ContentSdesigndenmark.co.nz/assets/Uploads/Fredericia-lookbook-2013-14-screen.pdfabout nanna Ditzel, the groundbreaking designer who embraced his father’s de-sire to develop new

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ContentS Intro Thomas GraversenP. 4

the FactoryP. 6

MInIMaLIStLUXUry Rasmus LomborgP. 14

on yIn anD yanG anD FeeLInG the Way ForWarDSpace CopenhagenP. 20

børGe revISIteD, LeGacyreDIScovereDRasmus Graversen on Børge MogensenP. 28

an IntIMatehavenGamFratesiP. 42

We trUStoUr GUtS P. 48

Pato, theenvIronMentaLLy-aWare PLaStIc DUcKWelling/LudvikP. 72

DeSIGnerLoUISe caMPbeLL on the DeSIGner nanna DItZeLLouise Campbell on Nanna DitzelP. 80

a SPace traveLLerAlfredo HäberliP. 88

DeSIGn ISthe LanGUaGe thatcoMMUnIcateSWIthoUtSUbtItLeSElizaveta FriedmanP. 92

ShoWrooMP. 100

UncoMProMISInG WorLD-cLaSS QUaLIty beGInS WIth the Story oF a rather Dry DeSIGnerChristian Holmsted OlesenP. 112

anD MoreP. 120

InDeX & technIcaL InFoP. 126

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If a willingness to reject quality by producing goods in the Far East is in fashion, then FrEdErIcIa is going against the grain.

If the desire to satisfy customers requires us to make trendy choices, then we’re paddling upstream and choosing what’s new based on our gut feeling.

If a polished surface makes it difficult to sense a material, we let the opportunity for a sensory experience prevail in our furniture.

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at FreDerIcIa, words like ‘doctrine’ and ‘mainstream’ are not in our vocabulary. In our collection, you’ll only find the fur-niture that we ourselves love. Furniture that is able to form part of a dialogue with its contemporaries. We want people who enjoy furnishing with, and around, our designs, to feel a sense of familiarity. We’re happy to go against the tide by always trusting our feelings. no one can ever doubt FreDerIcIa quality, and a lack of compromise in striving for the highest quality will always be our guiding star as long as we exist. enjoy your journey through our collection book.

Thomas Graversen, owner

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Fiskebaren by Space

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ScaNdINaVIaN dESIGN USUaLLY

EQUaLS LIGHT, MOdEST FUrNITUrE

WITH SUBTLEOrNaMENTaTION

LUCKILY,DeSIGn DUo SPACe DIDn’t Get tHAt MeMoSpine collection by Space Copenhagen

16 17rasmus Shepherd-Lomborg owns and runs copenhagen’s absolute hippest cock-tail bars, ruby in nybrogade and Lidkoeb in a courtyard between vesterbrogade and tullinsgade. you have to know which doorway to go through to find Lidkoeb as there’s no sign on the door. (It’s right be-fore the enormous Føtex supermarket on vesterbrogade.) this old factory building has a cocktail bar on the ground floor and bars on the first and second floors. In the cocktail bar, there’s a long line of Space copenhagen’s Spine barstools, and why? over to rasmus Shepherd- Lomborg:

MInIMALIStLUXURY

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ruby

1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen 4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer

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“The Spine barstools are great for having a drink. The cocktail world, in Copenhagen anyway, has been characterised by the bar looking like some-thing from an airport – stylistically stringent and slightly cold. Even though I love old furniture and old lamps, I also needed some comfortable chairs. People have to feel like sitting at the bar and chat-ting to the bartender for a long time. You can only get this if you’re sitting comfortably. This is also why the bar counter is made of wood and not stone. We get lots of girls in short sleeves coming here. The bar shows what we’re made of; it’s where you watch as your drink is creat-ed. I sat on a Spine barstool at Geist at Kongens Nytorv and it was such a great experience that I had to have them – I’ve already got four of Børge Mogensen’s Spanish chairs. FREDERICIA has real-ly understood what we want to do here. It’s not just the trendy people who come to Lidkoeb. It’s the full spectrum. We’ve come a long way from the classic run-down image of Vesterbro around Værnedamsvej and a place like ours was needed around here. When the restaurant Madklubben opened last year with room for 230 guests, it was the best Christmas present I got. Claus Meyer also opened on the other side of Vesterbrogade; that’s a real food chain for us. We feel it seven days a

week. Lidkoeb opens daily at 4 pm and there’s always something to do. I’m very pleased with my Spine barstools. There’s something completely Nordic about them, in contrast to so many other barstools. They are simple and clearly not designed for a nightclub. They look good lined up in a long row at the bar. Guests often comment that our club is cosy and stylish in a Danish way. The mix between the old things I’ve bought second-hand and the new Nordic design works really well. It’s a luxury to open this kind of place here and be able to realise your idea.”

Lidkoeb

Lidkoeb

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on YInAnD YAnG

AnD FeeLInGtHe WAY

FoRWARDSigne bindslev henriksen and Peter bund-gaard rützou are the designers behind Space copenhagen. over the past eight years, they have designed spaces for restaurants of the Michelin-star variety. often they were unable to find the piece of furniture they wanted to use, so they simply designed it themselves, which is how Spine was conceived. at Space co-penhagen, they make use of the dialogue between male and female, their yin and yang. Light and dark. this sometimes leads to the dark side and they do a lot of arguing, says Signe bindslev henriksen (Sb). When she gets annoyed, she throws almonds, says Peter bundgaard rützou (Pb), who is quick to add that she doesn’t have very good aim. this makes both of them laugh, the light once again restored.

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Geist Fiskebaren by Space

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Sb: “What makes our story interesting is that we started out being taken in by and fas-cinated by the broadness of architecture. Later on this crystalised into a frustration with its static nature and one-way direction, a ‘this is how you do it right’ attitude. What we’ve done is, in every way, not comme il faut in the industry. We make choices based on intuition and feelings, not the accepted rules. This intertwining is much more holistic with us than in architecture in general.” Pb: “It’s about clarification. Frustration helps you get to a certain place, when you know what you don’t want to do. In what we do today we’re excited about the space we’re working with. Combined with touching, feeling and un-derstanding, it leads to the transformation of the space. We consider interior design and architec-

ture as one and when we’ve finished a job both have been dealt with throughout.” Sb: “All jobs have something to do with human atmospheres. From a bird’s eye perspec-tive, you don’t get to affect feelings ...” Pb: “What we do needs to be felt first − understanding has to come afterwards.” Sb: “A sense of closeness. How do people feel when they come in?”

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Spine collection by Space Copenhagen

How about Spine? Sb: “We like the meeting between the sol-id, comfortable, organic and the modern. Taking that field feels open. We like simplifying dimen-sions and like the lightness of the piece. It is an exercise in composition that you struggle with until you feel that now it’s right.” Pb: “In the process, it became clear that there’s a balance between two tonalities: wood and leather. We feel a recognition in the new, and that’s where FREDERICIA comes in with their heritage, Børge Mogensen and the rest. We felt that FREDERICIA was written on this chair. We contacted Thomas Graversen who was immedi-ately interested because they needed something modern that could take them forward. FREDERI-CIA are both serious and excellent to work with.

They know the material combination, and could see that Spine has familial design ties with Børge Mogensen. Then Bo Bech’s restaurant Geist got in touch as they needed new seating.” Sb: “We had to design a dining chair and a bar stool and started by feeling our way forward. When we had got the cushion to sit properly, we intuitively felt that something was missing from the low sofa. The Spine element is something that keeps the chair together and we established the weight in the metal of the underchair. The chair meets you with recognisability without you know-ing where it comes from.” Pb: “Spine? The name just appeared because when it feels right, it is. Our attitude is to let our senses guide us. We always welcome aesthetics without being dogmatic about it. It’s nicer to touch leather than plastic. We don’t want to dis-tance ourselves from plastic, but it’s more about what we like and natural materials are our thing.”

