsmanship traditions with modern and classic interior aesthetics unceasingly seeking new horizons. New wood arriving Seoul, South Korea Biennale Interieur, Kortrijk, Belgium Chicago, USA Factory back then Carpentry stories Vejle, Denmark LOWLIGHT TABLE At the carpentry BM2 armrest detail Raw brass JEWLEL TABLE cubes Roskilde, Denmark West Hollywood, USA Bus shelter design by Poul Cadovius, 1962 Carpentry stories San Francisco, USA CHURCH CHAIRS at Grundtvig Church, Copenhagen Salone Internazionale del Mobile, Milano True enthusiasts 30 31

17 Thoughtful Design in Denmark Jeppe Utzon founded his architecture and design firm in He was educated at the Royal Danish Academy of Fine Arts, School of Architecture in Copenhagen, Denmark, and spent a year studying in Paris as part of an architecture exchange program. After graduating with a degree in architecture in January 1999, Jeppe worked with his uncle, Kim Utzon, and father, Jan Utzon, at their respective architectural firms. His grandfather, Jørn Utzon, was the architect who created The Sydney Opera House, and Jeppe Utzon continues a rich family tradition through his work in the art of architecture. WHERE THE ROAD TAKES YOU Jeppe Utzon s journey took some interesting twists and turns after school. After a short time at his uncle s firm, he left architecture for three years to start a company called Flicker Motion Graphics with an artist friend. It was a lot of fun because it was totally different from architecture since we were working with different aspects of design, he notes. This experience gave Jeppe invaluable hands-on time with graphic arts and motion design, which would later influence his work. He returned to the eld of architecture in 2002 and incorporated more design work into his portfolio. Jeppe now designs both residential and larger housing projects as well as kitchenware and electronics. How does he view architecture versus product design? It s like the difference between doing one sound effect and a whole score, he says. In a house there are a lot of small design projects that all have to come together in symphony while in [product] design it s basically just one. He enjoys both. Jeppe comes from a family of well- known architects and designers. Everybody is into something creative, he notes. His great- grandfather was a boat designer, and his grandfather Jørn was the 2003 Pritzker Architecture Prize Laureate. When family discussions turn towards architecture, the architects all share the same basic ideology. We pretty much agree - it s kind of hard to start a debate when you all agree. Rather than talk about particular projects, we discuss the ideology in architecture - like what s good architecture and what s bad architecture, what s the wrong way to do it and what s the right way to do it - philosophical subjects, he says. So in a way we communicate very well as we can separate style from ideology when discussing architecture. And our architectural styles do indeed differ in my family - we sculpt differently. For instance, I could do a more curvy architecture while my uncle would tend more towards straight lines. So we have a slightly different artistic tendency but we all try for honest architecture. If you expect to go out and make the perfect building, you re going to be really disappointed. Some things will go wrong or not be affordable so you just have to accept that you ll get those hurdles; you won t get exactly what you wanted. But I think it s also very interesting to not be in complete control. Jeppe was drawn to architecture because of its blend of creative and mathematical aspects. I ve tried painting in art but it s really difficult when I don t have a brief. I m more suited for solving problems. Amazingly, Jeppe s famous grandfather first discouraged him from becoming an architect. When Jeppe decided to abandon his lifelong dream of becoming a marine biologist to instead pursue architecture, Jørn urged him to reconsider, arguing that the field of architecture is a frustrating one as it is overwhelmingly likely that you will not design a single building with which you ll be completely satisfied. At least that was his experience. And I think that s actually true, says Jeppe. If you expect to go out and make the perfect building, you re going to die a very disappointed architect. Architecture is probably one of the most complex creative ends because so many people and trades have to collaborate to make a building. And the more people involved and the more complex the project, the harder it will be for you as an architect to stay in control. And basically some things will escape even the most diligent architect in each and every project. So you re never going to get exactly what you wanted. But I also think it s very interesting to not be in complete control. I think it is one of the most important