I N D E X

ENDLESS SKETCHINGSketching a design can take various forms. From drawing by hand on paper, rendering a design via computer, making a mood board or a 3D model. Read article

THE PAST IS PRESENTWhat happens when a young Spanish designer with roots as a rebel meets a Japanese style product brand to collaborate on creating tableware for a ceramic company that’s 130 years old? Read article

THE ART OF MODEL MAKINGOur designs are inextricably linked to the body. And being a human being. So how do you make that leap from a designer’s 2D sketch to a 3D object people will love living with? Read article

MERGING TWO MINDSETSDesigner Jaime Hayón and Head of Fritz Hansen De-sign Christian Rasmussen talk about the process of creating the FAVNTM sofa. Read article

SPOTTED ATSALONE DEL MOBILEThe “Dislocation Clock” and the “Dandelight”.Read article

EVEN INVIS IBLE DETA I LSMAKE A D IFFERENCEOnce the Design Department arrives at an idea they believe in, the Product Development Department takes over. They are the bridge to reality. Read article

DID YOU KNOW . . . ?... We have a secret garden at Fritz Hansen Head-quarters. ... FAVN™ sofa is the Danish word meaning “embrace”. Read article

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3 - 4 TIMELESS DES IGN TAKES T IMEOne of the cornerstones of Fritz Hansen is the art of crafting timeless design. What does it entail? When is a product perfect? Read article

D E S I G N S W I T H A P R E S E N C E .A N D A F U T U R EDeep in our DNA is a desire to create designs that last lifetimes. More than anything, we strive to develop timeless, enduring designs. Objects with a simple, streamlined signature style, which feel at home in your world generation after generation.

While our portfolio of products is diverse, there’s a certain design idiom that’s recognisable throughout. It’s based on three principles which define our Fritz Hansen universe: the visual, the emotional and the rational. Visually, a design has to be original, pure and long-lasting. So the size, the shape, the colours and the like have to have some sort of impact. Secondly, the emotional effect is crucial. How an object triggers sensations you can’t even see or touch or articulate. Something genuine, serene and Scandinavian. The third criteria is all about the rational. The superior quality seen in the materials. The refinement in the craftsmanship. As well as the ability for our products to age gracefully.

It’s a philosophy which involves seeing, feeling and knowing. Elements which work on different levels, requir-ing the utmost attention to details and plenty of patience all along the way.

The next time you see one of our designs and it resonates with your soul, it’s actually the answer to a list of es-sential questions we ask ourselves. Starting with ...

... how can we design a prod-

uct that people will want to live

with and love forever?

T I M E L E S S D E S I G N T A K E S T I M EOne of the cornerstones of Fritz Hansen is the art of crafting timeless design. What does it entail? When is a product perfect? And what makes the FAVNTM sofa poised to become a new contemporary classic? According to Christian G Rasmussen, Head of Design at Fritz Hansen, it’s all about zooming in and out.

The crafting part. Which part of the design process takes the longest time?Everything. Detailing is a slow but important process where you need to build a lot of models and do a lot of testing to be sure it works. But if you don’t consider the details from the beginning, the piece will never be-come outstanding. It’s important to keep zooming in on the details and zooming out to see the big picture.

When do you finally get that “finito” feeling?Never. The design universe is, by definition, subjective. There’s no finishing line. The designer and I are the ones who decide when we’re there. We try to evaluate a project at every stage, continuously question-ing whether it lives up to our Fritz Hansen values and design heritage. With the right visual, emotional and rational appeal. It involves making the right decisions at the right time for the right reasons. And having a positive gut feeling throughout the entire project.

Why you can’t design a sofa overnight.Perfection is such an abstract, almost unattainable concept. It’s the ultimate goal with everything we do. We give careful consideration to everything from the overall idea to every detail that takes it one step closer to reality. Maybe you can get a creative idea for a sofa overnight, but it takes time to implement it properly. It has to be strong enough to endure the process of making it a reality, where we keep checking to make sure it’s desirable, feasible and viable. Perfection takes time and you have to know when to stop. You can’t go on forever, otherwise you might lose the magic of the original idea.

