Royal Copenhagen Charts a New Course Beyond Tableware

COMMON, a nascent furniture brand headquartered in Copenhagen, Denmark, has established a presence with showrooms in New York and Berlin, marking its entry into the global furniture market. The brand distinguishes itself by collaborating with a roster of high-profile designers, including Studio David Thulstrup, Chris Liljenberg Halstrøm, Geckeler Michels, Bjarke Ingels Group, SHoP Architects, and Baum und Pferdgarten. This strategic collaboration aims to bring diverse perspectives and innovative designs to their product line. A core philosophy of COMMON is to deliver high-quality furniture that remains accessible in price, while strictly adhering to ethical production standards. The brand prioritizes sustainability by partnering with factories in Lithuania and Estonia that align with its commitment to environmentally responsible manufacturing. A significant aspect of their sustainable practice is the use of FSC-verified wood for their furniture frames, guaranteeing that timber harvesting does not exceed the forest's regeneration capacity. This commitment extends to the choice of materials, as evidenced by their use of Kvadrat upholstery, known for its quality and responsible sourcing. COMMON's vision encompasses creating products that are both radical in design and sensible in application, aiming to push design boundaries while maintaining practicality. The brand's focus on sustainable sourcing, ethical production, and collaborations with leading designers positions it as a forward-thinking entity in the furniture industry. By integrating environmental consciousness with contemporary design, COMMON seeks to offer furniture solutions that are aesthetically pleasing, durable, and responsibly produced. The furniture pieces themselves reflect a minimalist yet sophisticated aesthetic, characterized by clean lines, natural materials, and a focus on functionality. The visual collection accompanying this announcement showcases a variety of seating options, tables, and storage units, each embodying the brand's commitment to modern design principles. The pieces are designed to integrate seamlessly into diverse interior environments, offering versatility and timeless appeal. The brand's emphasis on transparency in its production processes and its dedication to working with materials that have minimal environmental impact underscore its modern approach to furniture manufacturing and design. #CopenhagenFurniture #SustainableDesign #EthicalProduction #ModernFurniture #DesignCollaboration #FSCcertifiedWood #KvadratUpholstery #MinimalistDesign #HomeFurnishings

Copenhagen-based brand Reform has collaborated with Paris-based architect Jean Nouvel on a new kitchen design that blends minimalist Danish aesthetics with Nouvel’s signature bold and artistic expression. The collaboration results in a light-filled, playful, and practical kitchen featuring steel surfaces designed to capture and reflect light. This design incorporates an art deco-inspired edge, adding a unique twist to Reform's characteristic sleek and sculptural minimalism. The kitchen fronts are crafted from steel, available in both black and untreated metal options. These units incorporate subtle vertical ridges that are central to Nouvel's ability to manipulate light within a space. Jeppe Christensen, founder and CEO of Reform, notes that Nouvel's design expertly utilizes form and materiality to create varying colors and reflections, a principle beautifully encapsulated in this kitchen. The grooves in the gleaming metal surfaces effectively catch and refract light, transforming the stainless steel and grey and black Fenix laminate countertops into elegant, illuminated expanses. This design exemplifies a "minimalistic yet expressionistic" approach, which is a hallmark of Jean Nouvel's architectural style. The architectural precision brought by Nouvel is a cornerstone of the design, ensuring that the kitchen is not only highly functional but also visually captivating. The intricate details of the design were refined through an extensive creative process, which faced challenges due to the Covid-19 pandemic, restricting in-person collaborations between the teams in Copenhagen and Paris. Christensen emphasized the importance of real-life interactions during the design and prototyping phases to meticulously finalize details and achieve the desired quality. The manufacturing of this complex kitchen design required numerous fittings and adjustments to meet Reform's high standards for expression and quality. The outcome of this collaborative effort is a kitchen that seamlessly integrates modern minimalism with a welcoming and practical environment. Christensen highlights that while the kitchen is minimalistic, its expressionistic qualities are a testament to Jean Nouvel's skill. He believes the design inspires a life of expression without overwhelming the living space, conveying a sympathetic and beautiful aesthetic. The design is intended to be both visually striking and harmoniously integrated into the home, offering a unique blend of functionality and artistic flair. This new kitchen design marks a significant achievement in blending contemporary design trends with innovative material use and a deep understanding of light. The project underscores the value of collaboration between established brands and renowned architects to push the boundaries of interior design, creating spaces that are both beautiful and highly liveable. The Reform kitchen by Jean Nouvel is poised to become a notable example of how thoughtful design can elevate everyday living spaces. #ReformKitchen #JeanNouvel #KitchenDesign #MinimalistDesign #InteriorDesign #ArchitecturalDesign #Copenhagen #Paris #SteelSurfaces

