teCHnICAL InFo børGe MoGenSen

Intro
Thomas Graversen
P. 4
DESIGNER
LOUISE CAMPBELL
ON THE DESIGNER
NANNA DITZEL
P. 6
Louise Campbell on
Nanna Ditzel
P. 80
MINIMALIST
LUXURY
A SPACE TRAVELLER
The Factory
Rasmus Lomborg
P. 14
Alfredo Häberli
P. 88
ON YIN AND YANG
AND FEELING THE
WAY FORWARD
DESIGN IS
THE LANGUAGE
THAT
COMMUNICATEs
WITHOUT
SUBTITLES
Space Copenhagen
P. 20
børge revisited,
legacy
rediscovered
Rasmus Graversen on
Børge Mogensen
P. 28
AN INTIMATE
HAVEN
GamFratesi
P. 42
We trust
our guts
P. 48
PATO, THE
ENVIRONMENTALLYAWARE PLASTIC
DUCK
Welling/Ludvik
P. 72
Elizaveta Friedman
P. 92
1
ContentS
Showroom
P. 100
UNCOMPROMISING
WORLD-CLASS
QUALITY BEGINS
WITH THE STORY
OF A RATHER DRY
DESIGNER
Christian
Holmsted Olesen
P. 112
And More
P. 120
Index &
Technical info
P. 126
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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If a willingness to reject quality by
producing goods in the Far East
is in fashion, then Fredericia is
going against the grain.
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At Fredericia, words like ‘doctrine’ and
‘mainstream’ are not in our vocabulary.
In our collection, you’ll only find the furniture 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 SUBTLE
ORNAMENTATION
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LUCKILY,
DESIGN DUO SPACE
DIDN’T GET
THAT MEMO
Spine collection by Space Copenhagen
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MINIMALIST
LUXURY
Rasmus Shepherd-Lomborg owns and
runs Copenhagen’s absolute hippest cocktail 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 before 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:
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Ruby
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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 something 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 chatting 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 created. 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 really 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
Lidkoeb
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.”
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Lidkoeb
1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen
4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer
7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer
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ON YIN
AND YANG
AND FEELING
THE WAY
FORWARD
Signe Bindslev Henriksen and Peter Bundgaard 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 Copenhagen, 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
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Fiskebaren by Space
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SB: “What makes our story interesting is
that we started out being taken in by and fascinated 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 understanding, 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 perspective, 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?”
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 knowing 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 distance ourselves from plastic, but it’s more about
what we like and natural materials are our thing.”
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How about Spine?
SB: “We like the meeting between the solid, comfortable, organic and the modern. Taking
that field feels open. We like simplifying dimensions 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 immediately interested because they needed something
modern that could take them forward. FREDERICIA are both serious and excellent to work with.
Spine collection by Space Copenhagen
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Designed
in 1950.
Built in
2012.
The Hunting Chair, by Børge Mogensen
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Perfected
in 2032.
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BØRGE
REVISITED,
LEGACY
REDISCOVERED
24-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 desire to develop new products. However,
Rasmus’ grandfather, Andreas Graversen
the founder of FREDERICIA, was full of the
master. Apart from a Finn Juhl chair, everything 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.
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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 architects to think through furniture for the home. In
many regards I find his approach inspiring. Børge
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An Spainish officer’s chair,
the inspiration for the Spanish Chair
The Spanish Chair
by Børge Mogensen
Drawing of Børge Mogensen
Mogensen looked at what a family needed. He
didn’t just create chairs, but also pieces to complete a home, such as cabinets and tables.”
“Some people say that you don’t sit comfortably in the Spokeback Sofa. I see it more as a
sofa to climb into and lie in.”
While Børge’s furniture is restrained in idiom, 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
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Various drawings by Børge Mogensen
1
1/ Børge Mogensen joking around
2/ Børge Mogensen’s summer residence
3/ Børge Mogensen’s home
4/ Bench 3171
5/ The Spanish Chair
6/ Andreas Graversen and Børge Mogensen
7/ Børge Mogensen’s kitchen
8/ Børge Mogensen resting in sofa 2213
9/ The Hunting Chair
10/ Ottoman
11/ Børge Mogensen’s summer residence
12/ Børge Mogensen, Hans J. Wegner and
Textile Designer Lis Ahlmann
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Børge Mogensen’s
winter garden
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Fiskebaren by Space
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Left: Sofa 2213 from 1963, still in use
Right: 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 humble, 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 approach 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 today, 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 creating new designs today. “
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EXPLAIN THIS
Haiku by GamFratesi
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AN INTIMATE
HAVEN
Haiku is the poetry of simplicity, in which
so much is expressed in the seventeen syllables and few words. It’s also the name of
a sofa created by GamFratesi. Enrico Fratesi 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 prototypes and models. The analogue process is really
essential for us. Sketching thoughts down on paper 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.
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Drawings by GamFratesi
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Haiku by GamFratesi
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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Physically having the material in our hands and
feeling the entire manual process in the prototype 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 surprising, between harmony and disharmony. An idea
can arise from a deep reflection or from a spontaneous 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-architecture, 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 architecture than furniture design, because we continuously speculate about how our furniture is used
in different contexts, how it relates to the other
elements and contrasts with them. Furniture creates 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 expression of the happy medium between aesthetics, function and the right combination of materials. In terms of colour, we prefer natural shades.”
