01

GestureChair
Gesture Chair
Designed
Designed byby Hans
Hans Olsen,
Olsen, 1957
1957
Prices
Prices fromfrom
DKKDKK 2.995,-
2.995,-

A welcoming
A welcoming design
design
Gesture
Gesture Chair
Chair is available
is available in aninabundance
an abundance of stunning
of stunning colours
colours and and comes
comes
withwith upholstery
upholstery on seat
on seat and and back,
back, upholstery
upholstery on seat;
on the the seat;
or inorpure
in pure wood.
wood.
Choose
Choose between
between oiledoiled
oak,oak,
teakteak
oiledoiled
oak oak or black
or black lacquered
lacquered beach.
beach.
warmnordic.com
Have nothing in
your house that
you do not know
to be useful,
or believe to be
beautiful.
William Morris
CON
ENTS
10 WHAT GOES AROUND
COMES AROUND
14 TREATS
18 NOTES FROM NATURE
20 GALLERY INSPIRED
22 THE PAUSTIAN STORE INDEX
26 SOFT TONES
28 VIBRANCE
30 LIVING WITH LEGENDS
A LOVE STORY
34 SOMETIMES THINGS
ARE BEST KEPT
CLEAN AND SIMPLE
36 GRAPHIC
38 CHAOSING THE ORGANIZED
46 ICONS
60 MEET THE PARENTS
66 SOFT
68 TAKE A SEAT
70 AT THE TABLE
74 A NEW SHADE OF NORDIC
76 ZEN
78 SHORT STORIES
82 ART MEETS ARCHITECTURE
88 ENSEMBLE
90 RELAX
94 PLAYING WITH SHADOWS
96 LET THERE BE LIGHT
 t g o es
h a a
W

rou co
nd
nd

m
es arou
The world needs a new mindset around design
10

- now more than ever…

Every day humanity is writing cheques that our planet can’t cash. Natural
resources are being used beyond repair and, as it is, we’re showing little
signs of easing the pressure. One of the biggest pitfalls is our unsustainable
consumer’s paradise. It’s high time we slam the brakes and reconsider the
state of the planet we’re going to leave behind for future generations.

It’s inarguably a bold statement when you make a living off of selling material
goods, but in the grand scheme of things it’s not about right or wrong, but
rather do’s and dont’s. It’s about finding balance and taking part actively.
In our terminology, it’s handing down a chair when you buy a new one,
funding your next dinner table by selling the old one. Buy less but better
with the sentiment that whatever goes around comes around, or never goes
out of style in the first place. The same values apply for the principles of
good design; never defined by passing trends or tendencies, but always
considerate, both in form, function and environment.

Ideals we’re not only preaching but practice. Our small empire is built on
sustainable sourcing, time-tested design and long-lasting relationships with
people and brands we admire, and who share our outlook on things. Not only
because we feel that it is our duty, but because it’s simply the very backbone
of what we do.

This first bi-annual issue of Paustian Magazine that you’re about to embark
upon is a tangible extension of the above; a display of pioneer-ship told
through resounding voices of the past, present and future, and a platform for
engagement and a source of inspiration for the game changers of tomorrow.

Wishing you all the greatest things in life!

Frantz Longhi
CEO, Paustian
T H E O T H E R C O N V E R S AT I O N

SCIGHERA SOFA DESIGNED BY PIERO LISSONI.

Photographed at Atelier Rosa by Hermann Rosa, Germany
discover more at cassina.com
 Cover

Photography
Nicolaj Didriksen

Styling
Johanna Christensen

Model
ILETHIA SHARP, Scoop Models

Make-up & Hair

Stine Rasmussen, Scoop Artists
12

Chair Fauteuil de Salon by Jean Prouvé, 1939

VITRA DKK 25.800
Dress COS

Publisher
Paustian A/S

Editor
Johanna Christensen

Art Director / Graphics

Johanna Christensen

Contributing Writer
Daniel Alexander Fuglsang Østergaard

Proofreader
Laura Chabal

Photographers
Nicolaj Didriksen
Anders Sune Berg
Andy Price
Christian Friis
Johanna Christensen
Mishael Phillip

Styling / Art Direction

Johanna Christensen

Printed by
CS Grafisk A/S
Over Hadstenvej 84-86
DK-8370 Hadsten

All Rights Reserved

Reproduction without written permission from
the publisher is strictly prohibited.