The article highlights five Copenhagen-based creatives who are redefining Danish design by blending traditional aesthetics with contemporary approaches. These designers are characterized by their respect for heritage, openness to new ideas, and a focus on pushing creative boundaries, moving beyond the well-established minimalist, muted, and naturalistic style often associated with Scandinavian design. They are introducing fresh perspectives while maintaining a strong connection to craftsmanship and human-centered design principles. Helle Mardahl, a former fashion designer, transitioned into creating colorful blown-glass objects, including lamps, tableware, and decorative pieces. Her work is notable for its vibrant colors and whimsical forms, reminiscent of candy and childhood treats, which challenges the traditional muted palette of Danish design. Mardahl’s experience studying abroad in London influenced her appreciation for Copenhagen and inspired her to incorporate bolder aesthetics, proving that exposure to diverse cultures can enrich local design. Architect Søren Pihlmann operates his studio with an unconventional approach, emphasizing the use of existing building elements in renovations. His methodology avoids fighting against a structure's inherent potential, instead allowing the building to guide the design process. Pihlmann's work, which spans from industrial breweries to private homes, focuses on understanding materials and their stories, advocating for a shift away from purely conceptual architecture towards a more tangible, material-driven practice. He also questions profit-driven trends, prioritizing sustainable and respectful renovation. Thomas Woltmann, a furniture designer, focuses on bringing conceptual artistic thinking into relatable, functional design. His award-winning Re-C chair, made from recycled wood from an old church, exemplifies his commitment to using regional and recycled materials, re-establishing a connection between humans and the physical objects in their lives. Woltmann believes in drawing inspiration from Denmark's rich craft history to address contemporary challenges, such as the climate crisis, by focusing on natural materials, longevity, and craftsmanship, echoing the spirit of past Danish design masters while adapting to modern needs. Interior designer Jessica Vedel, with a background in fashion and photography and international experience in Berlin, London, and New York, blends Nordic minimalism with cosmopolitan elegance. Her designs are characterized by bespoke furnishings, intricate architectural details, and a keen sense of form and scale. Vedel's work is influenced by her Danish roots and the tradition of quality materials and architecture but incorporates more volume and layering, reflecting her global exposure. She also designs furniture, collaborating with brands and developing custom pieces, always driven by an intuitive creative impulse. Danielle Siggerud, an architect from Oslo, initially considered a career in medicine due to an interest in helping people, but her awareness of how spaces affect human feelings led her to architecture. Her firm specializes in both new builds and historic renovations, applying a "refined minimalism" that emphasizes materiality and tactility. Siggerud's approach, refined under John Pawson, considers the routines and situations of inhabitants, focusing on creating sensory experiences through thoughtful integration of elements like lighting, doors, and surfaces. Her work, which extends to furniture design, aims to elevate the everyday and interact with the past through a deep appreciation for human interaction with built environments. These five creatives collectively represent a dynamic evolution in Danish design, honoring its foundational principles while boldly exploring new directions. #CopenhagenDesign #DanishDesign #CreativeInnovation #HomeDesign #ArchitecturalRenovation #SustainableDesign #FurnitureDesign #InteriorDesign #MaterialExperimentation

Nordic Nest, an e-tailer established in 2002, has cultivated a distinctive niche in the Scandinavian interior design market by prioritizing storytelling and brand building. Unlike typical online retailers, Nordic Nest offers a curated experience that allows customers to explore and engage with Scandinavian design at their own pace. The platform serves as a primary destination for enthusiasts of Scandinavian interior design, emphasizing functional simplicity and timeless beauty, and is expanding its efforts to enhance the global visibility of Scandinavian design. The company's extensive catalog features over 60,000 Scandinavian design products from more than 300 brands. The selection is meticulously curated, highlighting craftsmanship and artistic expression. Nordic Nest supports a diverse range of creators, from emerging talents to established designers, providing year-round assistance through marketing collaborations, exclusive product launches, and international outreach. This commitment extends beyond transactional relationships, focusing on showcasing each studio's unique craftsmanship and innovative techniques through various channels, including digital campaigns, curated showcases, and events, thereby popularizing Scandinavian design globally. During the 2025 Stockholm Design Week, Nordic Nest hosted an intimate dinner at Stockholm’s Nationalmuseum, bringing together leading Scandinavian design brands such as Fritz Hansen, Iittala, Louis Poulsen, Gärsnäs, and Audo Copenhagen. This event celebrated both the enduring traditions and contemporary innovations within Scandinavian design, underscoring the company’s dedication to providing brands with a platform for increased visibility and recognition beyond the Nordic region. Among the highlights of the event was the unveiling of Iittala’s Solare collection, a new tableware line inspired by light. This collection, which includes glassware, textiles, and home accessories, captures the interplay of brightness and form, continuing Iittala’s legacy of avant-garde design and colored glass since its founding in 1881. Danish brand Audo also introduced the Pavot Collection, a collaboration with designer Colin King. This collection, featuring artfully crafted vessels like the Pavot Centerpiece, Bowl, and Vase, draws inspiration from the organic shape of a poppy seed head, blending ancient influences with modern craftsmanship. Each piece is cast in aluminum and finished with a brown bronzed patina, embodying a timeless yet contemporary aesthetic. Through these initiatives, Nordic Nest reinforces the notion that Scandinavian design is rooted in careful attention to detail and a profound sense of connection. #ScandinavianDesign #InteriorDesign #NordicNest #ECommerce #DesignRetail #BrandBuilding #DesignEvents #FurnitureDesign #HomeDecor