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dESIGNEdIN 1950.BUILT IN

2012.

The Hunting Chair, by Børge Mogensen

PeRFeCteDIn 2032.

30 3124-year-old rasmus Graversen is one of the heirs of FreDerIcIa. as a child, he wasn’t force-fed børge Mogensen although he grew up around it. he remembers more about nanna Ditzel, the groundbreaking designer who embraced his father’s de-sire to develop new products. however, rasmus’ grandfather, andreas Graversen the founder of FreDerIcIa, was full of the master. apart from a Finn Juhl chair, every-thing in his childhood home was designed by børge Mogensen. and of course, the stories and memories he was told about Mogensen, who was almost part of the family, made him so familiar with him as a person that he felt he would have been on a first name basis with him if he was still alive.

BØRGe ReVISIteD,

LeGACYReDISCoVeReD

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Børge Mogensen’s home

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“I like the attitude Børge had towards materials. The raw material is always exposed and honoured in a way. The furniture becomes very tangible. I like to think about it in the way that you cannot cut down a 200-year old tree and then make a cheap looking or disposable piece out of it. You have to do your best to respect the tree and make a piece that will last for years. I see Børge as one of the first Danish archi-tects to think through furniture for the home. In many regards I find his approach inspiring. Børge

Mogensen looked at what a family needed. He didn’t just create chairs, but also pieces to com-plete a home, such as cabinets and tables.” “Some people say that you don’t sit com-fortably in the Spokeback Sofa. I see it more as a sofa to climb into and lie in.” While Børge’s furniture is restrained in id-iom, it is not just modernist minimalism. Børge wanted furniture to encourage its users to live their lives freely, and therefore it should never aesthetically compete with the room or its user. Børge was focused on the daily life of normal people, not on creating showpieces. Instead of

the Spanish chairby Børge Mogensen

an Spainish officer’s chair,the inspiration for the Spanish Chair

Drawing of Børge Mogensen

various drawings by Børge Mogensen

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1/ Børge Mogensen joking around2/ Børge Mogensen’s summer residence3/ Børge Mogensen’s home4/ Bench 31715/ The Spanish Chair6/ Andreas Graversen and Børge Mogensen7/ Børge Mogensen’s kitchen8/ Børge Mogensen resting in sofa 22139/ The Hunting Chair

10/ Ottoman11/ Børge Mogensen’s summer residence12/ Børge Mogensen, Hans J. Wegner and Textile Designer Lis Ahlmann

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Fiskebaren by Space

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Børge Mogensen’swinter garden

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Left: Sofa 2213 from 1963, still in useright: Sofa 2213 in 2013

demanding lots of attention, the furniture can be part of a dialogue with its surroundings. “Even though the idiom might seem hum-ble, I find it remarkable that you can always tell that it is a Børge piece. Being a great architect, he always adds a certain Mogensen ‘melody’ to his furniture that at first glance looks restrained. I believe that this is his approach – creation from restrictions, and as in fine art, sometimes this ap-proach makes masterpieces. All of his furniture has a high level of design without being designed for the sake of design, and without being boring or minimalistic. It’s not just reduced to four legs and a seat. There’s always warmth in the furniture.” When we are developing new furniture to-day, what can we take with us from Børge? If the flamboyant designer’s approach of Nanna Ditzel is one way forward, Børge’s more holistic daily-life centred approach is another. “I think we should have both in mind when creat-ing new designs today. “

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eXPLAIn tHISHaiku by GamFratesi

44 45haiku is the poetry of simplicity, in which so much is expressed in the seventeen syl-lables and few words. It’s also the name of a sofa created by GamFratesi. enrico Frate-si and Stine Gam talk about their work with form and colour: “We have a Scandinavian approach to our work when we are sitting with physical proto-types and models. The analogue process is really essential for us. Sketching thoughts down on pa-per helps to underpin the more spontaneous and conceptual vision and line. Computers come in later. They’re great, but they need to know what we want.

An IntIMAteHAVen

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Drawings by GamFratesi

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haiku by GamFratesiPhysically having the material in our hands and feeling the entire manual process in the proto-type phase is incredibly important for us, as this is where the products take their final form in the detailing and technical solutions. We try to find a balance between the traditional and the surpris-ing, between harmony and disharmony. An idea can arise from a deep reflection or from a sponta-neous vision, often completely unexpected in the moment. Contrasts are central for our inspiration. We’re continually confronted by contrasts in our work and in our daily life, and we work a lot with references and respect for the traditions in the two cultures that permeate who we are: Danish and Italian. We consider furniture as micro-architec-ture, something that’s found in spaciousness and which interacts with the people who use it. In this way, our working process is more similar to archi-tecture than furniture design, because we contin-uously speculate about how our furniture is used in different contexts, how it relates to the other elements and contrasts with them. Furniture cre-ates atmosphere and relationships, both between people and between furniture and people. That’s why it’s essential for us to strive to create friendly, respectful products. We believe quality is an ex-pression of the happy medium between aesthet-ics, function and the right combination of materi-als. In terms of colour, we prefer natural shades.”

Bring us closer to your FREDERICIA product, the Haiku sofa “The sofa is a physical interpretation of a Haiku, a traditional, compact, atmospheric form of Japanese poetry, thought of as a sensory image that puts forward a feeling. The sofa has a strict outer shell in its enclosing form, combined with a far softer and more intimate interior. In terms of form, we’re talking about a protective function that gives you a feeling of curiosity. As with many of our projects, we’ve tried to create an intimate design that invites reflection and provides a short moment’s haven.”

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SOME MaNUFacTUrErS

TrUST GUIdELINES, MarKETING

aNaLYSTS aNd TrENd EXPErTS

WHEN cHOOSING dESIGNS

TO PrOdUcE

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WetRUSt oURGUtS

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Spokeback Sofa by Børge Mogensen

trinidad by Nanna DitzelShaker table by Børge Mogensen

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bench 3171 by Børge Mogensen chair 3236 by Børge Mogensen

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2202/2204 by Børge Mogensen

nara chair by Shin AzumiShaker table by Børge Mogensen

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Spine collection by Space Copenhagen

haiku by GamFratesiMicado by Cecilie Manzthe hunting chair by Børge Mogensen

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Pato by Welling/LudvikMesa by Welling/Ludvik

Stool by Hans J. Wegner

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J49 by Børge MogensenSlim Jim by Roland Graf

Slim Jim by Roland Graf

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Stingray by Thomas PedersenIcicle by Thomas Pedersen

Pato by Welling/LudvikMesa by Welling/LudvikStingray by Thomas PedersenIcicle by Thomas Pedersen

1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen 4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer

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J39 by Børge MogensenJ49 by Børge Mogensen

trinidad by Nanna DitzelSpine chair by Space CopenhagenShaker table by Børge Mogensen

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trinidad by Nanna Ditzel

Sofa 2213 by Børge MogensenSpine side table by Space Copenhagen

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DURABILItY – CHeCK.

VeRSAtILItY – CHeCK.