Timeless vs TrendyA design will always be an expression of the era in which it was conceived. We try to see things in a big-ger perspective. You cannot decode a piece in terms of whether a particular line or curve will be timeless. Curves take on a new dimension with different materials. You have to see a piece in its entirety. The Egg and the Swan chairs survived because Arne Jacobsen created them as sculptures - not as furniture. That’s part of the reason why they stand the test of time. The FAVNTM sofa was modelled in the same way. So you’re intrigued to see its beauty from any angle. Like a sculpture.

Is there something intrinsically timeless about Scandinavian design? The fact that it’s so pure, simple and serene, without any extraneous elements?The French have a completely different approach. Historically, they’re known for designs with a lot of or-namentation. The Italians have marble, iron, silver and gold. In Denmark, we have no raw materials really, aside from wood. Culturally we never grew up with extras. We see that as our forte. We’re always seek-ing a reason in what we design - where there’s nothing you can add or take away. That often leads to a natural beauty. Which makes us very much in sync with sustainability. And the future. Working with natural materials, we explore what’s possible within their own properties, without trying to make something into something it’s not.

The design of the FAVNTM seems very past, present and future.There are a lot of references to the 50’s, even though it’s from 2011 and yet very futuristic. It fits the de-sign expression of our SwanTM and EggTM chairs, but with its own identity and integrity. We work with a lot of external designers and observe their creative patterns to see where our paths cross. We only introduce one product a year. The minute we saw Hayón’s ideas for the FAVNTM, we could instantly see the potential. The finished product is very inviting. When people sit in it, they almost make the same movements they continue make with the Egg and Swan. Even 50 years later.

Sketching a design can take various forms. From drawing by hand on paper, rendering a design via computer, making a mood board or a 3D model. Either way, it’s a crucial step in thinking, expressing, commu-nicating and developing an idea that doesn’t exist in reality – yet. And as a tool for testing to see if the idea is desirable, viable and feasible in terms of aesthetics and economics. Looking back, it’s an interesting way of documenting the entire evolution of an idea. Like the FAVNTM sofa, which involved hundreds and hundreds of sketches...

For designer Jaime Hayón, it’s a process of tapping into his subconscious. Sketching is something he continuously does as his way of discussing ideas. Finessing and fine-tuning the size, shape and details all along the way.

As Christian G. Rasmussen sees it ...

... hand sketching leaves a lot

to your imagination. It can be

very seductive. As a selling

tool, it can make people see

what they want to see. With

all the magic that often gets

lost in a computer drawing.

T H E P A S T I S P R E S E N TWhat happens when a young Spanish designer with roots as a rebel meets a Japanese style product brand to collaborate on creating tableware for a ceramic company that’s 130 years old?

The result is a contemporary new expression of an ancient Japanese tradition. An exquisite collection span-ning an enormous array of items from dinnerware to tea sets embracing the Japanese concept of “Tsunagari”, meaning “relationships”. A philosophy which, in the process of the collaboration, formed the bond between two cultures.

This interesting cross-cultural connection began in Tokyo in 2009 when Hirotoshi Maruwakaya, head of Maruwakaya, a neo-traditional Japanese product design brand, met Jaime Hayón. A designer from Madrid whose meteoric rise began with graffiti and skateboard subculture and moved on to encompass ceramics, furniture design, clothing, jewellery, art and interiors. The idea was to combine Hayón’s inventiveness with the traditional ceramics of Kutani Choemon, a highly esteemed company dating back to 1879. Known for using Kutaniyaki, one of Japan’s most celebrated and cherished porcelain techniques, which they have passed on from generation to generation.

Intrinsic to the project was a deep respect and understanding of the Japanese culture of “Tsunagari”, linking people with the dining table, the tableware and the entire experience of enjoying a meal. The goal was to create pieces which help people recognise how these elements are all inter-connected.