Daniel Lalonde, CEO of Design Holding, a prominent luxury multibrand group in the high-end interiors market, outlines his strategic vision for the company's future, focusing on making the experience of purchasing high-end interior products more accessible. Design Holding, established through Investindustrial's acquisitions of Flos (2014), B&B Italia (2015), and Louis Poulsen (2018), has expanded its portfolio to include nine brands, such as Maxalto, Azucena, Arclinea, Fendi Casa, Audo, and Lumens. This consolidation has positioned the group as a significant entity in design-led, luxury interior products, operating in over 130 countries with ten manufacturing facilities. Lalonde, who assumed the CEO role in late 2021, brings extensive experience from luxury multi-brand companies like LVMH, Louis Vuitton, Ralph Lauren, and SMCP. He acknowledges the transition from high fashion to interiors as a "leap of faith" but recognizes commonalities in heritage, craftsmanship, and the use of top designers. The company's brands collectively boast an extensive collection of works from celebrated designers, including modern classics by Achille and Pier Giacomo Castiglioni, Poul Henningsen, Arne Jacobsen, and contemporary pieces by Tobia Scarpa, Antonio Citterio, Philippe Starck, Naoto Fukasawa, Jasper Morrison, and Piero Lissoni, among others. The group also actively seeks emerging design talent. A key aspect of Lalonde's strategy involves shifting the sales model to be more consumer-centric. Historically, over half of Design Holding's business relied on wholesale channels. To address this, the company has opened a 25,000 sq ft retail center at 135 Madison Avenue in New York. Designed in part by Lissoni & Partners, this flagship store provides distinct spaces for each brand, offering a comprehensive multibrand experience. This move aims to engage architects and designers, who significantly influence furniture sales (up to 45% in the US), by providing an immersive environment for both professionals and consumers to make informed decisions. Technological advancements are also integral to the strategy, with new e-commerce platforms and a configurator app being developed for individual brands. However, Lalonde emphasizes the importance of physical interaction with products, which the Madison Avenue store facilitates. The company is also exploring other innovative showcases, such as the West Coast model home at the Mandarin Oriental Residences in Beverly Hills, which features B&B Italia products exclusively. Lalonde's role includes maintaining the distinct identity and character of each brand while fostering collaboration. He highlights the complimentary nature of the brands, noting, for example, the different design DNA between a B&B Italia sofa and a Maxalto sofa. Collaborative efforts among contract teams across brands are encouraged, especially for large projects. The group includes Italian brands (B&B Italia, Maxalto, Azucena, Flos, Arclinea, Fendi Casa), Danish brands (Louis Poulsen, Audo), and the San Francisco-based Lumens. Sustainability and ethical practices are central to Design Holding's environmental, social, and corporate governance (ESG) strategy. The company prioritizes product longevity, quality, ease of maintenance, and repairability. They also focus on sourcing sustainable and ethical supply chains, with benefits extending across all nine brands, such as sourcing wood from certified forests. The preservation of traditional manufacturing techniques and skills is also a priority, with investments in technical schools in Italy to ensure the continuity of craftspeople. The company is also targeting expansion into new markets, particularly Asia, where there is a large luxury market but a relatively nascent high-end design market. Plans are underway to open stores in China, as Design Holding aims to bring the enduring value of design to a global audience. #DesignHolding #LuxuryInteriors #FurnitureBrands #RetailStrategy #DanielLalonde #SustainableDesign #GlobalExpansion #DesignInnovation #Craftsmanship

The UP Minimalist Kitchen represents a collaboration between Reform, a company dedicated to sustainable kitchen design, and Lendager Group, an architectural firm recognized for its expertise in circular economics within sustainable building. This partnership addresses Reform's longstanding goal of offering environmentally responsible kitchen solutions. Lendager Group holds exclusive rights to utilize surplus wood from Dinesen, a globally renowned flooring manufacturer, thereby transforming what would otherwise be waste into valuable resources for innovative architectural projects. Dinesen, known for its customized flooring solutions, frequently generates a considerable amount of residual wood during its manufacturing processes. The UP kitchen is specifically designed to incorporate these leftover cuts, providing a new purpose for materials that would typically be discarded. This approach exemplifies a commitment to minimizing waste and maximizing resource efficiency within the design and manufacturing industries. The use of Dinesen’s surplus wood not only enhances the sustainability credentials of the UP kitchen but also introduces a unique material narrative, connecting the kitchen back to its origins in high-quality, large-format timber production. The aesthetic of the UP kitchen is characterized by a minimalist design, which is achieved through clean lines, uncluttered surfaces, and a focus on the natural beauty of the wood. The design emphasizes functionality and simplicity, avoiding excessive ornamentation to allow the material itself to be the focal point. This minimalist philosophy aligns with contemporary design trends that prioritize understated elegance and practical utility. By integrating recycled and repurposed materials, the UP Minimalist Kitchen offers an example of how design can contribute to a more circular economy. It demonstrates that high-quality, aesthetically pleasing, and functional products can be created using resources that might otherwise be considered waste. This model of production supports ecological responsibility by extending the lifecycle of materials and reducing the demand for new raw resources. The project serves as a practical illustration of how sustainable practices can be embedded into the core of product development, offering consumers an option that combines modern design with environmental consciousness. Overall, the UP Minimalist Kitchen is a product of strategic collaboration and innovative material use. It highlights the potential for architectural and design firms to partner with manufacturers to address waste and promote sustainability. The design not only meets contemporary aesthetic demands but also champions a responsible approach to resource management, reflecting a growing industry trend towards more ethical and environmentally friendly practices in home furnishings and interior design. #MinimalistKitchen #SustainableDesign #LendagerGroup #ReformCopenhagen #DinesenWood #CircularEconomy #UpcycledMaterials #EcoFriendlyDesign #InteriorDesign