aspects of architecture - one that makes architecture so interesting. You can t control everything - even though you try to some people will make decisions without asking you; you re going to think that something will work and it won t; you ll get some surprises that you didn t plan for. In fact, if you just get exactly what you expect, I think it would probably be boring. In the end, I firmly believe that what makes architecture frustrating is also what makes it so interesting. And as you mature as an architect it also seems you somehow learn to make the unpredictable or uncontrollable aspects work to your advantage in the respect that they make your designs even better. Jeppe s philosophy has yielded some happy and unexpected results. For his innovative take on the barbecue - the Electrolux Jeppe Utzon BBQ - Jeppe won an Australian International Design Award in 2006 from Good Design Australia, a prize also bestowed upon products from well-known brands like Samsung and Philips. He also received the U.S. Bottom Line Design Award in 2006 for Ingenuity in Business Success, an honor also conferred upon Apple. In 2010 Jeppe earned a grant from the Danish National Arts Foundation to further pursue design work. And in he was appointed the architectural ambassador of Bo Bedre - the premier Danish design magazine. INSPIRATIONS AND ASPIRATIONS Of course, my grandfather and my family Jeppe says when asked who has inspired him most. He also mentions 1987 Pritzker Architecture Prize Laureate Kenzo Tange, the late Japanese architect who was credited for conceiving structuralism. And he s nostalgic for the past. Today, I think there s a tendency to rush things too much. I don t know why, actually. I think every architect wants as much time as possible, but maybe the clients are pushing and the architects aren t demanding enough time. I think it s important to have enough time to make it as good as you can make it. Time to contemplate and let your projects mature and evolve. Jeppe s views have changed since he first entered the eld of architecture. When you go to school you re very idealistic and then when you come out the world works differently. I think with architecture, the bigger the project the more chance that it won t go through. It only takes one thing to stop a project, and the bigger the project, the more things can stop it. So I think if you play it safe and don t challenge the client or the normal methods there s a bigger chance that your project will go through but your project will also be more boring. And generally life is much too short to do boring projects. JEPPE UTZON TABLE #1 In 2014 the historical Danish high end furniture design shop Illums Bolighus in Copenhagen, suggested Jeppe Utzon to contact dk3 for a possible collaboration. Jeppe Utzon and dk3 founder Jacob Plejdrup instantly found common grounds and started a process, which until now has generated the JEPPE UTZON TABLE #1 and the JEPPE UTZON BAR TABLE #1. Jeppe Utzon explains: To me, a table is not only one of the oldest types of furniture but also one of the purest in function. Over the last several thousand years almost every shape, color and size of table has been made - and as a designer it can be both daunting and tempting to try and outdo all of them. He elaborates: With this table I have done the opposite. I ve let the beautiful solid wood, the high quality workmanship, and the pure function itself take the center stage, while at the same time scaling down the traditional design signature to a bare minimum. The solid wood table is made as a sandwich construction, which significantly minimizes natural movements compared to other solid tables. This e.g. means that the corner crack between leg and table top remains more stabile throughout the table s life span. Beneath the table is a discrete steel cable, which can be adjusted with an ordinary wrench to achieve stability and prevent deflection over the years. The solid wood table balances a sublime contrast between the naked wooden material and the selected crafted details. With sizes up to 300 cm, the table is robust enough to serve a natural gathering point in both meeting rooms and dining halls, yet detailed enough to stand out. In October 2015 the JEPPE UTZON TABLE #1 was exclusively pre-launched through handpicked retailers worldwide, before becoming part of dk3 s product portfolio on the Stockholm furniture fair in February As his grandfather, Jeppe Utzon allows detail and totality to work together in a unified expression that has genuine global appeal, and this design philosophy is truly embodied in JEPPE UTZON TABLE #1. Jeppe Utzon... generally life is much too short to do boring projects. The solid wood table balances a sublime contrast between the naked wooden material and the selected crafted details. Text by Nemetschek Vectorworks, Inc