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SOME
MANUFACTURERS
TRUST
GUIDELINES,
MARKETING
ANALYSTS AND
TREND EXPERTS
WHEN CHOOSING
DESIGNS
TO PRODUCE
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WE
TRUST
OUR
GUTS
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Spokeback Sofa by Børge Mogensen
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Trinidad by Nanna Ditzel
Shaker 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
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Nara chair by Shin Azumi
Shaker Table by Børge Mogensen
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Spine collection by Space Copenhagen
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Haiku by GamFratesi
Micado by Cecilie Manz
The Hunting Chair by Børge Mogensen
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Pato by Welling/Ludvik
Mesa by Welling/Ludvik
Stool by Hans J. Wegner
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J49 by Børge Mogensen
Slim Jim by Roland Graf
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Slim Jim by Roland Graf
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Stingray by Thomas Pedersen
Icicle by Thomas Pedersen
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Pato by Welling/Ludvik
Mesa by Welling/Ludvik
Stingray by Thomas Pedersen
Icicle by Thomas Pedersen
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J39 by Børge Mogensen
J49 by Børge Mogensen
Trinidad by Nanna Ditzel
Spine chair by Space Copenhagen
Shaker Table by Børge Mogensen
1/ Haiku by GamFratesi 2/ 2204 by Børge Mogensen 3/ J39 by Børge Mogensen
4/ Spine Collection by Space 5/ Name, Designer 6/ Name, Designer
7/ Name, Designer 8/ Name, Designer 9/ Name, Designer 10/ Name, Designer
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Trinidad by Nanna Ditzel
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Sofa 2213 by Børge Mogensen
Spine side table by Space Copenhagen
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Durability
– check.
Versatility
– check.
Modestly priced
– check.
Eco-friendly
production,
materials,
and disposal
– check, check
and check
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Welling/ludvik
are almost
irritatingly good
Pato by Welling/Ludvik
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PATO, THE
ENVIRONMENTALLYAWARE
PLASTIC DUCK
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 incorporates much more than just form, aesthetic
and function. Consideration for the environment was also an important factor in
the task of creating an affordable plastic
chair where the shell can be used on different 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 Iceland-meets-Denmark team of Hee Welling and Gudmundur Ludvik. Ludvik is a
trained carpenter who has studied sculpture 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.
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GL: Comfort and the body are the starting 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, materials, the environment and price.
HW: The outline of the shell has clean simple 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 plastic supplier, who have been incredibly competent
throughout the entire process and it’s super-reassuring to work with a company that knows what
it’s all about.
HW: Taking away everything that’s superfluous is what design is all about for us − with
nothing just for show. That’s what makes it visually 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 retains its ability to appear exciting when it’s reduced 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 everything 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 wellknown 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 polypropylene (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 environmental 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, environmental awareness and beauty. And a chair that
is within reach of everyone’s budget and tastes.
Pato’s got it all.
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Pato barstool by Welling/Ludvik
Tobago by Nanna Ditzel
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Trinidad by Nanna Ditzel
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“The fun loving,
colour crazy,
rule breaking lady”
seems a better fit
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DESIGNER
LOUISE
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 passive but a communicative item. Good design comes in all sizes,” responds designer
Louise Campbell when asked what makes
good design. She continues:
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xx by Nanna Ditzel
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Trinidad by Nanna Ditzel
“From a good door handle, a beautiful wall hanging or an organic long-distance hovercraft, in really good design, everything works in harmony,
with no visible cracks in either the choice of material, detail or execution. Nanna Ditzel’s Stairscape
is a shining example of consistently executed unity in a piece. Toadstool is another great example
of how an idea doesn’t have to be at all complicated, as long as it is well executed.”
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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 successfully, break them down. I think this is, particularly 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 seductive about her work, where does this seduction 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. Patterns, 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 surprises for curious fingers.”
Which of Nanna Ditzel’s works would you
have like to have designed?
“It’s Nanna Ditzel and not me who designed these objects and that’s exactly as it should
be. But I’m particularly fond of the following pieces, both when they were designed and today because 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 Toadstool furniture, her dinnerware for Søholm Keramik − 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, never 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
2
2
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xx by Nanna Ditzel
2
3
1/ Butterfly Chair by Nanna Ditzel
2/ Stairscapes by Nanna Ditzel
3/ Nanna by Nanna Ditzel
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A SPACE
TRAVELLER
Alfredo Häberli works with space and
its 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 Seracs 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
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Seracs sofa by Alfredo Häberli
Icicle side table by Thomas Pedersen
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DESIGN
IS THE LANGUAGE
THAT
COMMUNICATES
WITHOUT
SUBTITLES
Elizaveta 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 discussing product development with Thomas
Graversen, quality control and packaging
with production, or even wearing a pair of
overalls and working in the carpentry department. 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”.
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The Hunting Chair by Børge Mogensen
Haiku by GamFratesi
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Icicle by Thomas Pedersen
Stingray by Thomas Pedersen
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J39 by Børge Mogensen
Stingray by Thomas Pedersen
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 outside of Denmark, export is a very important part
of FREDERICIA, both from a business and psychological perspective. We have something for every
taste and climate in our collection. In Singapore,
the plastic version of Stingray, by Thomas Pedersen, has been a great success as an outdoor chair,
and Australia loves Prime Time by Tom Stepp.
Other successes around the world are Nanna Ditzel’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 already been specified for projects in Japan, Italy,
Great Britain, the US, Germany and France.”
97
FREDERICIA have a long history of export, particularly 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 Japanese architects are always a fantastic experience,
they have such a great knowledge of Danish design 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 education when I am in Japan.