From Hayón’s perspective, “It was a joy to work with the Japanese as they are very precise. They have a great respect for detail, and I live for detail! They apply this to every area of life...” Maruwakaya’s aim was not only to keep Japanese culture alive, but to also keep it contemporary. As part of his overall quest to drive the direction of Japanese crafts for the future. He spent days together with Hayón developing the concept with the Kamide Choemon-gama craftsmen, who felt a sense of pride that Hayón, despite coming from a completely dif-ferent culture, could truly capture the Japanese spirit. In a modern expression they felt was genuinely Japanese.

What ensued is a beautiful balance between the aesthetics of both cultures. Seen in a stunning set of ceramics featuring shapes and whimsical drawings with Hayón’s endearing graphic accents, utilising these time hon-oured, traditional Japanese techniques. A creative move to ensure that their illustrious Japanese past continues to be present.

To view the collection, visit www.Hayónstudio.com and www.choemon.com.

T H E A R T O F M O D E L M A K I N GOur designs are inextricably linked to the body. And being a human being. So how do you make that leap from a designer’s 2D sketch to a 3D object people will love living with? We asked Michael Helmer Larsen, the Prototype Developer and master model maker in Fritz Hansen’s Design Department.

We try to come as close to reality as possible right from the beginning with a 3D life size

model,” explains Larsen. “In terms of materials I might use light foam like polystyrene. Card-

board. Car clay. Just to have something to work with, we mount the model on a simple

wooden structure. I do a lot of hand crafting, making 3D scans at every stage, then building

half a chair or sofa to start with. Manipulating the image in computer programmes. Milling

it out in foam. Then re-engineering the shape yet again. Maybe the back of a chair needs

to go 3 degrees back. Or forward. Working with furniture, you have to sit in it in order to

fine-tune all aspects of it. You must create a life size model in 1:1 scale to get the full effect.

You must see it in 3D - in real life.“When you see a model from the front, it works. From the side, sometimes it doesn’t. Technical drawings usu-ally capture the product from the front, head-on. Like the grille of a car. But our furniture has to be beautiful when you’re standing up and looking at it - from any angle. A computer drawing is only as big as your com-puter screen. Even if you project a highly detailed architectural 3D CAD drawing, it is still 2D. So many details get lost. When standing in front of it, you can see these small discrepancies. You must see it in 3D - in real life.

M E R G I N G T W O M I N D S E T SDesigner Jaime Hayón and Head of Fritz Hansen Design Christian Rasmussen talk about the process of creating the FAVNTM sofa. Their mutual respect. Spanish spontane-ity versus Scandinavian sensibility. And what makes a design decisive.

How was it working with Jaime?Rasmussen: “I was very fascinated by Jaime because of his creativity. His energy. And passion. You can’t help but be sucked into his creative universe and be inspired by it. Plus he is extremely professional. He can combine various thoughts and visuals simultaneously. Switching from the visual aspects to the emotional to the rational, more concrete things. In a split second - without losing the big picture.

How was it working with Fritz Hansen?Hayón: “I find Fritz Hansen to be a very, very professional company. You focus on one thing and all the details about that one thing. You work on every aspect of it. I never thought it would be so detailed. When I thought the design was there, we had to do it again and again. We did 14 proto-types. It took three years to arrive at this day, with the final version of the FAVNTM ready to launch. This insistence on getting everything exactly right is very Scandinavian.

Rasmussen: “It’s no secret that Jaime thought the sofa was done maybe a year ago. We really want-ed it to be perfect from all angles. Even underneath. We did things over and over again to make it a really refined design. That’s very important for us.”

Hayón: “The Latino way is that you have an idea. Your intuition takes you directly to making it. The shape is there. The form is there. It might not be perfect, but the idea is there. With Fritz Hansen, it’s much more professional. And you really, really get it right. I learned a lot. Like how to be patient.You can see that there’s a history behind you.The way you thoroughly examine absolutely every single aspect of a product.”

