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JACOB JENSEN DESIGN
JAC
OB
JENSEN
DESIG
N
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Simple
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One of the eternal laws of our planet is action - reaction;
in nature and in culture. A creation demands a reaction.
The success of a creation is dependent upon commitment, idea,
communication and the evolutionary process until perfection is reached.
Being aware of these components, one can achieve results which
reduce vulnerability and strengthen recognition and survival.
It is in fact very simple.
Timothy Jacob Jensen
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International Gift Corporation | Vikings | 1958
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General Electric | Hi-fi concept | 1962
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Bang & Olufsen | Beovox Cube 2500, loudspeaker | 1967
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Bang & Olufsen | Beolit 400, transistor radio | 1970
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Bang & Olufsen | Beogram 4000, turntable | 1972
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Bang & Olufsen | Beomaster 1200, radio / amplifier | 1969
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Bang & Olufsen | Beomaster 1900, radio / amplifier | 1976
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Bang & Olufsen | Beocenter 9000, music system | 1986
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JO-JO | Cable reel series | 1983
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Rosti | Margrethe bowl | Design by Jacob Jensen for Bernadotte & Bjørn | 1950
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Nilfisk | GM200 Vacuum cleaner | Co-design Hanne Uhlig | 1992
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LASAT | Unique 144 Modem | 1993
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Kirk | E76 Telephone | 1976
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Jabra | JX10 Bluetooth headset | 2005
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Gaggenau | CK494 Glass ceramic hob | 1996
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Gaggenau | EB900 built-in oven | 1993
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Gaggenau | Vario built-in appliances | Co-design Reinhard Segers | 1999
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Gaggenau | AH600 Extractor hood | Co-design Reinhard Segers | 1999
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Bell Xpress | JACOB JENSEN Timer | 2001
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Bell Xpress | JACOB JENSEN Scale | 2003
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Bell Xpress | JACOB JENSEN Smoke alarm | 2001
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S. Weisz | JACOB JENSEN Classic wall clock | 1988 & 2004
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S. Weisz | JACOB JENSEN 510 Classic watch | 1986 JACOB JENSEN 530 Digital watch | 2003
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JACOB JENSEN 681 Titanium watch | 2004 JACOB JENSEN 600 Titanium chronograph | 2005
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The Jacob Jensen Design studio is situated on the Limfjord in Jutland, Denmark
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Danish Eyewear | JACOB JENSEN Titanium Rimless spectacles with Titanium Temples | 2006
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JACOB JENSEN Titanium Rim spectacles | 2003
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Bell Xpress | JACOB JENSEN Door bell | 2005
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Bell Xpress | JACOB JENSEN Weather station series | 1999-2004
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Bell Xpress | JACOB JENSEN Telephone 6 | 2004
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DRS Electronics | JACOB JENSEN Telephone 3 | 1994
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Thermex | Inn-Line Extractor hood | 2004
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Vertu | Aerius Bluetooth headset | 2006
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lifa design | JACOB JENSEN Kitchen 1 | 2005
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lifa design | JACOB JENSEN Kitchen 1 | 2005
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Nordplan | S H A D E E 9 0 0 0 Electronic mobile storage system | 2004
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Boform | Executive office table | 1993
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Berg Furniture | Opus sofa | 1993
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Vestas | Wind turbine | 1995
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Logicar | Car study | 1982
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XO Care | XO 4 Unit, total dental solution | 2003
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The SunThe 11 Stars of Skive | Roundabouts | 2006
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More Kraka
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Resenlund Culture Centre | 3 architectural concepts | 2001 The Cubes The Mussel
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The Slope
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Light and Dark - Sense and Seduction
Quiet, cleansed, silver colored and black lines - Jacob Jensen’s signature.
The contrast between light and dark is one of the simplest possible ways to
create visual impression. Jacob Jensen Design is a grammar based on con-
trasts and extremes – not only in regard to the form language.
The products reflect a desire to reduce the overwhelming stream of information
of our times and create clarity, but at the same time are endowed with surprises
or magic, which confound our rational judgment. The development of this both
professional and enchanting design was begun in the 1960’s and 70’s, particularly
in relation to the B&O design profile. In recent decades the characteristic form
language has been further developed and carried to new product categories by
Timothy Jacob Jensen.