The simplicity of Børge Mogensen appeals
strongly to the Japanese and he is, and continues 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
1
5
98
2
4
3
6
7
9
99
8
10
1/Astral by Per Borre
2/Astral by Per Borre
3/Pato/Mesa by Welling/Ludvik
4/Prime Time by Tom Stepp
5/Pato/Mesa by Welling/Ludvik
6/Nara collection by Shin Azumi
7/Trinidad by Nanna Ditzel
Melt by FurnID
8/Trinidad by Nanna Ditzel
9/Trinidad by Nanna Ditzel
10/Trinidad by Nanna Ditzel
Melt by FurnID
Børge Mogensen
Hans J. Wegner
Nanna Ditzel
Søren holst
space copenhagen
Welling/ludvik
Gamfratesi
roland graf
susanne grønlund
thomas pedersen
furnid
alfredo HÄberli
shin azumi
cecilie manz
per borre
tom stepp
hans sandgren jakobsen
niels jørgen haugesen…
Uncompromising
since 1911
102
FREDERICIA Flagship store
Frederiksborggade 22, Copenhagen
103
104
2204 by Børge Mogensen
Nara coat stand by Shin Azumi
105
Mundo by Susanne Grønlund
J39/C18 by Børge Mogensen
106
107
Spine collection by Space Copenhagen
Micado by Cecilie Manz
Nara coat stand by Shin Azumi
Spine collection by Space Copenhagen
2202/2204/2208 by Børge Mogensen
J16 by Hans J. Wegner
108
Icicle by Thomas Pedersen
The Hunting Chair by Børge Mogensen
109
Spokeback Sofa by Børge Mogensen
Icicle by Thomas Pedersen
110
111
Mundo Lounge by Susanne Grønlund
Spine collection by Space Copenhagen
Slim Jim by Roland Graf
112
UNCOMPROMISING
WORLD-CLASS
QUALITY BEGINS
WITH THE STORY
OF A RATHER
DRY DESIGNER
Christian Holmsted Olesen is the Head of
Exhibitions and Collections at Designmuseum 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.
113
“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 century. 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 Thomas Graversen. They’ve developed out of Danish
Modern, and what is really interesting is that it’s
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 historic 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,
114
Chairs from FDB’s furniture design studio
from 1942-1950
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 cabinetmakers ran into problems because the Germans
were selling industrially produced furniture which
they couldn’t compete with. This led to their autumn 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-
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 certain degree of his social commitment with him to
Fredericia.”
You hear such a lot about Klint’s love of measuring
”Klint used the human body’s measurements 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-
ple’s own proportions in terms of feet and inches. 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.”
115
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-
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
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 designer. 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 design. Something else that comes from the craftsmanship of cabinetmaking is the level of detail.
They were obsessed by it and focussed pathologically on the details. How to put two things
slightly better education. The forms were modernistic 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 cushions – now it’s really expensive. You can see Kaare
FDB was founded as a co-operative in 1896, as a result of
wanting to supply consumers with lower prices and higher
quality.
1
Klint’s model for Børge Mogensen in the foyer at
the Designmuseum Danmark on Bredgade in Copenhagen. 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 unfortunately it doesn’t say FREDERICIA on it because
the Mogensen collection has serious problems
with copies. That sofa costs around 80,000 Danish kroner because Thomas Graversen refuses to
compromise on its quality.”
Jasper Morrison has created an interpretation of a Børge Mogensen chair?
”Jasper Morrison’s version of Børge Mogensen’s J39 is an attempt at improvement. Partly 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
116
Jasper Morrison has a special relationship with
Danish design... and with Børge Mogensen?
“Yes, when the museum wanted to celebrate one of Nanna Ditzel’s most used textiles,
Hallingdal, (which has also been used by the Danish state railway, DSB, for many years – all Danes
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 furniture 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 because he finds it so inspiring.”
Trattoria Chair by Jasper Morrison
Produced by Magis
117
J39 by
Fiskebaren
Børge Mogensen
by Space
118
Sofa 2212, also known as The Ambassador Sofa
by Børge Mogensen
J49 by Børge Mogensen
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.
119
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 Mogensen 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 Jasper Morrison visited, because over the past decades 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 wealthier decades. But Thomas has taken another track
and developed FREDERICIA into a contemporary
company with new Danish and international designers. 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 solidly 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 studied historical types as thoroughly as the Danes.
And there’s no other place that has imported foreign 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.”