MoDeStLY PRICeD– CHeCK.

eCo-FRIenDLY PRoDUCtIon,

MAteRIALS, AnD DISPoSAL

– CHeCK, CHeCKAnD CHeCK

Pato by Welling/Ludvik

WeLLInG/LUDVIK ARe ALMoSt IRRItAtInGLY GooD

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no, FreDerIcIa is not branching out into toy design, rather the newest addition to our collection has been inspired by a duck’s bill. Pato, which is Spanish for ‘duck’, is an outstanding piece of design that incorpo-rates much more than just form, aesthetic and function. consideration for the envi-ronment was also an important factor in the task of creating an affordable plastic chair where the shell can be used on dif-ferent types of frames. although launched just a few months ago, it has already been incorporated into projects around the world. the creators of Pato are the Ice-land-meets-Denmark team of hee Well-ing and Gudmundur Ludvik. Ludvik is a trained carpenter who has studied sculp-ture at the Icelandic academy of arts and furniture design at the Danish Design School in copenhagen. Welling worked in his father’s carpentry business, studied sales and is also a graduate in furniture design from the Danish Design School. In a recent Q&a with hee Welling (hW) and Gudmundur Ludvik (GL), here’s what they had to say about Pato.

PAto, tHeenVIRonMentALLY-

AWARePLAStIC DUCK

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GL: Comfort and the body are the start-ing points for our chair design − nothing about looking at a duck. When we get an assignment, we start exploring how it can be done in the best way, in relation to comfort, construction, materi-als, the environment and price. hW: The outline of the shell has clean sim-ple lines, while the seat surface is gently curved for ultimate comfort. Plastic can easily complete with laminate in terms of environmental impact. The shell of Pato was produced by a Danish plas-tic supplier, who have been incredibly competent throughout the entire process and it’s super-reas-suring to work with a company that knows what it’s all about. hW: Taking away everything that’s super-fluous is what design is all about for us − with nothing just for show. That’s what makes it visu-ally long-lasting. Why spend lots of resources on something that will just last three years in terms of design? For example, we’ve spent lots of time finding the right level of comfort in the seat. The edge of the shell is angled in such a way that it doesn’t chafe either your back or your knees. GL: A piece of furniture like Pato also re-tains its ability to appear exciting when it’s re-duced to its absolute simplest form. Pato can be used everywhere. hW: Yes, because when an architect makes a beautiful building, you don’t want a piece of furniture to come in and steal all the attention. Rather a chair that just is, without taking every-thing from a space. GL: Details need to have a function and that’s how Pato has been thought and created. hW: Børge Mogensen, Fredericia’s most well-known designer was a world champion when it came to the details. He used completely simple lines, bordering on the banal. But we’ve seen that his visual simplicity has stood the test of time. GL: The chair is designed to meet industrial requirements. And when we work with people who are as talented as they are at FREDERICIA, every aspect of it has been carefully thought through.

hW: Pato has been produced in polypro-pylene (PP), currently a widely used material for chair shells. In environmental terms, it’s a great product as it’s 100 % recyclable. So any shells that are defect end up in a grinder and can be transformed into plastic granulate, which can be reused. Nothing goes to waste. Laminate might sound fancier and more organic and clean, but laminate can’t be reused, so from an environmen-tal perspective, it’s often better to use a PP plastic, like that which is used in Pato. GL: The advantage of Pato being produced in Scandinavia also has an environmental impact as it requires fewer transportation miles. hW: The great thing about this chair is that getting everything made as locally as possible has turned into a sport. This goes against the current trend of thinking that if it can be made in China, it will be cheaper. GL: By optimising the design, you can also save money without relinquishing the aesthetic.

Where does the ‘duck’ come in? hW: You’ll see the reference to the duck’s bill in the seat of Pato. It’s slightly Donald Duck.

Please take a seat, a comfortable seat, in a chair that unites form, function, aesthetics, environ-mental awareness and beauty. And a chair that is within reach of everyone’s budget and tastes. Pato’s got it all.

Pato barstool by Welling/Ludviktobago by Nanna Ditzel

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“tHe FUn LoVInG, CoLoUR CRAzY, RULe BReAKInG LADY” SeeMS A BetteR FItTrinidad by Nanna Ditzel

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DeSIGneRLoUISe

CAMPBeLL on tHe DeSIGneR nAnnA DItzeL

“When an interesting and well-considered basic human idea is clearly carried through to a product or work with care and sense from everyone involved, it earns the right to a long-term existence in the world − on its own terms. because then it’s not a pas-sive but a communicative item. Good de-sign comes in all sizes,” responds designer Louise campbell when asked what makes good design. She continues:

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xx by Nanna Ditzel

trinidad by Nanna Ditzel

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“From a good door handle, a beautiful wall hang-ing or an organic long-distance hovercraft, in re-ally good design, everything works in harmony, with no visible cracks in either the choice of mate-rial, detail or execution. Nanna Ditzel’s Stairscape is a shining example of consistently executed uni-ty in a piece. Toadstool is another great example of how an idea doesn’t have to be at all compli-cated, as long as it is well executed.”

Why is Nanna Ditzel such an inspiration to you? “She really understood how to play with design and open up horizons, and she showed an admirable versatility in her work. In other words, she didn’t much like limitations and if she met them she’d instinctively try, and very often suc-cessfully, break them down. I think this is, partic-ularly in Denmark, a rare and wonderful ability.”

How would you characterise Nanna Ditzel’s method? “Strong-willed, poetic, exploratory, wilful, proud and dignified.” If I told you that there was something seduc-tive about her work, where does this seduc-tion come from? “Her work was and is daring. It goes boldly and confidently to the edge and you instinctively feel this. It has elegance, purity and yes, I would even say cultured exhibitionism. She used all of nature’s most beautiful devices to attract. Pat-terns, colours, embracing forms. You cannot fail to be overwhelmed and take a closer look and feel it for yourself and you’re not disappointed. There are always beautiful details and quirky sur-prises for curious fingers.”

Which of nanna Ditzel’s works would you have like to have designed? “It’s Nanna Ditzel and not me who de-signed these objects and that’s exactly as it should be. But I’m particularly fond of the following piec-es, both when they were designed and today be-cause each of them does something quite special: The Stairscape, her wicker Egg Chairs, all her other wicker furniture, the Hallingdal textile, the Butterfly chair, the Trinidad chair, her Toad-stool furniture, her dinnerware for Søholm Kera-mik − in particular the basic form, the watch and slide-on earrings for Georg Jensen, her Bench for Two. I could go on. She has, as far as I know, nev-er made anything that isn’t interesting in one way or another. There’s always something at play.”

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bench For two by Nanna Ditzel

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1/ Butterfly Chair by Nanna Ditzel2/ Stairscapes by Nanna Ditzel3/ Nanna by Nanna Ditzel

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A SPACe tRAVeLLeR

alfredo häberli works with space andits design.

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“I try to maintain the quality of the space and use its weaknesses. This might be the height of the space, too little light or a weak floor plan, which bring out the qualities even more. It is the Judo effect, where you use the power and strength of the enemy against the enemy, and in doing so, you find your own strength.”

alfredo häberli designs things for our life “I consider colour to be the first form of decoration. There’s an infinitely limitless world of feelings, with no wrong or right. I love working with colours. My life has turned out in a way that enables me to do exactly what makes me happy. That means every single day I’m looking for new ideas that my team and I can make a living from. That makes me proud and brings meaning to my life with my children and my family.”

alfredo häberli designs furniture that stands out “The idea with my Seracs sofa with three armrest pieces and two seat pieces is to be able to combine the pieces in infinite ways. Each Se-racs sofa can be put together in an individual way using different textiles and leather. This makes the sofa unique. It’s like fragments of individual pieces, put together in a compact, versatile sofa. It’s reminiscent of a landscape continuously rising and falling.”

hotel Scandic Front Copenhagen

Seracs sofa by Alfredo HäberliIcicle side table by Thomas Pedersen

94 95elizaveta Friedman is FreDerIcIa’S export Director. Most of the time anyway, as the team in treldevej 183 is very interactive, so on a ‘normal’ day, she might be found dis-cussing product development with thomas Graversen, quality control and packaging with production, or even wearing a pair of overalls and working in the carpentry de-partment. as she explains, “we take our slogan We trust our Guts quite literally in the FreDerIcIa family, so it’s important to be able to understand every aspect of what we do here so that decisions can be based on experience, as well as instinct”.