18 34 JEPPE UTZON TABLE #1 Design by Jeppe Utzon, 2015 I STEEL COPILOT CHAIR Design by Asger Soelberg,

19 BauBuche BauBuche is a laminated beech veneer lumber produced in Germany. The beech is sourced from sustainable PEFC certified forests in Europe and is produced with an advanced technology, where the veneer layers are rotary peeled, which ensures an optimal utilization of the raw material. The combination of the exceptionally high strength of the beech wood and the advanced production technology gives a quality material with slim dimensions, a unique surface structure and excellent load capacity and durability. With the JEPPE UTZON TABLE #1 and the JEPPE UTZON BAR TABLE #1 in BauBuche the wood takes a centre stage with its exciting and unique surface structure perfectly supported by the pure and plain design of the table. 36 JEPPE UTZON BAR TABLE #1 Design by Jeppe Utzon, 2016 I STEEL COPILOT BAR STOOL Design by Asger Soelberg,

20 38 TREE TABLE Design by Jacob Plejdrup, 2011 I CHURCH CHAIR Design by Kaare Klint,

21 40 TREE TABLE Design by Jacob Plejdrup,

22 42 LOWLIGHT TABLE Design by Jacob Plejdrup, 2014 I BM2 CHAIR Design by Børge Mogensen,

23 44 LOWLIGHT TABLE Design by Jacob Plejdrup,

24 The LESS IS MORE TABLE was launched in 2012 as the first thin plank table on the Scandinavian market. The thin, solid table top and the elegant steel frame gives a light expression that fits into any kind of space at all time Jacob Plejdrup, designer and founder of dk3 46 LESS IS MORE TABLE Design by Jacob Plejdrup,

25 48 dk3_3 TABLE Design by Jacob Plejdrup, 2009 I BM1 CHAIR Design by Børge Mogensen, 1958 I CHURCH CHAIR Design by Kaare Klint,

26 50 SHAKER TABLE Design by Børge Mogensen, 1958 I BM2 CHAIR Design by Børge Mogensen,

27 Søren Juul The designer behind the JEWEL TABLE Søren Juul ( ) had a lifelong experience within both design and architecture. He was trained as a cabinetmaker, then studied furniture design at the Design School in Copenhagen and the Architect School in Aarhus. After having graduated, he was employed by the wellknown architects Friis & Moltke, where he worked for more than 40 years. He was primarily engaged in designing furniture, lamps and fixtures for schools, hotels, offices etc. According to Søren Juul the ultimate design should be simple, functional and honest, and the quality should be no less than perfect. 52 JEWEL TABLE Design by Søren Juul, 2013 I COPILOT CHAIR Design by Asger Soelberg,

28 Søren Rose The Danish designer Søren Rose established Soren Rose Studio in The New York based studio specializes in residential living through bespoke product design, and the work is characterized by natural simplicity, strong personality and responsible quality. To Søren Rose a perfect design is all about quality and unique details, which make the products live past our times and become a feeling and a statement rather than a brief trend. The PLATEAU COFFEE- & SIDE TABLE by Søren Rose is developed with inspiration from a tree trunk, created with the ability to blend into any setting or room where aesthetics and quality are paramount. 54 PLATEAU COFFEE- & SIDE TABLE Design by Søren Rose Studio,

29 56 This page TREE COFFEE TABLE Design by Jacob Plejdrup, 2012 I Opposite page LOWLIGHT COFFEE TABLE Design by Jacob Plejdrup