For inquiries please contact

Johanna Christensen jbc@paustian.dk

All products and prices are subject to availability

and price errors, including, but not limited to
typographical errors.
 Make moments,
give it history
– let it become
vintage.

ABOUT
VINTAGE
A CLASSIC DANISH ADVENTURE
A minimalistic Scandinavian approach, high quality and unique
details are the hallmarks of the popular wristwatches from
About Vintage. Since the Danish watch brand entered the
14

market in 2015, it has not only taken Denmark by storm, but

also the world.
The popular watch brand was founded by childhood friends Sebastian Skov and Thomas Andersen.
Their great passion for wristwatches and the desire to design timepieces of excellent craftmanship
and classic design are the cornerstones of About Vintage. The vision of creating the alternative to
CASSINA MAESTRI

the watch in the safety box – has proven to be very successful. About Vintage not only seeks to tell
a story but to design timepieces where the customers themselves create the history.
COLLECTION

LC 4, Chaise-longue by Le Corbusier, Pierre Jeanneret,

Charlotte Perriand, 1928 CASSINA DKK 41.710

Cassina has been designing the future of interiors for 90 years. Founded by
Cesare and Umberto Cassina in Meda in 1927, the company launched industrial
design in Italy during the 50’s by taking an entirely new approach which saw a
shift from handcraftsmanship to serial production.
The company was pioneering in research and innovation, years, this collection has brought together some of the most
combining technological skill with traditional craftsmanship. iconic furniture by the greatest 20th Century architects of
For the first time, important architects and designers were modern classics with the aim of disseminating their cultural
involved and encouraged to envision new designs to be values. Faithful to its history, Cassina continues to build up
transformed into projects, a characteristic that still distinguishes a collection open to more contributions and different design
the company from others. In 1964 the Cassina I Maestri languages. Creating harmonious settings that bring together the
Collection began with the acquisition of the exclusive worldwide best of contemporary design. Representing new ways of living,
rights to serially produce four models designed by Le Corbusier, giving space to research into products that are not merely new
Pierre Jeanneret and Charlotte Perriand. Over the following but also innovative in their use.
Flagship Stores . COPENHAGEN . COPENHAGEN AIRPORT . PARIS . SINGAPORE . STOCKHOLM . SYDNEY
FOR STORE LOCATOR, VISIT www . O L E L Y N G G A A R D . com
 “Beauty is
the harmony
of purpose
and form”
UPCYCLE
- Alvar Aalto, 1928
RECYCLE
For the love of plastic
Ecopixel is a new method for recycling plastics, it is
composed of 100% Low-Density Poly Ethylene (LDPE)
that melts at 120°C and can, therefore, be re-melted an
infinite number of times without altering its properties.
Because of this low melting-point the ecological impact
during its transformation is inferior to many other
plastics. As it melts in different shapes and colours,
not mixing the pigments of the “raw” waste-material,
it shows an easily recognisable pixelated appearance.
ECOPIXEL is 100% made in Italy.
16

Every DELTA stool is a unique

piece because the pixels
melt together randomly in the
production process. There are no
standard colours, the tonalities
depend on the shades of recycled
material that are available in the
factory.
Delta Stool ECOPIXEL DKK 1.199

HOW BIG IS Kiki Sofa by Ilmari Tapiovaara, 1960

ARTEK From DKK 20.320

SMALL?
Compact Living with Artek

Forget about the old-fashioned mansions. The new buzz is
eco-friendly compact living. That doesn’t mean you need to
let go of the quality, quite the opposite.
Compact living is a concern that was close to the hearts of Artek
founders Aino and Alvar Aalto since the beginning. As cities are
growing denser and space is becoming scarcer, the topic gains
relevance again today. Since the 1930s, Artek has provided clever
solutions for compact spaces that are suited to the current moment.
Intelligent and versatile, classic and contemporary designs serve
multiple purposes and take on diverse roles. A Kaari Wall Shelf
doubles as a desk; a Stool 60 is both side table and display. Flexible,
multipurpose, and highly functional, Artek solutions provide maximum
efficiency in minimum space.
While scaling down may be a necessity, it can also be a lifestyle
choice. At Salone del Mobile 2018 in a display of less than 10 m²
Artek showcased the transversal functionality and small footprint of
both classic and contemporary products, demonstrating that even
spaces of limited proportions can be beautifully and intelligently
furnished to serve different needs.
 3

MIRROR MIRROR 180,

A FAMILY MEMBER TO
THE AWARD WINNING
MIRROR MIRROR 90
SERIES, DESIGNED BY
MARIA BRUUN IN 2014.