Margrethe Odgaard, a Copenhagen-based designer, has cultivated a rigorous and innovative approach to color and textile design since launching her independent studio in 2012. Her body of work includes textile designs for prominent companies such as Hay and Georg Jensen Damask, as well as collaborations with other Danish creatives, including furniture designers and chef-brewers. This extensive output is underpinned by a meticulous methodology, particularly her unique color index. Odgaard developed her own 280-color palette as an alternative to existing mathematically-derived systems like Pantone, RAL, and NCS. She found these traditional systems to lack complexity and aimed to create hues that possess an immediate sensory appeal beyond just sight. Her criterion for a successful color is its 'edibility' – if one is willing to put the color in their mouth, it effectively relates to the body. This approach led to a rich spectrum of colors, from a color-shifting cocoa to an ultra-saturated neon purple, which she meticulously painted onto popsicle sticks to visualize and categorize. Her design philosophy is deeply influenced by her upbringing in pastoral western Denmark, where the natural environment fostered an attraction to opposition and a drive to make a significant impact through her work. Odgaard, an alumna of the Rhode Island School of Design and the Royal Danish Academy of Fine Arts, describes her constant striving to not merely 'make noise' but to 'make a difference' as a designer. Beyond her color index, Odgaard's diverse portfolio showcases her inventive spirit. She created 'Navajo Drawings,' which are wooden 3-D stick drawings inspired by Native American art, envisioned as three-dimensional wall decorations. Her 'Fold Unfold' tablecloth design features patterns that appear to flow out of its creases, demonstrating an innovative use of textile form. Additionally, her design for the 'Yolk' bowl for Kähler exemplifies her ability to translate her color and form sensibilities into various product categories. Odgaard's studio in Copenhagen serves as the hub for her multifaceted projects. Her consistent output and distinct approach highlight a designer who not only understands the technical aspects of color and material but also imbues her creations with a deeper, sensory connection. Her work stands as a testament to the power of thoughtful design that engages both the intellect and the senses. #MargretheOdgaard #TextileDesign #ColorTheory #DanishDesign #ProductDesign #InteriorDesign #DesignInnovation #CopenhagenStudio

This article explores five key Danish design lessons observed during a brief trip to Copenhagen, focusing on how these principles can be applied to create cool yet cozy home interiors, especially during winter months. The author's journey began with an architectural tour, driven by an appreciation for craftsmanship and design narratives, particularly the iconic Black Diamond Library. Danish design is characterized by functionality, style, and an unfussy aesthetic, though achieving a warm Scandinavian feel can be challenging. The insights were gathered from various stylish locations, including restaurants, shops, and hotels in Copenhagen. One fundamental lesson highlights the importance of layered and iconic lighting. Given Denmark's limited winter daylight, the strategic use of lighting is crucial. This involves employing globe low-hanging pendants, Sputnik chandeliers, and a blend of ambient, task, and feature lighting to enhance atmosphere and functionality. The Hotel Alexandra in Copenhagen exemplifies this approach, emphasizing cozy lighting that creates an intimate ambiance, often achieved by hanging lights low and grouping them. The article notes the juxtaposition of various lighting designs, from soft warm glows to brighter white lights, and the prevalent use of candles to elevate spaces. Specific examples like Night Owl lamps from Fritz Hansen and marbled glass mushroom lamps are mentioned for their playful yet effective contributions to decor. The second lesson emphasizes the impact of even small pops of color in setting a room's tone. While neutral palettes are common in Scandinavian design, the Hotel Alexandra showcased how vibrant bookends and colorful accent chairs can significantly uplift spirits, especially when contrasted with cooler external environments. The article acknowledges a personal struggle with color shyness but points out how a simple change, such as swapping bedsheets, can dramatically alter a room's mood. Guidance on integrating color includes using blue with a grayish hue or a warmer stone color, combined with chromatic accents like green or vermillion red to achieve a Scandi aesthetic. Magnus Sangild of Mazo Design elaborates on color as a narrative, using subtle pastel wall tones and vibrant furniture to create a modern and inviting showroom. Chairs are presented as a significant opportunity for making a design statement, reflecting Copenhagen's rich furniture design heritage. Timeless chairs, designed for longevity and embodying the Danish aesthetic, are highlighted. The ARCH Lounge Chair by Magnus Læssøe Stephensen, crafted from steam-bent solid oak and paper cord, is cited as an example that combines natural materials with a bold design. The importance of comfort and functionality in chair design is underscored. The article mentions classic designs by Hans J. Wegner, Arne Jacobsen's Egg™ chair, and Poul Kjærholm's PK22™ design as examples of pieces that blend heritage, craftsmanship, and modern functionality, making them valuable additions to any home. The fourth lesson focuses on the instant timeless appeal of true craftsmanship. The article argues that fine design is an art, distinguishable by the meticulous care and thoughtful design applied to a piece of furniture. A commitment to quality materials and durability ensures that furniture can withstand the test of time, as exemplified by Mazo's TMBO Lounge Chair from 1935, which remains relevant and is expected to endure for decades. This dedication to lasting design reflects a commitment to sustainability. The tactile enjoyment derived from features like soft curves, buttery leather, fuzzy upholstery, or the grain of wood further emphasizes the value of incorporating handcrafted items into home decor, especially when they complement the home's natural architecture. Finally, the article suggests that incorporating just a touch of nature can elevate any space. This includes everything from Art Deco carvings on dining chairs to dried flower bouquets in tablescapes. Houseplants in overlooked corners, natural and raw materials, and organic forms help connect indoor spaces with the outdoors, bringing warmth and design essence regardless of the season. The article concludes by offering specific product recommendations that align with these Danish design principles, such as accent chairs, pendant lights, table lamps, and snake plants, to help readers infuse their homes with a Copenhagen-inspired cool and cozy aesthetic, emphasizing a balance between light and furniture through curved lounge pieces, natural upholstery, and colorful accessories. #DanishDesign #InteriorDesign #CopenhagenInspiration #HomeDecor #LayeredLighting #ColorTheory #FurnitureDesign #Craftsmanship #NaturalElements #ScandinavianStyle