DeSIGnIS tHe LAnGUAGe

tHAtCoMMUnICAteS

WItHoUtSUBtItLeS

the hunting chair by Børge Mogensenhaiku by GamFratesi

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Icicle by Thomas PedersenStingray by Thomas Pedersen

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J39 by Børge MogensenFREDERICIA have a long history of export, partic-ularly to Japan, where there is a relationship of more than 50 years. “The Japanese have great knowledge and respect for Danish design and love it for many reasons. Its design language, thought processes and philosophies are similar to their own design principles, and creating elegance with simplicity, ensuring quality right down to the smallest detail. This combination creates pieces in an aesthetic that makes it possible for furniture to either be a subject for discussion or to be in quiet harmony with the space it inhabits. Meetings with Japa-nese architects are always a fantastic experience, they have such a great knowledge of Danish de-sign that the conversations tend to go quite deep and philosophical, sometimes even they are able to tell me something about Danish design that I didn’t already know! It’s always a mutual educa-tion when I am in Japan. The simplicity of Børge Mogensen appeals strongly to the Japanese and he is, and contin-ues to be, our most popular designer in Japan. In particular, the J39 chair which we produce with a special lower seat height for the Japanese market. Our Tokyo showroom is an important part of the FREDERICIA culture, as it’s a showcase for new

Danish designers and encourages the Japanese to explore some of the more modern designs.”

What about the rest of the world? “Although Japan is our largest market out-side of Denmark, export is a very important part of FREDERICIA, both from a business and psycho-logical perspective. We have something for every taste and climate in our collection. In Singapore, the plastic version of Stingray, by Thomas Peders-en, has been a great success as an outdoor chair, and Australia loves Prime Time by Tom Stepp. Other successes around the world are Nanna Dit-zel’s exceedingly popular Trinidad chair, (which is 20 years old 2013 and just as relevant today as then), and Per Borre’s Astral bench. Stingray has been iconic in several places, and Spine and Nara, which are only a few years old, are already export successes. In the past, you reckoned that it could take up to five years before a product became successful on the export market. In that respect, FREDERICIA has been very successful in reducing the time it takes to break through. Pato, our new contract chair, launched in February 2013 has al-ready been specified for projects in Japan, Italy, Great Britain, the US, Germany and France.”

Stingray by Thomas Pedersen

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10/ Trinidad by Nanna Ditzel Melt by FurnID

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BørGE MOGENSENHaNS J. WEGNEr

NaNNa dITzELSørEN HOLST

SPacE cOPENHaGENWELLING/LUdVIK

GaMFraTESIrOLaNd GraF

SUSaNNE GrøNLUNdTHOMaS PEdErSEN

FUrNIdaLFrEdO HÄBErLI

SHIN azUMIcEcILIE MaNz

PEr BOrrETOM STEPP

HaNS SaNdGrEN JaKOBSENNIELS JørGEN HaUGESEN…

UnCoMPRoMISInGSInCe 1911

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FreDerIcIa Flagship storeFrederiksborggade 22, Copenhagen

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2204 by Børge Mogensennara coat stand by Shin Azumi

Mundo by Susanne GrønlundJ39/c18 by Børge Mogensen

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Spine collection by Space CopenhagenMicado by Cecilie Manz

nara coat stand by Shin AzumiSpine collection by Space Copenhagen

2202/2204/2208 by Børge MogensenJ16 by Hans J. Wegner

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Icicle by Thomas Pedersenthe hunting chair by Børge Mogensen

Spokeback Sofa by Børge MogensenIcicle by Thomas Pedersen

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Mundo Lounge by Susanne GrønlundSpine collection by Space CopenhagenSlim Jim by Roland Graf

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christian holmsted olesen is the head of exhibitions and collections at Designmu-seum Danmark, a board member of the Danish Design council and a graduate in art history specialising in furniture design.here’s what the expert in Danish design had to say.

UnCoMPRoMISInG WoRLD-CLASS

QUALItY BeGInSWItH tHe StoRY

oF A RAtHeRDRY DeSIGneR

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haus school did in Germany. However, he was radically different from them because he didn’t want to throw the baby out with the bathwater. Traditions needed to be carried on. Studying his-toric furniture types and developing them became the core of his work. Klint’s approach was a great idea as it gave the cabinetmakers the opportunity to create something new, which their production methods were geared towards.” “By choosing Danish wood types, Børge Mogensen used cheaper materials than his teacher,

who preferred Cuban mahogany. In 1942 Børge Mogensen became the head of FDB’s furniture design studio where he designed furniture for every day life and Børge Mogensen took a cer-tain degree of his social commitment with him to Fredericia.”

You hear such a lot about Klint’s love of mea-suring ”Klint used the human body’s measure-ments and proportions as the basis for design. He used English units of measurement as he found they were more human. They are based on peo-

“FREDERICIA is one of the crown jewels of Danish design. Since the fifties when FREDERICIA started working with Børge Mogensen, Danish furniture design has become what we (Danes) are best known for internationally in the twentieth cen-tury. There is no published work on design that doesn’t feature Denmark. FREDERICIA has some of the iconic Danish designers, Børge Mogensen and then later Nanna Ditzel, brought in by Thom-as Graversen. They’ve developed out of Danish Modern, and what is really interesting is that it’s

world-class. Børge Mogensen was the key to this. He was a student of Kaare Klint whose school was located where Designmuseum Danmark is today, and Børge Mogensen brought to life what was essentially Klint’s idea.” “In the 1920s the Danish master cabinet-makers ran into problems because the Germans were selling industrially produced furniture which they couldn’t compete with. This led to their au-tumn exhibition. At the same time, Klint became professor of the academy. Klint wanted to create furniture for the masses adapted to the function it had to fulfil, much in the same way as the Bau-

chairs from FDb’s furniture design studiofrom 1942-1950

ple’s own proportions in terms of feet and inch-es. He did all his measuring with the students. If he designed a cupboard, he measured what was going to go in the cupboard and designed the proportions accordingly.”

Thomas Graversen makes decisions based on his gut feeling, where is the measurement in that? ”Børge Mogensen wouldn’t talk about feelings... Børge Mogensen talked about measur-

ing your way forward. Wegner wanted to rock the boat and create whatever he wanted. This is where Børge Mogensen is rather dry as a design-er. What makes FREDERICIA’s designs fantastic are the materials. It’s about sensory perception. Kaare Klint didn’t put varnish on anything, only some bee’s wax to be able to sense the material. And this was taken on by Børge Mogensen – because the materials are what permeate all Danish de-sign. Something else that comes from the crafts-manship of cabinetmaking is the level of detail. They were obsessed by it and focussed patho-logically on the details. How to put two things

1FDB was founded as a co-operative in 1896, as a result of wanting to supply consumers with lower prices and higher quality.

together in the correct way. This is the essence of Danish design. Fredericia transforms all of this into something semi-industrial.” “Danish design never became democratic because FDB1 was not IKEA, which would have been an obvious development. Because of the cabinetmaker training, you couldn’t compromise on materials and use chipboard and hex keys like IKEA. It had to be wood. And that’s why it was never cheap enough and the furniture ended up for the enlightened middle classes, people with a

slightly better education. The forms were mod-ernistic at that time and the lower classes would rather have something that resembled what the rich had, so that didn’t work for FDB. Then we get FREDERICIA, which has continued because they have great things, although rather expensive. Børge Mogensen’s ambassador sofa has always been expensive – the one with the double cush-ions – now it’s really expensive. You can see Kaare

Fiskebaren by Space

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Klint’s model for Børge Mogensen in the foyer at the Designmuseum Danmark on Bredgade in Co-penhagen. Børge Mogensen slightly changed the proportions and removed the decorative seams but it’s one of their most popular products. It’s found in one in three Danish homes, but unfor-tunately it doesn’t say FREDERICIA on it because the Mogensen collection has serious problems with copies. That sofa costs around 80,000 Dan-ish kroner because Thomas Graversen refuses to compromise on its quality.”