120
121
AND
More
1
2
3
5
4
6
122
7
8
9
10
1/Gallery by Hans Sandgren Jakobsen
2/ Gallery by Hans Sandgren Jakobsen
3/ Haiku sofa by GamFratesi
4/ Sofa 2208 by Børge Mogensen
5/Pato barstool by Welling/Ludvik
6/ Haiku sofa by GamFratesi
7/ Easy chair 2207 by Børge Mogensen
8/ Icicle tables by Thomas Pedersen
9/ Pato/Mesa by Welling/Ludvik
10/Dekka daybed by FurnId
11/Pato/Mesa by Welling/Ludvik
12/Pato by Welling/Ludvik
13/Sofa 2214 by Børge Mogensen
14/Sofa 2209 by Børge Mogensen
15/Spine collection by Space Copenhagen
16/J39 and table 6284 by Børge Mogensen
123
11
12
13
14
16
15
1
2
3
5
124
4
6
7
8
10
9
12
125
11
1/ Nara chair by Shin Azumi
2/ Funk by Tom Stepp, The Haugesen Table
by Niels Jørgen Haugesen
3/ Mesa by Welling/Ludvik
Mundo by Susanne Grønlund
4/ Side table by Søren Holst
5/ Nanna Bench by Nanna Ditzel
(Billund Airport)
6/ Sofa 2332/2333 by Børge Mogensen
7/ J16 by Hans J. Wegner
13
14
15
8/ Nanna Lounge by Nanna Ditzel
9/ Easy chair 2461 by Søren Holst
10/ Haiku by GamFratesi
11/ Pato by Welling/Ludvik
Easy by Susanne Grønlund
12/ Sofa 2192 by Børge Mogensen
13/ Mundo Conference by Susanne Grønlund
14/ Mundo Lounge by Susanne Grønlund
15/ Sofa 2452 and 2453 by Søren Holst
Børge mogensen
cecilie manz
P. 128-130, 142-143
P. 140, 149
Hans J. wegner
per borre
P. 130, 143
P. 140, 149
nanna ditzel
tom stepp
P. 131-132, 143-145
P. 140-141, 149-150
søren holst
hans sandgren
jakobsen
P. 132-133, 145
P. 141, 150
space copenhagen
P. 133, 145
niels jørgen
haugesen
welling/ludviK
P. 141, 150
P. 134-135, 145-146
Gamfratesi
P. 135, 146
roland graf
P. 136, 146
susanne grønlund
P. 136-137, 147-148
thomas pedersen
P. 138-139, 148
furnid
P. 139, 148
alfredo HÄBERLI
P. 139, 148
shin azumi
P. 139-140, 149
127
INDEX &
technical
INFO
Børge Mogensen
2207
2192 Coupé sofa
2209
2202
2212
2204
2213
128
1789 Spokeback Sofa
2333
2226 The Spanish Chair
2334
2229 The Hunting Chair
2335
2332
J49
129
2214
130
Børge Mogensen
3171
6286 Shaker Table
3236
6290 C18 table
Hans j. wegner
J39
J16
5267 coffee table
J16
2600 Bench For Two
2660 Nanna
2649 Nanna Lounge
3296 Trinidad
2650 Nanna
3298 Trinidad
2659 Nanna Lounge
3287 Trinidad
131
Nanna ditzel
Nanna Ditzel
3299 Trinidad
8312 Tobago
132
Søren holst
3300 Trinidad barstool
2451
3301 Trinidad barstool
2453
3530 Nanna Bench
2461
5392
1730 Spine barstool
133
space copenhagen
1710 Spine Lounge chair
1740 Spine side table
1712 Spine Louge sofa
1750 Spine coffee table
1720 Spine chair
1760 Spine dining table
134
welling/ludvik
4000 Pato
4100 Pato
4002 Pato
4102 Pato
4210 Pato
4200 Pato
4012 Pato
4202 Pato
4612 Mesa
4212 Pato
4630 Mesa
gamfratesi
4300 Pato barstool
1632 Haiku
4302 Pato barstool
1633 Haiku
135
4210 Pato
Roland Graf
4800 Slim Jim table
1038 Mundo Conference
136
Susanne grønlund
1032 Mundo Lounge
1040 Mundo
1034 Mundo Lounge
1044 Mundo
1036 Mundo Lounge
1046 Mundo
1305 Easy
1050 Mundo barstool
1352 Easy Conference
1054 Mundo barstool
1384 Easy
1056 Mundo barstool
1388 Easy
137
1048 Mundo barstool
138
thomas pedersen
1200 Icicle
1250 Icicle
1210 Icicle
3500 Stingray
1220 Icicle
3500 Stingray
1230 Icicle
3510 Stingray
3520 Stingray
7412 Melt
3525 Stingray
Seracs
furnid
Shin azumi
1150 Dekka daybed
1810 Nara chair
7411 Melt
1820 Nara chair
139
alfredo häberli
shin azumi
1830 Nara barstool
1111 Astral bench
140
Tom stepp
1880 Nara coat stand
15100 Prime Time
cecilie manz
1213 Micado side table
15500 Funk
per borre
1110 Astral bench
15540 Funk
niels jørgen haugesen
15600 Funk
15640 Funk
hans sandgren jakobsen
1610 Gallery
4750 The Haugesen Table
141
15556 Funk
Børge
Mogensen
Stool
2 seat sofa
The hunting chair
Model 2202
Model 2212
Model 2229
The
spokeback sofa
W: 58 cm
D: 58 cm
H: 43 cm
Wt: 9 kg
Cbm: 0,2 m3
L: 158 cm
D: 81 cm
H: 80 cm
Sh: 43 cm
Wt: 53 kg,
Cbm: 1,18 m3
W: 70,5 cm
D: 87 cm
H: 67 cm
Sh: 28 cm
Wt: 9 kg
Cbm: 0,45 m3
3 seat sofa
2 seat sofa
Model 1789
L: 160/197 cm
D: 76,5 cm
H: 86 cm
Sh: 40 cm
Wt: 33 kg
Cbm: 1,18 m3
The coupé sofa
142
Model 2192
L: 154 cm
D: 89 cm
H: 106 cm
Sh: 42cm,
Wt: 65 kg
Cbm: 1,8 m3
Model 2193
L: 216 cm
D: 89 cm
H: 106 cm
Sh: 42 cm
Wt: 80 kg
Cbm: 2,62 m3
Model 2194
L: 308 cm
D: 89 cm
H: 106 cm
Sh: 42 cm
Wt: 130 kg
Cbm: 3,87 m3
Easy Chair
Model 2204
W: 69 cm
D: 88 cm
H: 106 cm
Sh: 43 cm
Wt: 29 kg
Cbm: 0,8 m3
Armchair
Model 2207
Model 2213
Model 2332
L: 221 cm
D: 81 cm
H: 80 cm
Sh: 43 cm
Wt: 73 kg,
Cbm: 1,66 m3
L: 148 cm
D: 78 cm
H: 78 cm
Sh: 43 cm
Wt: 48 kg,
Cbm: 1,09 m3
2 seat sofa
3 seat sofa
Model 2214
W: 69,5 cm
D: 82 cm
H: 84 cm
Sh: 43cm
Wt: 24 kg
Cbm: 0,53 m3
2-seater sofa
L: 152 cm
D: 77,5 cm
H: 80 cm,
Sh: 40 cm
Wt: 35 kg
Cbm: 1,13 m3
L: 207 cm
D: 78 cm
H: 78 cm
Sh: 43 cm
Wt: 68 kg
Cbm: 1,53 m3
The spanish chair
armchair
Model 2208
L: 128 cm
D: 82 cm
H: 84 cm
Sh: 43 cm
Wt: 37 kg,
Cbm: 0,97 m3
3-seater sofa
Model 2209
L: 186 cm
D: 82 cm
H: 84 cm
Sh: 42 cm
Wt: 45 kg
Cbm: 1,4 m3
Model 2333
Model 2226
Model 2334
W: 82,5 cm
D: 60 cm
H: 67 cm
Sh: 33 cm
Wt: 12 kg
Cbm: 0,41 m3
W: 85 cm
D: 78 cm
H: 78 cm
Sh: 43 cm
Wt: 34 kg
Cbm: 0,63 m3
j 39 chair
Model 2335
Model 3239
the shaker
dining table
Model 6289
J16 rocking chair
L: 180 cm
D: 78 cm
H: 78 cm
Sh: 43 cm
Wt: 60 kg,
Cbm: 1,41 m3
W: 48 cm
D: 43 cm
H: 77 cm
Sh: 44,5/46 cm
Wt: 4,5 kg
Cbm: 0,26 m3 (2pcs.)