Deniz Aktay, a Germany-based designer, has created 'Bookgroove,' a multifunctional side table that also functions as a book rack. This piece of furniture is designed to enrich both classic and modern interior spaces with its unique sculptural form. Aktay emphasizes the importance of balancing material, proportion, and functionality in his design process, aiming to create pieces that are both aesthetically pleasing and highly practical. His enthusiasm for crafting furniture and objects stems from a focus on the detailed aspects of creation. Bookgroove features a minimalistic design with a Scandinavian aesthetic, incorporating warm wooden tones. Its cylindrical shape integrates a storage section specifically designed to hold books, making it a compact and versatile piece. Aktay's motivation for developing Bookgroove was his appreciation for furniture that serves multiple purposes, highlighting its space-saving and multi-functional nature. The design's primary characteristic is a long, deep, and beautifully curved groove carved into a solid wood cylinder. This curve is meticulously crafted to complement the overall roundness of the main body, creating an illusion of continuous movement. The innovative design allows the cylindrical form to be visually restored when filled with books, encouraging users not only to store their books but also to integrate them as decorative elements. When fully loaded, the books and wood merge visually, creating a cohesive and integrated appearance. This piece exemplifies Aktay's design philosophy, where functionality and artistic form coalesce to produce innovative home furnishings. The article underscores Aktay's skill in conceptualizing and executing furniture that is both visually engaging and highly practical, fitting seamlessly into various interior styles while addressing the common need for compact, multi-purpose items. #FurnitureDesign #ConceptDesign #InnovationDesign #InteriorDesign #LifestyleDesign #MultifunctionalFurniture #ScandinavianDesign

Stockholm Creative Edition, an independent design week established by Ulrika Kjellstöm Attar and Philippe Attar, showcases contemporary Swedish design from emerging and established artists and companies. This event, running through 29 September, contributes to Europe's dynamic design landscape, following Milan Design Week and 3 Days Of Design in Copenhagen. A central theme of the Stockholm Creative Edition is the innovative application of traditional Scandinavian materials: wood, glass, and metal. The various exhibitions, presentations, and workshops highlight both functional and futuristic interpretations of these classic elements. Monica Förster played a significant role in launching Subjective, a new brand founded by Ruben Schildt and Sebastian Schildt of Oxenstiernan restaurant. Initially, this collection, which includes plates, glasses, and tablecloths, was created for the Östermalm eatery. However, due to its success, it has now entered production. The items are crafted by local artisans with an emphasis on traditional methods and sustainability. Förster's notable contribution is the Babushka, a versatile glass container available in three sizes. Its lid is designed to function as a magnifying lens, enhancing the visual appeal of its contents, whether they are food items or decorative flowers. Glass is also prominently featured in the architectural design of Liljevalchs+, the recently completed extension of a beloved Stockholm museum. Architect Gert Wingårdh collaborated with potter and designer Ingegerd Råman to create the building's façade, which consists of a concrete wall embedded with 6,860 glass cups. This innovative solution ensures an ample flow of natural light into the interior. An exhibition at Liljevalchs+, running until 17 October, celebrates Råman's work, presenting a collection of unique glass vases that are the result of extensive experimentation with this material. In the realm of wood, Massproductions presents the Hercule, a coat-hanger made from oat or walnut. This piece, described as both playful and practical, is part of the exhibition 'Who Are You Hercule?' where the studio Specific Generic has reimagined it as an illustrated character. Designer Chris Martin noted that the product's shape often reminded people of an animal's nose or a human face, inspiring an installation that uses projections to animate illustrations by Patrik Mollwing. Asplund, a company known for promoting young Scandinavian designers since 1990, also features wood in its collection. Their Moci dining table showcases legs that gracefully connect with the tabletop, forming elegant curves and blending Swedish and Japanese design aesthetics. Creative director Sandra Adrian Asplund explains that the design was inspired by a coffee table created by Moa Sjöberg, which was seen at the Malmstens Linköping University graduate show. Metal is highlighted through Margarita Matiz Bergfeldt's Twilight, a wall-mounted candle-holder produced by Klong. Inspired by multigraph photography, which uses mirrors to multiply subjects, Bergfeldt aimed to achieve a similar effect with candlelight. The Twilight features metal surfaces in two finishes that amplify light, illuminating even the darkest areas of a home. This piece also serves as a vase. Metal is also a key component in office furniture, a sector where Swedish designers excel. Lammhults utilizes metal in its Corso Easy chair, a straightforward design based on a tubular metal structure and a leather or canvas seat, referencing Peter Andersson’s work. While designed for office environments, its rounded form allows it to be used in various settings. The chair is designed for disassembly and uses minimal materials, contributing to a lower environmental impact. #StockholmCreativeEdition #SwedishDesign #GlassDesign #WoodFurniture #MetalDesign #InteriorDesign #ProductDesign #SustainableDesign #NordicCreativity