Metal, glass, simplification, miniaturization, technological enthusiasm, consumer
empathy - what makes Jacob Jensen Design unique is the exceptional
ability to understand and use the tendencies of the times and to refine
ideas, functions, forms and color. We are speaking of sophisticated extracts
of the design of our age.
The form language can be characterized as the merging of two main streams in
the design of the twentieth century. Jacob Jensen cultivates the idealistic, Euro-
pean Bauhaus tradition, described with slogans like “Less Is More” and “Form
Follows Function”. Simple function and easily understood forms and color reflect
the foundation in European modernism: Reason.
JACOB JENSEN DESIGN
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However, in his young days Jacob Jensen worked for the American design
icon Raymond Loewy and joins his consumer oriented MAYA principle: “Most
Advanced Yet Acceptable”. Jacob Jensen’s design is not just built up around
reason. It further satisfies the consumer’s need for adventure, poetry and
enchantment. This is not achieved alone with different, exciting, streamlined
forms. Often the seduction has the character of pure magic.
Jacob Jensen Design’s elegant contrasts, simple function and enticing ideas can
be summed up in three concepts: distance, closeness, and touch.
Distance: A single, streamlined, ultramodern form, combined with contrasts of
silver and black. It is this part of the form language, which is primarily associated
with Jacob Jensen and which is so striking that people the world over can
recognize a Jacob Jensen design at a distance.
Closeness: Thoroughly worked through aesthetic details, both in relation to
the design of the three dimensional, for example switches, and in the graphics.
It is in particular this care for detail where Jacob Jensen’s roots in Danish crafts
and furniture become visible.
Touch: Something surprising happens when you touch the apparatus. A display
begins to pulse, a lid opens in meditative slowness, an unexpected user panel
appears. There is an enticing gift included.
The Jacob Jensen form language has in close to 50 years of existence shown itself
to be unusually sustainable and futuristic, also in our late modern age. This is due
to the merging of reason and seduction, which shows Jacob Jensen Design to be
not less radical, but indeed a more mature form of modernism.
The now very broad product palette developed by Timothy Jacob Jensen shows
the large potential of the form language as a messenger of ideas and functions
in the objects of everyday life.
Light and Dark - Sense and Seduction
Quiet, cleansed, silver colored and black lines - Jacob Jensen’s signature.
The contrast between light and dark is one of the simplest possible ways to
create visual impression. Jacob Jensen Design is a grammar based on contrasts and
extremes – not only in regard to the form language.
The products reflect a desire to reduce the overwhelming stream of information
of our times and create clarity, but at the same time are endowed with surprises
or magic, which confound our rational judgment. The development of this both
professional and enchanting design was begun in the 1960’s and 70’s, particularly
in relation to the B&O design profile. In recent decades the characteristic form
language has been further developed and carried to new product categories by
Timothy Jacob Jensen.
Metal, glass, simplification, miniaturization, technological enthusiasm, consumer
empathy - what makes Jacob Jensen Design unique is the exceptional
ability to understand and use the tendencies of the times and to refine
ideas, functions, forms and color. We are speaking of sophisticated extracts
of the design of our age.
The form language can be characterized as the merging of two main streams in
the design of the twentieth century. Jacob Jensen cultivates the idealistic, Euro-
pean Bauhaus tradition, described with slogans like “Less Is More” and “Form
Follows Function”. Simple function and easily understood forms and color reflect
the foundation in European modernism: Reason.
JACOB JENSEN DESIGN
Christian Holmsted Olesen, Curator
The Danish Museum of Art & Design
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Simple
3rd edition
Co-ordination: Betina Nielsen
Art direction: Nigel Hopwood
Layout: Thomas Bennedsen
Printing house: Delta Grafisk
Bookbinding: Ab bogbinder
©2006 JACOB JENSEN DESIGN
www.jacobjensendesign.com
www.jacobjensen.com
Printed in Denmark 2006
ISBN 87-988405-2-5
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JACOB JENSEN DESIGN
JAC
OB
JENSEN
DESIG
N