Jasper Morrison has a special relationship with Danish design... and with Børge Mogensen? “Yes, when the museum wanted to cele-brate one of Nanna Ditzel’s most used textiles, Hallingdal, (which has also been used by the Dan-ish state railway, DSB, for many years – all Danes

trattoria chair by Jasper MorrisonProduced by Magis

have sat on Hallingdal’s very coarse wool texture), we contacted Jasper Morrison. Because we know that Jasper Morrison uses this textile on all his fur-niture and thinks it’s really good. Did he want to exhibit his own things? He replied that he would like to curate an exhibition with Danish design be-cause he finds it so inspiring.”

Jasper Morrison has created an interpreta-tion of a Børge Mogensen chair? ”Jasper Morrison’s version of Børge Mo-gensen’s J39 is an attempt at improvement. Part-ly because it has a plastic back and plastic seat, which can be taken apart and shipped. It’s a tribute to Børge Mogensen. He’s quite simply in love with Børge Mogensen. Jasper Morrison loves the utter common sense about his work. He has written a book entitled SUPERNORMAL in which

J39 by Børge Mogensen

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Sofa 2212, also known as The Ambassador Sofaby Børge Mogensen

J49 by Børge Mogensen

he shows design that doesn’t showcase itself and which is not staged. He is also very interested in anonymous design effects, things that are just there. This also applies to Børge Mogensen, the fact that his work borders on the anonymous, and this is what is so distinguished and noble about it. It all comes from the study of type. Børge Mo-gensen was totally fascinated by type when he designed something. How can we take an older piece of furniture and refine it into an ideal type, an almost ‘neoplatonic’ way of looking for THE CHAIR.” “That’s why it was so much fun when Jas-per Morrison visited, because over the past de-cades Børge Mogensen has not been number one. Something that Thomas Graversen would no doubt confirm. Børge Mogensen furniture does not sell as well as furniture designed by Wegner and Arne Jacobsen. Børge Mogensen’s time will come again, but that time is not during wealthi-er decades. But Thomas has taken another track and developed FREDERICIA into a contemporary company with new Danish and international de-signers. He has launched a variety of furniture, and some pieces have been spot-on, starting with Nanna Ditzel.” “Børge Mogensen is all about democracy and Danish materials like oak and beech. He’s sol-idly planted in traditions from the countryside, the supernormal. If there is a characteristic of Danish design that stands out from design in other places in the world, it’s the fact that no others have stud-ied historical types as thoroughly as the Danes. And there’s no other place that has imported for-eign culture into furniture design as heavily as in Denmark – even though we talk so much about Danish identity. There’s no dominating design breakthrough, we’re just adding evolution. When you say that Jasper Morrison has been inspired by J39, Morrison replies that Børge Mogensen was inspired by Kaare Klint’s church chair, which was inspired by a chair that can be traced back to the Mediterranean countries in the Middle Ages. It’s just a tradition and a way of making furniture.”

Democratic, socially-aware furniture with in-built charm and warmth. The history of Danish design is long and FREDERICIA is continuing it with new furniture that moves our understanding of what furniture can do for our lives day after day.

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AnDMoRe

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1/ Gallery by Hans Sandgren Jakobsen2/ Gallery by Hans Sandgren Jakobsen3/ Haiku sofa by GamFratesi4/ Sofa 2208 by Børge Mogensen5/ Pato barstool by Welling/Ludvik6/ Haiku sofa by GamFratesi7/ Easy chair 2207 by Børge Mogensen8/ Icicle tables by Thomas Pedersen9/ Pato/Mesa by Welling/Ludvik

10/ Dekka daybed by FurnID11/ Pato/Mesa by Welling/Ludvik12/ Pato by Welling/Ludvik13/ Sofa 2214 by Børge Mogensen14/ Sofa 2209 by Børge Mogensen15/ Spine collection by Space Copenhagen16/ J39 and table 6284 by Børge Mogensen

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1/ Nara chair by Shin Azumi2/ Funk by Tom Stepp, The Haugesen Table by Niels Jørgen Haugesen3/ Mesa by Welling/Ludvik Mundo by Susanne Grønlund4/ Side table by Søren Holst5/ Nanna Bench by Nanna Ditzel (Billund Airport)6/ Sofa 2332/2333 by Børge Mogensen7/ J16 by Hans J. Wegner

8/ Nanna Lounge by Nanna Ditzel9/ Easy chair 2461 by Søren Holst

10/ Haiku by GamFratesi11/ Pato by Welling/Ludvik Easy by Susanne Grønlund12/ Sofa 2192 by Børge Mogensen13/ Mundo Conference by Susanne Grønlund14/ Mundo Lounge by Susanne Grønlund15/ Sofa 2452 and 2453 by Søren Holst

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InDeX & teCHnICAL

InFobørGe MoGenSenP. 128-130, 142-143

hanS J. WeGnerP. 130, 143

nanna DItZeLP. 131-132, 143-145

Søren hoLStP. 132-133, 145

SPace coPenhaGenP. 133, 145

WeLLInG/LUDvIKP. 134-135, 145-146

GaMFrateSIP. 135, 146

roLanD GraFP. 136, 146

SUSanne GrønLUnDP. 136-137, 147-148

thoMaS PeDerSenP. 138-139, 148

FUrnIDP. 139, 148

aLFreDo hÄberLIP. 139, 148

ShIn aZUMIP. 139-140, 149

cecILIe ManZP. 140, 149

Per borreP. 140, 149

toM StePPP. 140-141, 149-150

hanS SanDGren JaKobSenP. 141, 150

nIeLS JørGen haUGeSenP. 141, 150

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BØRGe MoGenSen

1789 Spokeback Sofa 2207 2214 2333

2192 Coupé sofa 2209 2226 The Spanish Chair 2334

2202 2212 2229 The Hunting Chair 2335

2204 2213 2332 J49

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BØRGe MoGenSen

3236 6290 C18 table 2649 Nanna Lounge 3296 Trinidad

J16

J39 2650 Nanna 3298 Trinidad

5267 coffee table J16 2659 Nanna Lounge 3287 Trinidad

HAnS j. WeGneR

3171 6286 Shaker Table 2600 Bench For Two 2660 Nanna

nAnnA DItzeL

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nAnnA DItzeL

3301 Trinidad barstool 2453 1712 Spine Louge sofa 1750 Spine coffee table

3530 Nanna Bench 2461 1720 Spine chair 1760 Spine dining table

SØRen HoLSt

3300 Trinidad barstool 2451 1710 Spine Lounge chair 1740 Spine side table

3299 Trinidad 5392 1730 Spine barstool8312 Tobago

SPACe CoPenHAGen

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4012 Pato 4202 Pato 4302 Pato barstool 1633 Haiku