Very Hayón and Very HansenRasmussen: Part of Jaime’s professionalism comes from his respect and understanding of our design her-itage. It’s always interesting to combine different cultures, approaches and design backgrounds. Because that’s where new things really happen. And you can inspire each other. Merging the strengths of both par-ties to move up to a new level. Where both are willing to explore the full potential of such a cross-cultural collaboration.

The starting point for the sofaRasmussen: “We weren’t looking for a modular sofa. Or a box sofa.“

Hayón: “Everybody’s doing all these square things. Living with all kinds of edges in a house. Where there are kids running around and you have to go around to avoid the square furniture. Funny, even the English word for “piazza”, which is actually round – is “the square”.

Rasmussen: “We were looking for something in line with the history of Fritz Hansen. Expressed in our design idiom. Something akin to the Arne Jacobsen designs, which could work for the private sector as well as the contract market.”

Hayón: It’s good that there are no categories. When I studied at the university, they taught a very logical history of design. But I was really interested in underground art and it opened my mind to seeing thingsdifferently. To pushing boundaries. Now design is much more hybrid. A fusion of genres. Which creates a more interesting outcome.”

Decisive DesignRasmussen: “We were trying to imagine the right dimensions for every situation. The FAVNTM can be used as a divider as well as standing on its own. It’s not a LEGO® approach, with a sofa you can configure any which way. It’s more sculptural. Slim but solid. The lines are more like curves.”

Hayón: For someone like me who is indecisive, Fritz Hansen wanted something very precise. The size changed so much. At first we had the sofa with no arms, more Miami style. Then higher. The market is full of indecisive furniture. I’ve done a lot of it. I did a cabinet called “Multi-Leg”, where I didn’t know which leg to choose, so the choice was up to you, That’s indecisive furniture. The FAVNTM is designer furniture. Decisive design.”

Rasmussen: “We ended up with a size and shape that really feels warm. Comforting. An evo-lution of the Fritz Hansen design language.And, like the name of the sofa, the idea is based on an embrace.”

Hayón: “You came up with the name. Four let-ters in Spanish is a conflict. I tried, but it became like a Pedro Almodóvar movie ...”

Minimal and MonochromaticHayón: “The FAVNTM looks really simple but it’s really complex. I realized that the Jacobsen chairs have something really special which Fritz Hansen controls better than anyone else. And that is a shell embracing a shape. The SwanTM chair has a shell. The EggTM chair has a shell. It’s that control over an organic form. With an effect that’s almost like holding someone in your arms.”

Rasmussen: “We wanted to make it monochrome and available in just a few colours. So we used three different textiles created in one colour, where the focus is more on the sensation of the fabrics.”

Hayón: “Normally I’m someone who likes quantity. I liked to have a lot of sofas. A lot of colours. I think I’m becoming more Nordic ...”

I T ’ S A B O U T T I M EClocks have come a long way since the sundial, the hourglass, analog versions with clock dials, digital dis-plays and the like. While none of us can directly influence the speeding up or slowing down of time (apart from our subjective experiences), we can alter our perception of time in the way we “read” it. One such designer has challenged our notions of time, by throwing our sense of design assumptions beautifully off balance.

A design graduate from the Royal College of Art in London, Taiwanese designer Hanhsi Chen brings his background in physics to Dislocation Clock, which caught our eye at the Salone del Mobile this past spring. At first sight, Chen’s minimal approach to a clock with two hands appears quite ordinary. Until you realise that the pivotal point of rotation doesn’t come from the centre. Chen has placed it further down the long minute hand. The result is a clock that re-positions itself on the wall as time progresses. The two hands reflect the usual passage of time, but together as a unit they rotate in various configurations. Striking a sur-prising balance with each move.

In our own search for timeless design, it was quite ironic to see Chen’s ability to portray time itself in a radi-cally new way. Questioning convention with a simple solution that’s visually captivating.

For details www.hanhsi.com

I T ’ L L G R O W O N Y O UIn a move to connect with nature and technology is a live light sculpture called Dandelight. A battery powered LED light adorned with dandelion seeds which grow into a full fledged flower. From a Dutch design duo keen on creating original designs which fuse fantasy, reality and interactivity.