L: 150 cm
W: 97,5 cm
H: 71 cm
Wt: 40 kg
Cbm: 0,16 m3
J49 chair
coffee table
Model 3049
Model 5267
c18 dining table
W: 46,5 cm
D: 47,7 cm
H: 83 cm
Sh: 44,5 cm
Wt: 5 kg
Cbm: 0,3 m3 (2 pcs)
L: 150 cm
W: 75 cm
H: 54 cm
Wt: 28 kg
Cbm: 0,12 m³
L: 180 cm
W: 90 cm
H: 71 cm,
Wt: 35 kg
Cbm: 0,18 m3
dining table
c18 dining table
bench
Model 3171
L: 170 cm
W: 48 cm,
H: 76 cm
Sh: 43 cm
Wt: 21 kg
Cbm: 0,82 m3
chair
Model 6284
L: 180 cm
W: 90 cm
H: 70 cm
Cbm: 0,18 m³
the shaker
dining table
Model 6286
Model 16000
Model 6290
Model 6291
L: 140 cm
W: 90 cm
H: 71 cm
Wt: 40 kg
Cbm: 0,14 m3
L: 195 cm
W: 97,5 cm
H: 71 cm
Wt: 56 kg
Cbm: 0,2 m3
W: 63 cm
D: 93 cm
H: 107 cm
Sh: 42 cm
Wt: 11 kg
Cbm: 0,58 m3
Stool
Model 16002
W: 52 cm
D: 40 cm
H: 45 cm
Wt: 4,8 kg
Cbm: 0,1 m3
Nanna
DITZEL
Bench for two
Model 2600
c18 dining table
Model 6292
Model 3236
W: 50 cm
D: 47 cm
H: 74 cm
Sh: 43 cm
Wt: 6 kg
Cbm: 0,28 m3 (2 pcs.)
Hans J.
Wegner
L: 160 cm
W: 80 cm
H: 71 cm
Wt: 35 kg
Cbm: 0,15 m3
L: 150 cm
D: 70 cm
H: 98 cm
Sh: 40 cm
Wt: 20 kg
Cbm: 1.32 m3
Table
Model 2601
Ø ¼ R 64 cm
H: 40 cm
Wt: 5 kg
Cbm: 0,21 m3
143
2½ seat sofa
Lounge Chair
Easy chair
Model 2649
Model 2660
W: 76 cm
D: 65 cm
H: 82 cm
Sh: 41,5 cm
Wt: 10 kg
Cbm: 0,46 m3
W: 95 cm
D: 78 cm
H: 96 cm
Sh: 40 cm
Wt: 13 kg
Cbm: 0,78 m3
Easy chair
Model 2650
W: 95 cm
D: 78 cm
H: 96 cm
Sh: 40 cm
Wt: 13 kg
Cbm: 0,78 m3
144
Footstool
Footstool
Model 2661
W: 54 cm
D: 50 cm
H: 41cm
Wt: 8 kg
Cbm: 0,13 m3
Trinidad
Model 3296
Model 3299
Model 3440
W: 61 cm
D: 57 cm
H: 83 cm
Sh: 44 cm
Wt: 5 kg
Cbm: 0,46 m3 (2 pcs.)
L: 313 cm
D: 65 cm
H: 81 cm
Sh: 43 cm
Wt: 50 kg
Cbm: 1,97 m3
Trinidad
Model 3300
W: 45 cm
D: 50 cm
H: 112 cm
Sh: 75,5 cm
Wt: 5 kg
Cbm: 0,34 m3
Lounge chair
W: 48,5 cm
D: 57 cm
H: 83 cm
Sh: 45 cm
Wt: 4,5 kg
Cbm: 0,4 m3 (4 pcs.)
W: 45 cm
D: 50 cm
H: 112 cm
Sh: 77,5 cm
Wt: 5,5 kg
Cbm: 0,34 m3
Nanna bench
Model 3297
Model 3530
W: 61 cm
D: 57 cm
H: 83 cm
Sh: 45 cm
Wt: 6 kg
Cbm: 0,46 m3 (2 pcs.)
Model 3298
L: 234 cm
D: 65 cm
H: 81 cm
Sh: 43cm
Wt: 40 kg
Cbm: 1,48 m3
Model 2659
W: 76 cm
D: 65 cm
H: 80,5 cm
Sh: 41,5 cm
Wt: 10 kg
Cbm: 0,46 m3
W: 47,5 cm
D: 57 cm
H: 83 cm
Sh: 44 cm
Wt: 4 kg
Cbm: 0,4 m3 (4 pcs.)