WeLLInG/LUDVIK

4200 Pato 4300 Pato barstool 1632 Haiku4210 Pato

4100 Pato 4210 Pato 4612 Mesa4000 Pato

4002 Pato 4102 Pato 4212 Pato 4630 Mesa

GAMFRAteSI

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1038 Mundo Conference

SUSAnne GRØnLUnD

4800 Slim Jim table

RoLAnD GRAF

1048 Mundo barstool 1305 Easy

1032 Mundo Lounge 1040 Mundo 1050 Mundo barstool 1352 Easy Conference

1034 Mundo Lounge 1044 Mundo 1054 Mundo barstool 1384 Easy

1036 Mundo Lounge 1046 Mundo 1056 Mundo barstool 1388 Easy

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1411210 Icicle

1220 Icicle

1200 Icicle

tHoMAS PeDeRSen

3500 Stingray

1250 Icicle

3500 Stingray 1150 Dekka daybed

7412 Melt

Seracs

1810 Nara chair

3520 Stingray

3525 Stingray

ALFReDo HäBeRLI

FURnID SHIn AzUMI

1230 Icicle 7411 Melt3510 Stingray 1820 Nara chair

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SHIn AzUMI

CeCILIe MAnz

PeR BoRRe

toM StePP

15100 Prime Time1880 Nara coat stand

1213 Micado side table 15500 Funk

1110 Astral bench 15540 Funk

nIeLS jØRGen HAUGeSen

HAnS SAnDGRen jAKoBSen

1111 Astral bench1830 Nara barstool 15556 Funk 4750 The Haugesen Table

15600 Funk

15640 Funk

1610 Gallery

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BØRGeMoGenSen

THESPOKEBacK SOFaModel 1789

L: 160/197 cmD: 76,5 cmH: 86 cmSh: 40 cmWt: 33 kgCbm: 1,18 m3

THE cOUPé SOFaModel 2192

L: 154 cm D: 89 cmH: 106 cmSh: 42cm, Wt: 65 kgCbm: 1,8 m3

Model 2193

L: 216 cm D: 89 cmH: 106 cmSh: 42 cm Wt: 80 kgCbm: 2,62 m3

Model 2194


STOOLModel 2202

W: 58 cmD: 58 cm H: 43 cmWt: 9 kgCbm: 0,2 m3

EaSY cHaIrModel 2204

W: 69 cmD: 88 cm H: 106 cmSh: 43 cmWt: 29 kg Cbm: 0,8 m3

arMcHaIrModel 2207

W: 69,5 cmD: 82 cm H: 84 cmSh: 43cmWt: 24 kg Cbm: 0,53 m3

2-SEaTEr SOFaModel 2208

L: 128 cmD: 82 cmH: 84 cmSh: 43 cmWt: 37 kg, Cbm: 0,97 m3

3-SEaTEr SOFaModel 2209

L: 186 cmD: 82 cmH: 84 cm Sh: 42 cmWt: 45 kgCbm: 1,4 m3

2 SEaT SOFaModel 2212





L: 152 cmD: 77,5 cmH: 80 cm, Sh: 40 cmWt: 35 kgCbm: 1,13 m3

THE SPaNISH cHaIrModel 2226

W: 82,5 cmD: 60 cm H: 67 cmSh: 33 cmWt: 12 kg Cbm: 0,41 m3

THE HUNTING cHaIrModel 2229

W: 70,5 cmD: 87 cm H: 67 cmSh: 28 cmWt: 9 kg Cbm: 0,45 m3




L: 207 cmD: 78 cmH: 78 cmSh: 43 cmWt: 68 kg Cbm: 1,53 m3

arMcHaIrModel 2334


2½ SEaT SOFaModel 2335


J49 cHaIrModel 3049

W: 46,5 cmD: 47,7 cm H: 83 cmSh: 44,5 cmWt: 5 kg Cbm: 0,3 m3 (2 pcs)

BENcHModel 3171

L: 170 cmW: 48 cm, H: 76 cmSh: 43 cmWt: 21 kg Cbm: 0,82 m3

cHaIrModel 3236

W: 50 cmD: 47 cmH: 74 cmSh: 43 cmWt: 6 kgCbm: 0,28 m3 (2 pcs.)

J 39 cHaIrModel 3239

W: 48 cmD: 43 cmH: 77 cm Sh: 44,5/46 cmWt: 4,5 kgCbm: 0,26 m3 (2pcs.)

cOFFEE TaBLE Model 5267

L: 150 cmW: 75 cm H: 54 cmWt: 28 kgCbm: 0,12 m³

dINING TaBLE Model 6284

L: 180 cmW: 90 cm H: 70 cmCbm: 0,18 m³

THE SHaKErdINING TaBLEModel 6286

L: 195 cmW: 97,5 cmH: 71 cmWt: 56 kgCbm: 0,2 m3

THE SHaKErdINING TaBLEModel 6289

L: 150 cmW: 97,5 cmH: 71 cmWt: 40 kgCbm: 0,16 m3

c18 dINING TaBLEModel 6290

L: 180 cmW: 90 cmH: 71 cm, Wt: 35 kgCbm: 0,18 m3


L: 140 cmW: 90 cmH: 71 cmWt: 40 kgCbm: 0,14 m3


L: 160 cmW: 80 cmH: 71 cm Wt: 35 kgCbm: 0,15 m3

HAnS j. WeGneR

J16 rOcKING cHaIrModel 16000

W: 63 cmD: 93 cmH: 107 cmSh: 42 cmWt: 11 kg Cbm: 0,58 m3

STOOLModel 16002

W: 52 cmD: 40 cmH: 45 cmWt: 4,8 kgCbm: 0,1 m3

nAnnADItzeL

BENcH FOr TWOModel 2600

L: 150 cmD: 70 cmH: 98 cmSh: 40 cmWt: 20 kgCbm: 1.32 m3

TaBLEModel 2601Ø ¼ R 64 cmH: 40 cmWt: 5 kgCbm: 0,21 m3

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Model 3299

W: 61 cmD: 57 cmH: 83 cm Sh: 44 cmWt: 5 kgCbm: 0,46 m3 (2 pcs.)

TrINIdadModel 3300

W: 45 cmD: 50 cmH: 112 cm Sh: 75,5 cmWt: 5 kgCbm: 0,34 m3

Model 3301

W: 45 cmD: 50 cm H: 112 cmSh: 77,5 cmWt: 5,5 kgCbm: 0,34 m3

NaNNa BENcHModel 3530

L: 234 cm D: 65 cmH: 81 cmSh: 43cmWt: 40 kgCbm: 1,48 m3

Model 3440


TOBaGOModel 8006

Ø: 60 cm H: 71,5 cmCbm: 0,17 m3

Model 8007

Ø: 75 cm H: 71,5 cmCbm: 0,18 m3

Model 8008

Ø: 110 cm H: 71,5 cmCbm: 0,38 m3

Model 8311

L: 150/260 cmW: 110 cmH: 72 cmWeight: 67,5 kgCbm: 0,28 m3

LOUNGE cHaIrModel 2649

W: 76 cmD: 65 cmH: 82 cmSh: 41,5 cmWt: 10 kgCbm: 0,46 m3


W: 95 cmD: 78 cm H: 96 cmSh: 40 cmWt: 13 kgCbm: 0,78 m3

FOOTSTOOLModel 2651

W: 54 cmD: 50 cm H: 41 cmWt: 8 kgCbm: 0,13 m3

LOUNGE cHaIrModel 2659

W: 76 cmD: 65 cmH: 80,5 cmSh: 41,5 cmWt: 10 kg Cbm: 0,46 m3


W: 95 cmD: 78 cm H: 96 cmSh: 40 cmWt: 13 kgCbm: 0,78 m3

FOOTSTOOLModel 2661

W: 54 cmD: 50 cm H: 41cmWt: 8 kgCbm: 0,13 m3

TrINIdadModel 3296

W: 48,5 cmD: 57 cm H: 83 cmSh: 45 cmWt: 4,5 kgCbm: 0,4 m3 (4 pcs.)

Model 3297

W: 61 cmD: 57 cmH: 83 cmSh: 45 cmWt: 6 kgCbm: 0,46 m3 (2 pcs.) Model 3298

W: 47,5 cmD: 57 cmH: 83 cm Sh: 44 cmWt: 4 kgCbm: 0,4 m3 (4 pcs.)