RH, a prominent home furnishings retailer, has launched RH Contemporary, a new business branch that significantly expands its product offerings through collaborations with a diverse array of global designers. This initiative marks RH's most substantial concept launch since RH Modern in 2015, reinforcing the company's ambitious growth trajectory. The new collection encompasses a wide range of items, from large furniture pieces such as sofas, beds, wardrobes, and outdoor furniture, to lighting, textiles, and decorative objects. The launch of RH Contemporary follows other significant developments for the company, including the unveiling of RH San Francisco, the acquisition of private planes and a yacht for charter, and plans for future locations in Manhattan, Oxfordshire, Paris, London, Milan, and an 'RH Ecosystem' in Aspen featuring the company's first spa. The development of RH Contemporary began prior to the pandemic, with RH leadership strategically using that period to focus on long-term growth initiatives rather than short-term revenue pursuit. A key aspect of RH Contemporary is its multi-tiered approach to elevating production standards and materials. This includes a partnership with Holland & Sherry, an established Savile Row tailor, to supply a comprehensive range of fine textiles for upholstery and curtains. Additionally, the collection features high-caliber Indian hand-loomed throws and pillow covers by textile artist Neeru Kumar, whose work has been acquired by the Victoria & Albert Museum. A significant portion of RH Contemporary's upholstered furniture, including modular leather seating and low linear sofas, is crafted in Italy. To achieve this, RH collaborated with expert Italian upholsterers, ALT in Romagna and Crivellari in Padova, whose founders are prominently credited on the RH website alongside the designers. Italian-sourced materials, such as travertine stone from outside Rome and Arabescato marble, are also widely used, although some fabrication occurs elsewhere. The emphasis on top-tier materials and production, including lacquered burl wood, hand-carved Spanish alabaster, and hand-applied plaster on lighting, is reflected in the collection's higher price points, with items like Jonathan Browning’s ‘Vouvray’ chandelier starting at over $35,000 and Joris Poggioli’s ‘Vitolo’ dining table starting at over $12,000. Gary Friedman, RH chairman & chief executive officer, notes that RH Contemporary items are priced approximately 30 to 35 percent higher than the current RH offerings. While large-scale furniture forms the core of the collection, smaller shoppable items are also included, such as vases and decorative dishes by Brooklyn-based ceramicist Dina Nur Satti, which incorporate her Sudanese and Somali heritage. Friedman expresses strong belief in RH Contemporary's potential impact, stating that it will likely have a greater influence on the company than RH Modern, not only from a design perspective but also in terms of quality. He anticipates that this new venture will redefine consumer perceptions of RH and expand its market aperture significantly. #RHContemporary #DesignerCollaborations #LuxuryFurniture #InteriorDesign #HighEndMaterials #ItalianCraftsmanship #GlobalDesigners #HomeFurnishings

Copenhagen, a city known for its influential design landscape and progressive policies, has witnessed the opening of Hotel Hans by Brøchner Hotels, a 91-key boutique accommodation positioned to redefine the hospitality experience. Located between the vibrant Nørrebro and the more established Frederiksburg neighborhoods, this hotel deliberately moves away from the prevailing 'hygge' aesthetic, offering an elevated and sophisticated urban escape instead of a 'home away from home'. The design philosophy at Hotel Hans embraces a bold departure from the typical subdued Scandicore style, characterized by light-toned woods and whitewashed walls, which are often associated with Copenhagen's design trends. Upon entering, guests encounter a theatrical interplay of contrasts, featuring layers of textured marble that evoke a Milanese design sensibility. Concrete walls are paired with sleek stone, and a color palette of deep greens and black accents dominates the common areas and guest rooms. While the hotel generally steers clear of traditional Danish design tropes, it subtly incorporates site-responsive elements, such as a sparing use of wooden details and verdant tones in homage to Frederiksburg's tree-lined streets. This thoughtful integration ensures that while the design is distinct, it still acknowledges its local context. The hotel’s public spaces, including the lobby bar and the Mediterranean-inspired BOLO restaurant, are designed to create a dynamic atmosphere for both guests and locals. As one moves from these vibrant public areas to the private accommodations, the cohesive design scheme of dark grays and deep greens becomes somewhat tempered. Guest rooms and suites introduce elements like mustard yellow in armchairs and desk chairs, and darker-toned woods in built-in cabinetry and desks. Metallic finishes in coffee tables and bathroom vanities add a contemporary touch, balancing the reflective surfaces of floor and ceiling tiles. Many deluxe rooms offer private balconies, while select suites feature expansive 360-degree rooftop views of Copenhagen's skyline, blending picturesque old-world charm with architectural innovation. Hotel Hans is housed within a red brick building dating back to the early 1900s, originally designed by Emil Blichfeldt, who also contributed to the iconic Tivoli Gardens. This historic setting provides a unique architectural foundation for the hotel’s modern interior. The hotel’s unique offerings extend beyond its visual design to its 'soft product' propositions. These include the 'Vermouth Vibes' experience, which starts with a comprehensive 'Good morning it’s Organic' breakfast spread. In the evenings, the ground-level public venues transform into a lively 1980s-inspired cocktail lounge, specializing in various types of martinis. This blend of sophisticated design, historical architecture, and unique guest experiences positions Hotel Hans as a distinctive destination in Copenhagen, offering a fresh perspective on urban hospitality that consciously moves away from the comfort-centric 'hygge' concept. #HotelDesign #Copenhagen #BoutiqueHotel #InteriorDesign #Hospitality #DanishDesign #ModernArchitecture #LuxuryTravel