Model 8006
Ø: 60 cm
H: 71,5 cm
Cbm: 0,17 m3
Model 8007
Model 3301
Model 2651
W: 54 cm
D: 50 cm
H: 41 cm
Wt: 8 kg
Cbm: 0,13 m3
Tobago
Ø: 75 cm
H: 71,5 cm
Cbm: 0,18 m3
Model 8008
Ø: 110 cm
H: 71,5 cm
Cbm: 0,38 m3
Model 8311
L: 150/260 cm
W: 110 cm
H: 72 cm
Weight: 67,5 kg
Cbm: 0,28 m3
Tobago
Footstol
Spine Lounge sofa
Model 8312
Model 2460/2560
Model 1712
Spine
dining table
Model 1760
søren
HOLST
B: 63 cm
D: 40 cm
H: 41 cm
Wt: 6 kg,
Cbm: 0,13 m3
Chair
Model 2461/2561
B: 76 cm
D: 77 cm
H: 78 cm
Sh: 41 cm
Wt: 20 kg
Cbm: 0,38 m3
B: 76 cm
D: 81/92 cm
H: 97/194 cm
Sh: 41 cm
Wt: 22 kg
Cbm: 0,38 m3
Table
Model 5392
L: 133 cm
D: 77 cm
H: 78 cm
Sh: 41 cm
Wt: 30 kg
Cbm: 0,67 m3
Sofa
Model 2453/2553
L: 190 cm
D: 77 cm
H: 78 cm
Sh: 41 cm
Wt: 45 kg
Cbm: 0,96 m3
W: 46,5 cm
D: 58 cm,
H: 76 cm
Sh: 46,5 cm
Wt: 8 kg,
Cbm: 0,3 m³
Spine bar stool
Model 1730
Sofa
Model 2452/2552
Spine Chair
Model 1720
Chair
Model 2451/2551
L: 160 cm
D: 81 cm
H: 71 cm
Sh: 41 cm
Wt: 45 kg,
Cbm: 1,14 m³
L: 80/156 cm
W: 76 cm
H: 54 cm
Wt: 26 kg
Cbm: 0,09 m³
SPACE
COPENHAGEN
Spine lounge chair
L: 210 cm
W: 110 cm
H: 72,5 cm
Wt: 62 kg
Cbm: 0,48 m3
Welling/
LUDVIK
Pato
Model 4000
W: 45 cm
D: 50 cm
H: 79 cm
Sh: 46,5 cm
Cbm: 0,33 m³
Model 4002
W: 45 cm
D: 51 cm
H: 104 cm
Sh: 75 cm
Wt: 10,2 kg
Cbm: 0,34 m³
Spine side table
Model 1740
W: 46 cm
D: 50 cm
H: 79,5 cm
Sh: 46,5 cm
Cbm: 0,33 m³
Model 4010
Model 1710
W: 80 cm
D: 81 cm
H: 71 cm
Sh: 41 cm
Wt: 25 kg
Cbm: 0,56 m³
L: 60 cm
W: 60 cm
H: 45 cm
Wt: 20 kg
Cbm: 0,19 m³
Spine Coffee table
Model 1750
L: 120 cm
W: 60 cm
H: 45 cm
Wt: 35 kg
Cbm: 0,38 m³
W: 57 cm
D: 50 cm
H: 79 cm
Sh: 46,5 cm
Cbm: 0,4 m³
145
L: 180/290 cm
W: 120 cm
H: 72 cm
Wt: 70 kg
Cbm: 0,28 m3
Model 4012
Model 4210
Model 4619
W: 57 cm
D: 50 cm
H: 79,5 cm
Sh: 46,5 cm
Cbm: 0,4 m3
W: 57 cm
D: 52 cm
H: 79 cm
Sh: 46,5 cm
Wt: 5,9 kg
Cbm: 0,56 m3 (4 stk.)
L: 180 cm
W: 90 cm
H: 73 cm
Cbm: 0,31 m3
Model 4100
Gamfratesi
1000
H: 104 cm
D: 92 cm
L: 156 cm
Sh: 44,5 cm
Wt: 56 kg
Cbm: 2,03 m3
Model 1633
1000
Model 4212
Model 1632
1500
870
Model 4620
870
Haiku
Pato chair
2200
Model 4300
L: 200 cm
W: 120 cm
H: 73 cm
Cbm: 0,45 m3
Model 4102
146
Model 4622
W: 57 cm,
D: 51,5 cm
H: 79,5 cm
Sh: 47,5 cm
Wt: 7 kg
Cbm: 0,44 m3 (4 pcs.)
W: 45 cm
D: 50 cm
H: 97 / 109 cm
Sh: 66 / 77 cm
Wt.: 7,2 / 7,5 kg
Cbm: 0,4 m3
Model 4200
Model 4302
Model 4630
L: 300 cm
W: 120 cm
H: 73 cm
Cbm: 0,69 m3
Model 4636
W: 55 cm
D: 52 cm
H: 79 cm
Sh: 46,5 cm
Wt : 5,4 kg
Cbm: 0,44 m3 (4 pcs.)
Model 4202
W: 46 cm
D: 50 cm
H: 98 / 110 cm
Sh: 67 / 78 cm
Wt. : 7,8 / 8,1 kg
Cbm: 0,4 m3
L: 360cm
W: 120 cm
H: 73 cm
Cbm: 0,82 m3
H: 104 cm
D: 92 cm
L: 228 cm
Sh: 44,5 cm
Wt: 81 kg
Cbm: 2,9 m3
Roland
GRAF
Slim JIm
Model 4800
L: 175/188 cm
W: 85/92 cm
H: 73 cm
Wt: 44 kg
Cbm: 0,24 m3
Model 4801
Mesa table
Model 4612
W: 55 cm
D: 52,5 cm
H: 80 cm
Sh: 47,5 cm
Wt : 6,1 kg
Cbm: 0,48 m3 (4 stk.)
1500
870
W: 57 cm
D: 52,5 cm
H: 79,5 cm
Sh: 47,5 cm
Wt: 6,6 kg
1000
W: 57 cm
D: 51 cm
H: 79 cm
Sh: 46,5 cm
Wt: 6,2 kg
Cbm: 0,44 m3 (4 pcs.)