30 Index PLANK SOFA Design by Knudsen/Berg/Hindenes & Myhr, 2013 JEPPE UTZON TABLE #1 Design by Jeppe Utzon, 2015 Dimensions: W 265 cm / D 77 cm / H 70 cm (seat height 40 cm) Material: Oak, walnut or DINESEN Douglas Fir Cushions: Leather or fabric Legs: Solid wood or solid wood with stainless steel or raw brass cups Page: (oak/oil) Dimensions: W 95/100 cm / L cm / H 72 cm Material: Wild oak, wild walnut or BauBuche Page: (wild oak/oil) JEPPE UTZON BAR TABLE #1 Design by Jeppe Utzon, 2016 Dimensions: W max. 80 cm / L max. 240 cm / H max. 108 cm Material: Wild oak, wild walnut or BauBuche Page: (BauBuche/oil) ROYAL SYSTEM Design by Poul Cadovius, 1948 Rails: H 100/200 cm Shelves: Shelf D 24/30 cm, magazine shelf and desktop shelf Table: H 72/109 cm Cupboards: Four versions Material: Oak, black stained oak, walnut or BauBuche, hangers in brass or stainless steel Page: (walnut/oil), 10 (oak/soap), (BauBuche/oil) BM1 CHAIR Design by Børge Mogensen, 1958 BM2 CHAIR Design by Børge Mogensen, 1958 dk3_3 TABLE Design by Jacob Plejdrup, 2009 TREE TABLE Design by Jacob Plejdrup, 2011 TREE COFFEE TABLE Design by Jacob Plejdrup, 2012 Dimensions: W 51 cm / D 44 cm / H 78 cm (seat height 46 cm) Material: Oak or black stained oak Seat: Paper cordel Page: 27, 48 (black stained oak) Dimensions: W 60 cm / D 46 cm / H 86 cm (seat height 46 cm) Material: Oak or black stained oak Seat: Paper cordel Page: 26, 43, (black stained oak) Straight edges Dimensions: W 90/100 cm / L cm / H 72/74 cm Material: Oak, wild oak, smoked oak or walnut Legs: Clear or black powder coated steel Page: (oak/soap) Natural edges Dimensions: W 100 cm / L cm / H 72/74 cm Table top: H 4/5 cm Material: Oak, smoked oak or walnut Legs: Clear or black powder coated steel and bronze Page: (oak/soap, bronze legs, table top 5 cm) Natural edges Dimensions: W 55/70 / L cm / H 45 cm Material: Oak, smoked oak or walnut Legs: Clear or black powder coated steel Page: 56 (smoked oak/oil) RABA SIDEBOARD Design by Rainer Bachschmid, 2009 Dimensions: W 203 cm / D 46 cm / H 50 cm (72 cm w/legs) Material: Oak, wild oak or walnut Legs: Clear or black powder coated steel Page: (wild oak/oil) STEEL COPILOT CHAIR Design by Asger Soelberg, 2015 STEEL COPILOT BAR STOOL Design by Asger Soelberg, 2016 LOWLIGHT TABLE Design by Jacob Plejdrup, 2014 LESS IS MORE TABLE Design by Jacob Plejdrup, 2012 LOWLIGHT COFFEE TABLE Design by Jacob Plejdrup, 2016 Dimensions: W 47 cm / D 46 cm / H 81 cm (seat height 46 cm) Material: Black powder coated steel Seat: Leather or fabric Page: 14 (tan leather), 24-25, (black leather) Dimensions LOW: W 40,5 cm / D 41 cm / H 86 cm (seat height 65 cm) Dimensions HIGH: W 40,5 cm / D 41 cm / H 104 cm (seat height 77 cm) Material: Black powder coated steel Seat: Leather or fabric Page: 25, 36 (black leather) Dimensions: W 100 cm / L cm / H 72/74 cm Material: Oak, wild oak, smoked oak or walnut Legs: Black powder coated steel Page: 24, (oak/soap), (wild oak/grey oil) Dimensions: W 90/100 cm / L cm / H 72 cm Material: Oak, wild oak or walnut Legs: Black powder coated steel Page: 47 (wild oak/soap) Dimensions: W 60/70 cm / L cm / H 45 cm Material: Oak, wild oak, smoked oak or walnut Legs: Black powder coated steel Page: 57 (oak/soap) GRAND SIDEBOARD Design by Jacob Plejdrup, 2016 Dimensions: W 200/240 cm / D 50 cm / H 68 cm (w/legs) Material: Oak, wild oak or walnut Legs: LOWLIGHT, dk3_3 TABLE and wood version, doors in nano laminate (different colors) Page: (wild oak/soap + black laminated doors) COPILOT CHAIR Design by Asger Soelberg, 2010 CHURCH CHAIR Design by Kaare Klint, 1936 JEWEL TABLE Design by Søren Juul, 2013 SHAKER TABLE Design by Børge Mogensen, 1958 PLATEAU COFFEE- & SIDE TABLE Design by Søren Rose Studio, 2015 CADOVIUS BUTTERFLY SHELF Design by Poul Cadovius, 1958 Dimensions: W 25 cm / D 25 cm / H 19 cm Material: Oak or walnut Page: (walnut/oil) Dimensions: W 47 cm / D 50 cm / H 81 cm (seat height 46 cm) Material: Oak, smoked oak, black stained oak or walnut Seat: Leather or fabric Page: 25, 53 (smoked oak/oil with black leather) Dimensions: W 52 cm / D 46 cm / H 86 cm (seat height 46 cm) With armrest: W 60 cm / D 46 cm / H 86 cm (seat height 46 cm) Material: Oak or black stained oak Seat: Paper cordel Page: 28-29, 38-39, 49 (black stained oak) Dimensions square edition: W 140/160 cm / L 140/160 cm / H 73 cm Dimensions round edition: Ø cm / H 73 cm Material: Oak, wild oak, smoked oak or walnut Legs: Black powder coated steel or stainless steel Page: 52 (smoked oak/oil) 53 (walnut/oil) Dimensions: W 95 cm / L cm / H 71,5 cm Material: Oak Page: (oak/soap) Dimensions (Ø x H): 35 x 50 / 35 x 45 / 60 x 45 / 80 x 35 / 110 x 35 cm Material: Oak or walnut Legs: Black powder coated steel or stainless steel Page: 54 (walnut/oil), 55 (walnut/oil + oak/oil) Customized sizes available upon request. Extension leaves available for all dining tables. Available wood surface treatments: lacquer, oil, white oil or soap. Please visit for further product information

31 dk3 Spinderigade 11 DK-7100 Vejle Tel We assume no liability for typographical errors and we reserve the right to change product specifications Graphic design: strups-studio.dk