Mogensen designed the sofa in 1945 as a daybed and chaise longue hybrid, with a hinged side. The exposed construction was too sophisticated for modest post-war culture and the sofa did not go into production until 1963.
The Spoke-Back Sofa - Model 1789
With buttons, plain upholstery
D: 76,5 cm
H: 86 cm
L: 160/197 cm
Wt: 33 kg
Cbm: 1.18 cbm
Sh: 40 cm
The Stingray rocker offers a 360° choice of seating positions and embraces its user with comfort from every angle. Skin and neck cushion are optional accessories. Stingray is also available with a stainless steel frame for outdoor use.
Stingray - Model 3500
W: 120 cm
D: 114 cm
H: 83,5 cm
Stingray is a dynamic rocking chair that invites a variety of sitting positions. The unconventionally organic shape emerged as a response to the requirements of today’s modern lounging requirements.
Stingray’s designer, Thomas Pedersen, is often inspired by organic shapes found in nature, and found the flowing shape of the stingray as the perfect muse for his final exam project at the Aarhus school of Design. It’s very easy to see the shell resembling a giant stingray moving gracefully through the water.
Constructed with a vacumn mold, rather than heat injection, the outside of the Stingray is hard wearing, yet sophisticated in either a matt or glossy finish. The frame is constructed without any transverse lines or seams, so as to accentuate the chair’s floating appearance.
The comfortable Stingray invites the user to sit back and relax in a variety of ergonomic positions. The bold design is daring and unorthodox, while at the same time it’s possible to see the inspiration from fibreglass chair deigns of 1950’s. With both old and new influence, Stingray fits perfectly in a room of any decorative style.
Stingray can be used outdoors when mounted on a stainless steel frame.
Stingray is today seen in private homes, hotel rooms, lounges and beach houses throughout the world, in anywere that calls for a relaxing retreat.
6-8 weeks delivery time
C18 table by Børge Mogensen - 6293
Israeli and Palestinian people share an outstanding and dynamic cuisine. Divine Food is a visually striking collection of recipes from local markets, Arab traditions, the nomadic tribes of the desert, and the hip restaurants of Tel Aviv.
While Tape Dispenser serves as a useful piece of stationary, its design also thoughtfully employs three basic geometric shapes giving it its sculptural qualities. A large hexahedron serves as the weighted base, a slender rectangular prism holds the cutting blade and a cylinder acts as the tape holder.
Merge Pen Holder is a combination of three things: A pen holder(obviously), a platform and a clip holder. With it’s well crafted smaller footprint which leaves your working space uncluttered, the Merge Pen Holder also encourages it’s user to carefully select the contents it contains thus makes them focusing on the necessity.
Part sculpture part stationery, Merge Pen Holder makes for a valuable addition to any workspace environment.
Whether displaying name cards or holding writing utensils and other workspace items, 22’s Cardholder is a refined addition to your desktop. The back is a solid cross-section of a cylinder, giving Cardholder its weight while the semi-hollowed cross-section in front creates a space for your most precious items.
Distilling spirits is an age-old craft that is currently experiencing a renaissance. Today’s young distillers are striking the right balance between tradition and innovation. They are using premium ingredients to create a wide array of artisanal spirits that offer exceptional taste experiences.
Few product designs have the staying power of creations by Dieter Rams. Almost everything produced by the most influential designer of the twentieth century is today considered a classic. This new and revised edition of Less but Better shows once again why Dieter Rams’s approach to design will be relevant for the foreseeable future.
Ideas of what can and must be achieved by good design are in a constant state of flux as a result of cultural and technological developments. Dieter Rams, however, came up with ten principles that advocate for a purist, almost imperceptible design. These principles are still considered timeless fundaments of design theory and practice today.
Less but Better does not set out to be a complete documentation of Dieter Rams’s body of work, nor does it claim to tell the full story of the company Braun. Rather the book explores the ideas, criteria, and methods behind Rams’s creations and reveals how a shifting culture of product manufacturing gave rise to universal design benchmarks. From his reflections on design ethics and values we can distill a clear paradigm for future design—because one principle has remained firm over the years: less is simply better.
Private paradises nestled in the backyards of homes. Rooftops that act as community gardens. Edible patches of beauty hidden within city blocks. Evergreen shows the verdant aesthetic statement that allows city dwellers to bring nature back into the every day and quenches urban gardening desires. Living with plants is mutually beneficial; beyond the exchange of carbon dioxide and oxygen, leaves, flowers, and stems bring a warm and individual charisma to any space. Throughout this engaging collection of projects, urban gardening is complimented by a softer side: balconies that add an extra relaxing touch to a morning cup of coffee, flowers that provide calming fragrances throughout the home, or romantic blooms that feed the soul rather than fill a plate.
The Mogensen Bench - Model 3171
Mogensen designed this solid wood dining bench in 1956. With its robust simplicity the bench is an ideal example of Mogensen’s lifelong drive for a purified shape.
The Mogensen Bench - Model 3171
D: 48,5 cm
H: 77 cm
L: 171,5 cm
Delivery time 8-10 weeks
When Børge Mogensen was appointed Head of Design at Fredericia in 1955, he was asked to design an entirely new furniture collection. One of the earliest outcomes was the launch of the 3236 Chair in 1956. With its solid, simplified construction, the 3236 Chair reflects Mogensen’s preference for working with refined yet rustic, natural materials. Along with his eye for perfect proportions.
The robust dimensions of the chair’s spokes and legs make this a stable, sturdy design, allowing for hours of sitting. Adding to the comfort is the upholstered seat characterised by a simple curve, capturing another signature trait of Mogensen – to never lose sight of a design’s original intent and functional purpose, while avoiding any unnecessary elements. The result is a classic chair ideal as a side chair. Simple, modest and still self-confident, just like its creator.
Similarly, the Mogensen Bench launched one year later embodies his lifelong ambition to create purity in terms of shape. Here, form truly follows function in this streamlined design with a simple back support, echoed in the upholstered rectangular seat with softened corners. The look is lean and linear, resulting in an open, expansive feeling. Underneath is a structure that mirrors the 3236 Chair, making the Bench its perfect companion.
Both the Mogensen Bench and the 3236 Chair attest to Fredericia’s ideals from our inception. Durable, functional furniture driven by an appreciation of honest materials. Seen in unpretentious, timeless designs for all aspects of society to be enjoyed around the world.