Ralph Nauta and Lonneke Gordijn founded studio DRIFT based on a metaphysical mindset, exploring the fundamental idea of our existence and our relation to objects, space and time. With Dandelight, their idea of a lamp is not just as light. But as an object that illuminates something inside of us. A spiritual and emotional approach to living with design amidst a society saturated with information overload.

Dandelight is the outcome of DRIFT’s Fragile Future project. A modular 3D sculpture comprised of hundreds of Dandelights which react to movement, pretending to switch off when someone comes too close. When switched on, the light sculpture has a soft glow that sets a mood that’s calm and soothing.

We spotted their work at the Salone del Mobile in Milan and loved their philosophical angle on design, infusing humanity with functionality. You can find examples of their work at the Victoria & Albert Museum London and the Museum of Arts & Design New York. Better yet, design your own field of flowers at home once you visit

For details www.designdrift.nl

E V E N I N V I S I B L ED E T A I L S M A K E A D I F F E R E N C EOnce the Design Department arrives at an idea they believe in, the Product Develop-ment Department takes over. They are the bridge to reality. In between the creative concept, the production, the logistics and the real object in its finished form. Headed by Project Manager Trine Steffensen, whose aim is to get the idea to be as untouched and true to the original idea as possible. A process which involves countless details, such as testing a chair 100,000 to make sure it stands the test of time.

Most of Steffensen’s challenges are contradic-tions, such as how to strengthen the FAVNTM sofa but still make it appear light, slim and thin. How do you make sure different seams on three dif-ferent materials are perfectly, elegantly aligned as one? “The details can be seen if you look for them,” says Steffensen. “But a lot of the things we do we try to camouflage.”

For example, to help the upholsterer make the positioning of the stitching flush with the surface of the sofa, they made a concave section that’s invisible to the naked eye.

The main construction consists of a back shell and a base. But once you order the sofa and have it delivered, how can you get it through the door? Six discretely placed screws were the solution.

“We used a lot of time to ensure the comfort factor,” recalls Steffensen. “So many versions of foam. For the decorative cushions, we tried 10 different versions and chose a memory foam so the cushions would keep their geometry.

- And we kept the legs partially

upholstered, otherwise using

paint would make it too tricky

to match the colour of the sofa.

D I D Y O U K N O W . . . ?

... We have a secret garden at Fritz Hansen Headquarters. Inspired by Arne Jacobsen and his work at St. Cather-ine’s College in Oxford, England. Stay tuned for the full story behind this project on our blog, Re-public Space. Be sure to see the garden when you visit us in Allerød, just north of Copenhagen.republicspace.fritzhansen.com

... FAVN™ sofa is the Danish word meaning “embrace”. It’s the result of an exciting creative collabora-tion between Fritz Hansen and world-renowned Spanish designer Jaime Hayón, reflecting our Fritz Hansen heritage in a brand new contemporary classic. For details, visit www.fritzhansen.com

... You can also help customise and create your own Fritz Hansen classics for special projects. With an outcome that’s truly unique. It’s exactly what we did for the global designer eyewear brand Ørgreen, who created a special edition se-ries in connection with our Swan™ chairs.www.orgreen.dk

... As a sign of high quality crafts-manship, the KAISER idell™ series of lamps all contain real silver in the soldering. Designed by Chris-tian Dell, a German silversmith from the 1930’s, whose work is also on exhibit at the “Museum of Modern Art” in New York. www.fritzhansen.com

…We always conduct a premium quality check on all our designs before they leave the factory. That is also why we deliver a quality certificate marked with a date and signature along with our designs. For the NAP™ chair, we ran over 2.000.000 cycles in a durabil-ity test on the arms to ensure they would be strong enough to meet the required standards and the test of time.

M Y R E P U B L I C

You can get all kinds of extra advantages from joining My Republic on our Fritz Hansen website. Just register the de-tails of the Fritz Hansen design you purchased and get an extended limited warranty up to 20 years, along with loads of other attractive benefits, exclusive offers and services.

Register at www.fritzhansen.com/my-republic