1000
870
2200
L: 200 cm
W: 100 cm
H: 73 cm
Cbm: 0,38 m3
L: 120 cm
W: 120 cm
H: 73 cm
Cbm: 0,28 m3
L: 160/167 cm
W: 75/82 cm
H: 73 cm
Wt: 38 kg
Cbm: 0,16 m3
Mundo Lounge
Model 1032
W: 78 cm
D: 65,5 cm
H: 78 cm
Sh: 45 cm
Wt: 12,5 kg
Cbm: 0,53 m³
Model 1034
W: 78 cm
D: 65,5 cm
H: 79 cm
Sh: 47 cm
Wt: 11 kg
Cbm: 0,53 m³
Model 1036
W: 78 cm
D: 65,5 cm
H: 79 cm
Sh: 47 cm
Wt: 10 kg
Cbm: 0,54 m³
Mundo
Conference
Model 1038
Mundo chair
W: 57 cm
D: 53 cm
H: 75 cm,
Sh: 45,5 cm
Wt: 4,3 kg
cbm: 0,33 m3 (3 pcs.)
Easy table
Model 1305
W: 49 cm
D: 46 cm
H: 87/110,5 cm
Sh: 65/88,5 cm
Cbm: 0,34 m3
Model 1050
Ø: 150 cm
H: 72,5 cm
Wt: 40 kg
Cbm: 0,34 m3
Model 1353
Model 1044
W: 57 cm
D: 53 cm
H: 75 cm
Sh: 46cm
Wt: 6 kg,
cbm: 0,33 m3 (3 pcs.)
Model 1046
W: 57 cm
D: 53 cm
H: 75 cm
Sh: 46 cm
cbm: 0,33 m3
Model 1047
W: 50 cm
D: 45 cm
H: 83/109 cm
Sh: 61/87 cm
Wt.: 10 kg
Cbm: 0,26 m3
L: 125 cm
W: 50 cm
H: 72,5 cm
Wt: 16 kg
Cbm: 0,09 m3
Model 1362
Model 1054
W: 50 cm
D: 45 cm
H: 83/109 cm
Sh: 63/89 cm
Wt.: 11 kg
Cbm: 0,26 m
L: 125 cm
W: 60 cm
H: 72,5 cm
Wt: 24 kg
Cbm: 0,08 m3
Model 1374
Model 1056
W: 58 cm
D: 50,5 cm
H: 75,5 cm
Sh: 47 cm
cbm: 0,33 m3
Mundo Bar stool
W: 78 cm
D: 62 cm
H: 86 cm
Sh: 47 cm,
Wt: 12 kg
cbm: 0,53 m3
Model 1049
Model 1040
Model 1048
W: 50 cm
D: 45 cm
H: 109 cm
Sh: 89 cm
Wt.: 5 kg
Cbm: 0,34 m3
L: 140 cm
W: 70 cm
H: 72,5 cm
Wt: 29 kg
Cbm: 0,11 m3
Model 1383
Model 1058
W: 49 cm
D: 46 cm
H: 87/110,5 cm
Sh: 65/88,5 cm,
Cbm: 0,34 m3
W: 50 cm
D: 45 cm
H: 109 cm
Sh: 90 cm
Wt.: 5,5 kg
Cbm: 0,34 m3
L: 125 cm
W: 80 cm
H: 72,5 cm
Wt: 27 kg
Cbm: 0,1 m3
147
Susanne
Grønlund
Melt_Kvadrat_158x158
Model 1384
Model 3510
Model 1210
Model 7412
Melt_Kvadrat_158x158
L: 140 cm
W: 80 cm
H: 72,5 cm
Wt: 30 kg
Cbm: 0,11 m3
W: 120 cm
D: 114 cm
H: 83,5 cm
Sh: 34 cm
Wt: 21 kg
Cbm: 1,1 m3
L: 70 cm
B: 70 cm
H: 43/54 cm
Wt: 6,5 kg
Cbm: 0,06 m3
L: 120 cm
W: 120 cm
H: 74,5 cm
Cbm: 0,18 m3
Melt_Rektangle_130x238
Model 7414
Model 1220
Melt_Rektangle_130x238
Model 3520
Model 1386
L: 160 cm
W: 80 cm
H: 72,5 cm
Wt: 32 kg
Cbm: 0,13 m3
148
Model 1388
L: 180 cm
W: 80 cm
H: 72,5 cm
Wt: 35 kg
Cbm: 0,15 m3
Model 1398
L: 138 cm
W: 65 cm
H: 100 cm
Wt: 14 kg
Cbm: 1,33 m3
Thomas
pedersen
icicle
Ø: 50 cm
H: 43/54 cm
Wt: 3,4 kg
Cbm: 0,03 m3
Model 1230
Melt_Elipse_130x238
Model 7416
Melt_Elipse_130x238
L: 238 cm
W: 130 cm
H: 74,5 cm
Cbm: 0,24 m3
Model 3525
Alfredo
HÄBERLI
W: 122 cm
D: 114cm
H: 86 cm
Sh: 34 cm
Wt: 25 kg
Cbm: 1,1 m
Model 1240
L: 127 cm
B: 90 cm
H: 43/49 cm
Wt: 14 kg
Cbm: 0,13 m3
Seracs
Model 4510
Furnid
Dekka day bed
Model 1150
Model 1250
L: 150 cm
B: 58 cm
H: 43/49 cm
Wt: 13 kg,
Cbm: 0,1 m3
L: 200 cm
D: 90 cm
H: 29,5 cm
Sh: 29,5 cm
Wt: 56 kg
Cbm: 0,94 m3
Stingray
Model 3500
Melt
Model 1200
Model 7411
Melt_Udtræk_110x180
L: 180/290 cm
W: 110 cm
H: 74,5 cm
Cbm: 0,24 m3
W: 12 cm
D: 90 cm
H: 70 cm
Sh: 37cm
Cbm: 0,12 m3
Model 4520
W: 25 cm
D: 90 cm
H: 70 cm
Sh: 37 cm
Cbm: 0,21 m3
Melt_Udtræk_110x180
Melt_Udtræk_110x180
Ø: 90 cm,
H: 43/49 cm
Wt: 10 kg
Cbm: 0,1 m3
L: 238 cm
W: 130 cm
H: 74,5 cm
Cbm: 0,24 m3