TOBaGOModel 8312

L: 180/290 cmW: 120 cmH: 72 cmWt: 70 kgCbm: 0,28 m3

SØRenHoLSt

cHaIrModel 2451/2551

B: 76 cmD: 77 cmH: 78 cmSh: 41 cmWt: 20 kgCbm: 0,38 m3

SOFaModel 2452/2552

L: 133 cmD: 77 cmH: 78 cmSh: 41 cm Wt: 30 kgCbm: 0,67 m3

SOFaModel 2453/2553

L: 190 cmD: 77 cmH: 78 cmSh: 41 cmWt: 45 kgCbm: 0,96 m3

FOOTSTOLModel 2460/2560

B: 63 cmD: 40 cmH: 41 cmWt: 6 kg,

Cbm: 0,13 m3

cHaIrModel 2461/2561

B: 76 cmD: 81/92 cmH: 97/194 cmSh: 41 cmWt: 22 kgCbm: 0,38 m3

TaBLEModel 5392

L: 80/156 cmW: 76 cm H: 54 cmWt: 26 kgCbm: 0,09 m³

SPACeCoPenHAGen

SPINE LOUNGE cHaIrModel 1710

W: 80 cm D: 81 cmH: 71 cmSh: 41 cm Wt: 25 kgCbm: 0,56 m³

SPINE LOUNGE SOFaModel 1712

L: 160 cmD: 81 cmH: 71 cmSh: 41 cmWt: 45 kg, Cbm: 1,14 m³

SPINE cHaIrModel 1720

W: 46,5 cmD: 58 cm, H: 76 cmSh: 46,5 cmWt: 8 kg, Cbm: 0,3 m³

SPINE Bar STOOLModel 1730

W: 45 cmD: 51 cm H: 104 cmSh: 75 cmWt: 10,2 kgCbm: 0,34 m³

SPINE SIdE TaBLEModel 1740

L: 60 cmW: 60 cmH: 45 cmWt: 20 kgCbm: 0,19 m³

SPINE cOFFEE TaBLEModel 1750

L: 120 cmW: 60 cmH: 45 cmWt: 35 kgCbm: 0,38 m³

SPINEdINING TaBLEModel 1760

L: 210 cmW: 110 cmH: 72,5 cmWt: 62 kgCbm: 0,48 m3

WeLLInG/LUDVIK

PaTOModel 4000

W: 45 cmD: 50 cmH: 79 cmSh: 46,5 cmCbm: 0,33 m³

Model 4002

W: 46 cmD: 50 cmH: 79,5 cmSh: 46,5 cmCbm: 0,33 m³

Model 4010

W: 57 cmD: 50 cmH: 79 cmSh: 46,5 cmCbm: 0,4 m³

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Model 4619

L: 180 cmW: 90 cm H: 73 cmCbm: 0,31 m3

Model 4620

L: 200 cmW: 100 cm H: 73 cmCbm: 0,38 m3

Model 4622

L: 200 cmW: 120 cm H: 73 cmCbm: 0,45 m3

Model 4630

L: 300 cmW: 120 cm H: 73 cmCbm: 0,69 m3

Model 4636

L: 360cmW: 120 cm H: 73 cmCbm: 0,82 m3

GAMFRAteSI

HaIKUModel 1632

H: 104 cmD: 92 cmL: 156 cm Sh: 44,5 cmWt: 56 kg Cbm: 2,03 m3

Model 1633

H: 104 cmD: 92 cmL: 228 cm Sh: 44,5 cmWt: 81 kg Cbm: 2,9 m3

RoLAnD GRAF

SLIM JIMModel 4800

L: 175/188 cmW: 85/92 cmH: 73 cmWt: 44 kgCbm: 0,24 m3

Model 4801

L: 160/167 cmW: 75/82 cmH: 73 cmWt: 38 kgCbm: 0,16 m3

Model 4012

W: 57 cmD: 50 cmH: 79,5 cmSh: 46,5 cmCbm: 0,4 m3

Model 4100

W: 57 cmD: 51 cmH: 79 cmSh: 46,5 cmWt: 6,2 kgCbm: 0,44 m3 (4 pcs.)

PaTO cHaIrModel 4102

W: 57 cm,D: 51,5 cmH: 79,5 cmSh: 47,5 cmWt: 7 kgCbm: 0,44 m3 (4 pcs.)

Model 4200

W: 55 cmD: 52 cmH: 79 cmSh: 46,5 cmWt : 5,4 kgCbm: 0,44 m3 (4 pcs.)

Model 4202

W: 55 cmD: 52,5 cmH: 80 cmSh: 47,5 cmWt : 6,1 kgCbm: 0,48 m3 (4 stk.)

Model 4210

W: 57 cmD: 52 cmH: 79 cmSh: 46,5 cmWt: 5,9 kgCbm: 0,56 m3 (4 stk.)

Model 4212

W: 57 cmD: 52,5 cmH: 79,5 cmSh: 47,5 cmWt: 6,6 kg

Model 4300

W: 45 cmD: 50 cmH: 97 / 109 cmSh: 66 / 77 cmWt.: 7,2 / 7,5 kgCbm: 0,4 m3

Model 4302

W: 46 cmD: 50 cmH: 98 / 110 cmSh: 67 / 78 cm Wt. : 7,8 / 8,1 kgCbm: 0,4 m3

MESa TaBLEModel 4612

L: 120 cmW: 120 cm H: 73 cmCbm: 0,28 m3

1000

870

1500

2200

870

1000

1000

870

1500

2200

870

1000

SUSAnne GRØnLUnD

MUNdO LOUNGEModel 1032

W: 78 cm D: 65,5 cmH: 78 cmSh: 45 cm Wt: 12,5 kgCbm: 0,53 m³ Model 1034

W: 78 cm D: 65,5 cmH: 79 cmSh: 47 cm Wt: 11 kgCbm: 0,53 m³ Model 1036

W: 78 cm D: 65,5 cmH: 79 cmSh: 47 cm Wt: 10 kgCbm: 0,54 m³

MUNdOcONFErENcEModel 1038

W: 78 cmD: 62 cmH: 86 cmSh: 47 cm, Wt: 12 kgcbm: 0,53 m3

MUNdO cHaIrModel 1040

W: 57 cmD: 53 cmH: 75 cm, Sh: 45,5 cmWt: 4,3 kg cbm: 0,33 m3 (3 pcs.)