Satelliet Originals, a Dutch brand, has launched a new customizable furniture line for the hospitality industry, building on decades of craft experience from its parent company, Satelliet. This new brand aims to meet the growing demand for unique, high-quality, and robust furnishing solutions in modern hospitality spaces. The company emphasizes individuality and flair in restaurant interiors, moving away from the previously prevalent, stripped-down sameness in design. The collection features collaborations with various designers. One notable example is the 'ReUnited' collection by Lars Snellaars, inspired by the freedom and celebratory spirit of the 1920s post-pandemic era. Snellaars' designs, characterized by richly pigmented velvet, long fringed trim, and gold frames, symbolize togetherness and a call to party, reflecting a desire for liveliness after recent global disruptions. The Street Food Club, for instance, integrated standard and customized 'ReUnited' pieces to complement its tropical-themed venue in Breda. Erik Remmers, another contributing designer, brought his expertise in commercial interior design to the 'Pebble' series, which emphasizes wood as a primary material. Remmers, who runs the interior design studio Art2Go, conceived 'Pebble' with the Kyatcha restaurant project in Rotterdam in mind, addressing a need for more wooden seating options. His designs feature slender, tapered legs and curved wooden details, paired with softly upholstered backs, allowing for customization through various details and upholstery options. Studio Satelliet's in-house designers, Chris Montijn-Spiering and Wessel Storms, have introduced the 'Code' and 'Current' chairs, which are made entirely from post-consumer recycled materials, highlighting a commitment to sustainability. Elise Luttik's 'Chester' chair also forms part of the collection; crafted from ash, it cleverly creates the illusion of cushioned leather through intricate wood impressions. Satelliet Originals combines the manufacturing prowess of the 52-year-old parent company with the innovative ideas of designers, ensuring furniture meets the high quality standards required for intensive use in hospitality environments. The brand’s philosophy centers on providing entrepreneurs, creatives, and project developers with the tools to create inspiring hospitality locations, emphasizing that design is what one makes of it. Maico Pheninckx, creative consultant at Satelliet, reiterates this by stating that each furniture piece possesses a unique character, supporting the identity of a concept or interior, further enhanced by infinite possibilities in upholstery and finishes. The full collection is scheduled to officially launch at Salone del Mobile 2023 in Milan, marking a significant step in offering bespoke and robust solutions for hospitality interiors. #HospitalityDesign #FurnitureCollection #InteriorDesign #CustomizableFurniture #RestaurantInteriors #SustainableDesign #DutchDesign #ProductLaunch

The 2015 Stockholm Furniture & Light Fair showcased a vibrant array of established brands and emerging talents, with a refreshed layout that enhanced the exhibitor experience. Guest of honor Ilse Crawford, founder of Studioilse, reimagined her South London studio within the fair's central meeting area, providing a space for visitors to explore the profound impact of design on daily life. Coinciding with the fair, Crawford unveiled her inaugural collaboration with IKEA, introducing an accessible collection of furniture, lighting, and smaller items, including cork tables, hanging lights, accessories, and a day bed. This collection was presented in the charming setting of Ett Hem, a historic Stockholm house that Studioilse had previously redesigned into a boutique hotel in 2012. Several promising designers from previous years demonstrated their evolution into established brands. Baux, for instance, made its debut in the main hall, introducing a new wall system developed in partnership with Stockholm-based Form Us With Love. A notable newcomer was Taiwanese brand NAKNAK, a Taichung-based manufacturer with extensive experience in producing metal components for other brands. NAKNAK launched its first in-house collection, collaborating with international designers like Kyuhyung Cho from Stockholm. Their powder-coated metal wire house numbers, designed by Cho and Erik Olovsson, garnered significant attention for their innovative design. The fair's annual Greenhouse exhibition, a platform dedicated to fostering emerging talent, was curated by Note Design Studio. Their mirrored pavilion ingeniously highlighted the work of several up-and-coming designers. Among these, Danish designers Pettersen & Hein captivated with their structurally dynamic light objects, while Glen Baghurst showcased his colored concrete tiles and a versatile movable chair. Adding to the fair's dynamic, established Swedish architects and Wallpaper* Design Award winners, Claesson Koivisto Rune, ventured into production with their new homeware company, 'Smaller Objects.' This new venture focuses on everyday design, offering a collection of household items ranging from cooling stone coasters to innovative herb pots. In parallel, the architects launched a bright light collection with Wästberg and a structural modular sofa and side table with Offecct. Danish design stalwarts and fellow Wallpaper* Design Award winners Carl Hansen & Søn introduced a double-sided tray table with collapsible legs and a removable tray, available in light oak and smoked oak veneers, which quickly became a customer favorite. On a larger, architectural scale, Spanish powerhouse Cosentino, known for its ultra-compact slab material Dekton, collaborated with Munich-based designer Steffen Kehrle. Kehrle crafted a small structure entirely from Dekton, creating an informal gathering space called 'House of Dekton,' which offered a serene escape from the bustling fairground. The fair also featured other notable pieces like the 'Ghost Chair' by Ingrid and Olle Wingård for Minus tio, the 'Tuann' red shelf by Shuang Liang, and new copper 'PH 3.5-2.5' table lights from Louis Poulsen, all contributing to the diverse and innovative displays at the 2015 Stockholm Furniture & Light Fair. #StockholmFurnitureFair #DesignExhibition #FurnitureDesign #LightingDesign #EmergingTalent #NordicDesign #InteriorDesign #Homeware #ProductInnovation