W: 122 cm
D: 114 cm
H: 86 cm
Sh: 34 cm
Wt: 24 kg
Cbm: 1,1 m3
L: 84 cm
B: 63 cm
H: 43/54 cm
Wt: 5,7 kg
Cbm: 0,07 m3
W: 120 cm
D: 114 cm
H: 83,5 cm
Sh: 34 cm
Wt: 17 kg
Cbm: 1,1 m3
Melt_Rektangle_130x238
Melt_Elipse_130x238
Model 1830
W: 25 cm
D: 90 cm
H: 70 cm
Sh: 37cm
Cbm: 0,21 m3
Model 4540
W: 44,5 cm
D: 44,5 cm
H: 98,5 cm
Sh: 67 cm
Wt: 6 kg
Cbm: 0,3 m3
Model 1832
W: 85 cm
D: 90 cm
H: 70 cm
Sh: 37 cm
Cbm: 0,64 m3
Model 4550
Shin
AZUMI
W: 48 cm
D: 51 cm
H: 83,5 cm
Sh: 44 cm
Wt: 5 kg
Cbm: 0,22 m3
Model 1820
W: 48 cm
D: 51 cm
H: 83,5 cm
Sh: 45 cm,
Wt: 5 kg
Cbm: 0,22 m3
Micado
Prime time
easy chair
Model 15100
Ø: 60 cm
H: 49 cm
Wt: 3,8 kg
Cbm: 0,03 m3
W: 45 cm
D: 45 cm
H: 99 cm
Sh: 68 cm
Wt: 6 kg
Cbm: 0,3 m3
per
Borre
Astral bench
W: 44,6 cm
D: 47 cm
H: 108 cm
Sh: 77 cm
Wt: 6 kg,
Cbm: 0,3 m3
Model 1842
L: 266 cm
D: 70 cm
H: 83 cm
Sh: 42 cm
Wt: 120 kg
Cbm: 1.82 m3
Model 1111
W: 45 cm
D: 47 cm
H: 108 cm
Sh: 78 cm
Wt: 6 kg
Cbm: 0,3 m3
Model 1880
H: 180 cm
W: 32 cm
D: 42 cm
Wt:10 kg
Cbm: 0,273
W: 95 cm
D: 94 cm
H: 96 cm
Sh: 43 cm
Wt: 35 kg
Cbm: 0,93 m3
Prime time
stool
Model 15102
Model 1110
the
nara SERIES
Model 1810
Tom
Stepp
Model 1213
Model 1840
W: 60 cm
D: 90 cm
H: 70 cm
Sh: 37 cm
Cbm: 0,46 m3
cecilie
manz
1:200
½ Ø: 450 cm
D: 225 cm
H: 81 cm
Wt: 187 kg
Cbm: 8,58 m3
W: 70 cm
D: 60 cm
H: 47 cm
Sh: 43 cm
Wt: 9 kg
Cbm: 0,19 m3
Funk
Model 15500
W: 50 cm
D: 55 cm
H: 84 cm
Sh: 45 cm
Wt: 5,4 kg
Cbm: 0,4 m³ (4 pcs.)
Model 15516
W: 51 cm
D: 55 cm
H: 84 cm
Sh: 45 cm
Wt: 6,4 kg
Cbm: 0,39 m³ (3 pcs.)
149
Model 4530
150
Model 15520
Model 15616
W: 50 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt: 6 kg
Cbm: 0,39 m³ (3 pcs.)
B: 55,5/60 cm
W: 55 cm
H: 84 cm
Sh: 45cm
Wt: 6,4 kg
Cbm: 0,39 m³ (3 pcs.)
Model 15536
Model 15620
W: 51 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt: 7 kg
Cbm: 0,39 m³ (3 pcs.)
W: 53,5/60 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt: 6,4 kg
Cbm: 0,39 m³ (3 pcs.)
Model 15540
Model 15636
W: 50 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt: 6 kg
Cbm: 0,39 m³ (3 pcs.)
W: 55,5/60 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
W: 6,4 kg
Cbm: 0,49 m³ (3 pcs.)
Model 15556
Model 15640
W: 51 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt: 7 kg
Cbm: 0,39 m³ (3 pcs.)
W: 53,5/60 cm
D: 55 cm
H: 84 cm
Sh: 45 cm
Wt: 5,4 kg
Cbm: 0,39 m³ (3 pcs.)
Model 15600
Model 15656
B: 53,6/60 cm
W: 55 cm
H: 84 cm
Sh: 45cm
Wt : 5,4 kg
Cbm: 0,40 m³ (4 pcs.).
W: 55,5/60 cm
D: 55 cm
H: 84 cm
Sh: 46 cm
Wt : 6,4 kg
Cbm: 0,39 m³ (3 pcs.)
Hans sandgren
jakobsen
Gallery
Model 1610
W: 52 cm
D: 36 cm
H: 48 cm
Sh: 42,5 cm
Wt: 4 kg
Cbm: 0,12 m3
niels jørgen
haugesen
the haugesen
table
Model 4750
L: 186/305 cm
W: 92 cm
H: 72 cm
Wt: 52 kg
Cbm: 0,2 m3
151
152
© Fredericia Furniture 2013
Interviews by Anders Krag
Main photography by Neel Munthe-Brun
Design by Rethink Copenhagen
5
Showroom & Store: Frederiksborggade 22, DK-1360 Copenhagen K, Tel +45 3312 4644
More info: Fredericia Furniture A/S, Treldevej 183, DK-7000 Fredericia, TeL +45 7592 3344
www.fredericia.com