Model 1044

W: 57 cmD: 53 cmH: 75 cmSh: 46cmWt: 6 kg, cbm: 0,33 m3 (3 pcs.) Model 1046

W: 57 cmD: 53 cmH: 75 cmSh: 46 cmcbm: 0,33 m3

Model 1047

W: 58 cmD: 50,5 cmH: 75,5 cmSh: 47 cmcbm: 0,33 m3

MUNdO Bar STOOLModel 1048

W: 49 cmD: 46 cmH: 87/110,5 cmSh: 65/88,5 cm, Cbm: 0,34 m3

Model 1049

W: 49 cmD: 46 cmH: 87/110,5 cmSh: 65/88,5 cmCbm: 0,34 m3

Model 1050

W: 50 cmD: 45 cmH: 83/109 cmSh: 61/87 cmWt.: 10 kgCbm: 0,26 m3

Model 1054

W: 50 cmD: 45 cmH: 83/109 cmSh: 63/89 cmWt.: 11 kgCbm: 0,26 m

Model 1056

W: 50 cmD: 45 cmH: 109 cmSh: 89 cmWt.: 5 kgCbm: 0,34 m3

Model 1058

W: 50 cmD: 45 cmH: 109 cmSh: 90 cmWt.: 5,5 kgCbm: 0,34 m3

EaSY TaBLE Model 1305

Ø: 150 cmH: 72,5 cm Wt: 40 kgCbm: 0,34 m3

Model 1353

L: 125 cmW: 50 cm H: 72,5 cmWt: 16 kgCbm: 0,09 m3

Model 1362


Model 1374


Model 1383


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Model 1384


Model 1386


Model 1388


Model 1398

L: 138 cmW: 65 cmH: 100 cmWt: 14 kgCbm: 1,33 m3

tHoMAS PeDeRSen

IcIcLEModel 1200

Ø: 90 cm,H: 43/49 cmWt: 10 kgCbm: 0,1 m3

Model 1210

L: 70 cmB: 70 cm H: 43/54 cmWt: 6,5 kg Cbm: 0,06 m3

Model 1220

Ø: 50 cmH: 43/54 cmWt: 3,4 kgCbm: 0,03 m3

Model 1230

L: 84 cmB: 63 cm H: 43/54 cmWt: 5,7 kg Cbm: 0,07 m3

Model 1240

L: 127 cmB: 90 cmH: 43/49 cmWt: 14 kg Cbm: 0,13 m3

Model 1250

L: 150 cmB: 58 cm H: 43/49 cmWt: 13 kg, Cbm: 0,1 m3

STINGraYModel 3500

W: 120 cmD: 114 cmH: 83,5 cm Sh: 34 cmWt: 17 kgCbm: 1,1 m3

Model 3510

W: 120 cmD: 114 cmH: 83,5 cm Sh: 34 cmWt: 21 kgCbm: 1,1 m3

Model 3520

W: 122 cmD: 114 cmH: 86 cmSh: 34 cmWt: 24 kgCbm: 1,1 m3

Model 3525

W: 122 cmD: 114cm H: 86 cmSh: 34 cmWt: 25 kgCbm: 1,1 m

FURnID

dEKKa daY BEdModel 1150

L: 200 cmD: 90 cmH: 29,5 cmSh: 29,5 cmWt: 56 kgCbm: 0,94 m3

MELT Model 7411

L: 180/290 cm W: 110 cmH: 74,5 cmCbm: 0,24 m3

Model 7412

L: 120 cmW: 120 cmH: 74,5 cmCbm: 0,18 m3

Model 7414

L: 238 cmW: 130 cm H: 74,5 cmCbm: 0,24 m3

Model 7416

L: 238 cmW: 130 cmH: 74,5 cmCbm: 0,24 m3

ALFReDo HäBeRLI

SEracSModel 4510

W: 12 cmD: 90 cm H: 70 cmSh: 37cmCbm: 0,12 m3

Model 4520

W: 25 cmD: 90 cm H: 70 cmSh: 37 cmCbm: 0,21 m3

Melt_Elipse_130x238

Melt_Udtræk_110x180



Melt_Kvadrat_158x158

Melt_Kvadrat_158x158

Melt_Rektangle_130x238



Melt_Elipse_130x238

Melt_Elipse_130x238

CeCILIe MAnz

MIcadOModel 1213

Ø: 60 cmH: 49 cm Wt: 3,8 kgCbm: 0,03 m3

PeR BoRRe

aSTraL BENcHModel 1110

L: 266 cmD: 70 cm H: 83 cmSh: 42 cmWt: 120 kgCbm: 1.82 m3

Model 1111

½ Ø: 450 cmD: 225 cmH: 81 cmWt: 187 kgCbm: 8,58 m3

toM StePP

PrIME TIMEEaSY cHaIrModel 15100


PrIME TIME STOOL Model 15102


FUNKModel 15500

W: 50 cmD: 55 cmH: 84 cmSh: 45 cmWt: 5,4 kgCbm: 0,4 m³ (4 pcs.)

Model 15516

W: 51 cmD: 55 cm H: 84 cmSh: 45 cmWt: 6,4 kg Cbm: 0,39 m³ (3 pcs.)

Model 4530

W: 25 cmD: 90 cm H: 70 cmSh: 37cmCbm: 0,21 m3

Model 4540


Model 4550


SHIn AzUMI

THENara SErIESModel 1810

W: 48 cmD: 51 cm H: 83,5 cmSh: 44 cmWt: 5 kg Cbm: 0,22 m3

Model 1820

W: 48 cm D: 51 cmH: 83,5 cmSh: 45 cm, Wt: 5 kgCbm: 0,22 m3

Model 1830

W: 44,5 cmD: 44,5 cm H: 98,5 cmSh: 67 cmWt: 6 kg Cbm: 0,3 m3

Model 1832

W: 45 cmD: 45 cmH: 99 cm Sh: 68 cmWt: 6 kgCbm: 0,3 m3

Model 1840

W: 44,6 cmD: 47 cm H: 108 cmSh: 77 cmWt: 6 kg, Cbm: 0,3 m3

Model 1842

W: 45 cmD: 47 cmH: 108 cm Sh: 78 cmWt: 6 kgCbm: 0,3 m3

Model 1880

H: 180 cm W: 32 cmD: 42 cmWt:10 kg Cbm: 0,273

1:200

152

153

HAnS SAnDGRen jAKoBSen

GaLLErYModel 1610

W: 52 cmD: 36 cm H: 48 cmSh: 42,5 cmWt: 4 kg Cbm: 0,12 m3

nIeLS jØRGen HAUGeSen

THE HaUGESENTaBLEModel 4750

L: 186/305 cmW: 92 cmH: 72 cmWt: 52 kgCbm: 0,2 m3

Model 15520

W: 50 cm D: 55 cmH: 84 cmSh: 46 cmWt: 6 kg Cbm: 0,39 m³ (3 pcs.)

Model 15536

W: 51 cmD: 55 cmH: 84 cmSh: 46 cm Wt: 7 kgCbm: 0,39 m³ (3 pcs.)

Model 15540

W: 50 cm D: 55 cmH: 84 cmSh: 46 cmWt: 6 kg Cbm: 0,39 m³ (3 pcs.)

Model 15556

W: 51 cmD: 55 cmH: 84 cmSh: 46 cmWt: 7 kgCbm: 0,39 m³ (3 pcs.)

Model 15600

B: 53,6/60 cmW: 55 cm H: 84 cmSh: 45cmWt : 5,4 kgCbm: 0,40 m³ (4 pcs.).

Model 15616

B: 55,5/60 cmW: 55 cmH: 84 cmSh: 45cmWt: 6,4 kgCbm: 0,39 m³ (3 pcs.)

Model 15620

W: 53,5/60 cmD: 55 cmH: 84 cmSh: 46 cm Wt: 6,4 kgCbm: 0,39 m³ (3 pcs.)

Model 15636

W: 55,5/60 cmD: 55 cmH: 84 cmSh: 46 cmW: 6,4 kgCbm: 0,49 m³ (3 pcs.)

Model 15640

W: 53,5/60 cmD: 55 cmH: 84 cmSh: 45 cmWt: 5,4 kgCbm: 0,39 m³ (3 pcs.)

Model 15656

W: 55,5/60 cmD: 55 cmH: 84 cmSh: 46 cm Wt : 6,4 kgCbm: 0,39 m³ (3 pcs.)

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© Fredericia Furniture 2013Interviews by Anders Krag Main photography by Neel Munthe-Brun Design by Rethink Copenhagen

156

SHoWRooM & StoRe: FReDeRIKSBoRGGADe 22, DK-1360 CoPenHAGen K, teL +45 3312 4644MoRe InFo: FReDeRICIA FURnItURe A/S, tReLDeVej 183, DK-7000 FReDeRICIA, teL +45 7592 3344

WWW.FReDeRICIA.CoM

Documents

ContentSdesigndenmark.co.nz/assets/Uploads/Fredericia-lookbook-2013-14-screen.pdfabout nanna Ditzel, the groundbreaking designer who embraced his father’s de-sire to develop new