Ælfred, a new emporium for vintage Scandinavian design, has opened in Hackney Wick, East London, offering a wide array of democratically priced furniture, lighting, ceramics, and glassware. The 300 sq m space is the brainchild of Danish dealer Nina Hertig, who previously co-founded Sigmar, a high-end gallery on Kings’ Road specializing in pedigree Scandinavian pieces. In contrast to Sigmar's exclusive clientele and premium pricing, Ælfred aims to make Scandinavian design accessible to a broader audience, with prices ranging from £15 to £2,500. The concept behind Ælfred is to create a fun and accessible shopping experience that encourages people to reconnect with physical objects. The store features rows of 'PH' pendant lights, ceramics from Royal Copenhagen, lamps by Louis Poulsen, glassware, and vintage silver cutlery. The curated collection includes classic designs from Danish, Swedish, Norwegian, and Finnish designers, such as Børge Mogensen, Haslev, and Alvar Aalto’s Artek. Hertig emphasizes that the accessibility of Ælfred is achieved through scaling the business and maintaining a high turnover of stock. Containers of carefully selected vintage items arrive regularly from Denmark, with new shipments expected every two weeks. This business model allows for competitive pricing and a constantly evolving inventory. A key aspect of Ælfred's offering is the ability to mix and match items, particularly for glassware, silver cutlery, and crockery, allowing customers to purchase individual pieces rather than complete sets. Hertig highlights the enduring quality of these vintage items, noting that they were so well-made they have lasted for decades and still have plenty of life left in them, promoting sustainable consumption by giving new life to pre-owned goods. The name Ælfred is a playful nod to Alfred the Great, who famously defended Wessex against the Vikings. However, this Ælfred is designed to be welcoming to all things Scandinavian, embracing the design heritage it celebrates. The emporium is strategically located next to a new restaurant by Moro, designed by Hertig’s friends Nina Tolstrup and Jack Mama of Studiomama. This adjacency aims to create a destination for weekend visitors, inviting them to enjoy lunch and discover unique treasures in a physical setting, celebrating the traditional joy of in-person shopping and discovery. The venture represents a shift towards a more inclusive approach to vintage design, moving away from exclusive gallery models to a more community-oriented retail experience in East London. #ScandinavianDesign #VintageFurniture #EastLondon #InteriorDesign #Furniture #HomeDecor #SustainableShopping #DanishDesign #HackneyWick

This article features an interview with Norwegian designer Daniel Rybakken, who discusses the trajectory of his career, from his childhood influences to his current projects in lighting, furniture, and electronics. Rybakken highlights a consistent vision across his work, despite evolving into various design disciplines. He attributes his early exposure to fashion and graphic design, through his parents, to shaping his aesthetic and compositional interests. Rybakken emphasizes that his primary motivation is the act of creation and inventing new products, rather than financial gain, a perspective he believes is supported by Scandinavia's robust social safety net. The interview delves into specific products that have marked significant milestones in his career. The Counterbalance light for Luceplan is identified as his first industrial piece and a particularly memorable design, pioneering the slender, graphical, and geometric silhouette that later became prevalent in lighting. He also discusses his recent forays into furnishings, including the 124° wall-mounted mirrors and the Kiila collection for Finnish manufacturer Artek. Rybakken notes the unique challenges of designing for Artek, given the company's rich heritage with Alvar Aalto, and his approach to balancing contemporary design with modernist principles. The Kiila collection, consisting of functional "domestic helpers" like a bench and coat tree, marked his initial venture into wood as a primary material, where he aimed for a logical and sober aesthetic, distinct from traditional Danish woodcraft. Rybakken also introduces the W172 Bokeh floor and pendant light for Wästberg, explaining his exploration of transparency and 'not transparency' using frosted glass to create a blurred effect, referencing the photographic term "bokeh." He reveals that he is currently engaged in collaborations with multiple furniture companies and a Japanese technology company, exploring new territories beyond his established work in lighting and furniture. The designer shares insights into his decision to live and work in Gothenburg, Sweden, explaining that it offered more opportunities for designers compared to Norway at the beginning of his career, and now serves as a retreat from the competitive design scene in Stockholm. He stresses the importance of avoiding common influences like design blogs to maintain originality in his work, finding inspiration instead through travel, particularly to places like Japan. Rybakken expresses admiration for designers like Dieter Rams and artists like Donald Judd, appreciating their minimalist approaches and the conceptual layers in their work. Finally, he discusses his interest in photography, considering the image—rather than the physical object—as the ultimate result of his design process, echoing his admiration for artist Thomas Demand, who creates stylized, strange images from cardboard models, blurring the lines between reality and artifice. His approach underscores the belief that design is fundamentally about communication, and the image is the primary medium through which this communication occurs, outliving the temporary nature of physical objects or installations. #DanielRybakken #ProductDesign #LightingDesign #FurnitureDesign #ScandinavianDesign #Artek #Luceplan #Wästberg #IndustrialDesign #DesignPhilosophy #InteriorDesign