The mirrors are made

of high-gloss polished
4
stainless steel and the
massive steam bent oak
frame is still the leading
element in the simple
and precise design.

5
18

9
NOTES
FROM
NATURE
1. Akari 16A VITRA DKK 5.290
2. Mirror Mirror 180 PAUSTIAN FURNITURE
COLLECTION DKK 4.875
3. Sutoa FRAMA DKK 38.700
4. GMG Chaise Longue GUBI Available February/March
10
5. Heia Scented Candle SKANDINAVISK DKK 499
6. M/S Escape MISMO DKK 3.470
7. Cape Sofa WARM NORDIC DKK 18.995
8. Luxury Plaid Mocca ELVANG DKK 1.599 11
9. Marble Circles KRISTINA DAM DKK 2.900
10. TriAngle KARAKTER CPH DKK 6.495
11. Dog Bag City Carrier Heather Brown CLOUD7 DKK 2.095
skandinavisk.com
 2

GALLERY
1
3

inspired THE ARCHITECT FRANK

GEHRY IS KNOWN FOR
HIS USE OF UNUSUAL
MATERIALS. HE SUCCEEDED
IN BRINGING A NEW
AESTHETIC DIMENSION
TO SUCH AN EVERYDAY
MATERIAL AS CARDBOARD.

Although surprisingly
6
simple in appearance, it
is constructed with the
20

4 consummate skill of an
architect, making it not
only very comfortable but
also durable and robust.

9
8
5

10

1. Fronzoni Chair´64 CAPPELINI DKK 6.000

2. Cylinder Lamp KRISTINA DAM DKK 6.400
7 3. Aim FLOS DKK 3.225
4. Arrangements Round FLOS DKK 5.750
5. Arrangements Line FLOS DKK 4.125
6. Side Chair VITRA DKK 5.838
7. Wiggle Stool VITRA DKK 3.750
8. Lari Lamp KARAKTER CPH DKK 5.995
9. Rivet Side Table FRAMA DKK 3.950
10. 9.5° Chair FRAMA DKK 5.950
Grid Sideboard 15.000 DKK | Curved Pouf 3.500 DKK | Bowl Large 800 DKK
Bowl XL 2.000 DKK | Wooden Sphere XL 1.375 DKK | Relief Mask 1.600 DKK

kristinadamstudio.dk
THE
PAUS
TIAN
STORE
INDEX
Paustian is growing. As we speak
(e.g. read), the small empire of
carefully curated objects is doubling
in size, as two becomes four.
 UTZON HOUSE
The mothership and pride of Paustian. Our flagship store in Nordhavn, Copenhagen, was penned
by the award-winning architect, and friend of the house, Jørn Utzon in 1987 and is one of only a
handful of publicly accessible Utzon-buildings on Danish soil. His son, Kim Utzon, tastefully added
an extension the building in 2010. Paustian Utzon House offers the full range of what we have to
offer and also serves as our HQ and administration. Swing by for the design, stay for the architectural
beauty.

23

ØSTBANEN
The historic old train station, beautifully backdropped by Aarhus Harbour, has been the go-to
destination for design in the city of smiles since 2000. Starting from January 2019, Paustian Østbanen
is going to serve our growing number of contract clients exclusively as we continue to offer and add
the patented Paustian-touch in public and private spaces.
 STRØGET CPH
Paustian is back in the centre of Copenhagen, by ‘Strøget’ for the first time since 1987. Placed in a
former bank, complete with the original armoured vaults, grandiose, column-supported arches and
marble details, This new Paustian store is certain to turn heads for multiple reasons other than the
inventory. This store will stock smaller design objects, as well as a curated selection of mid-century,
modern and contemporary furniture.
24

LILLE TORV
Our new storefront, in the heart of Aarhus, is literally fit for a king. The historic Meulengracht’s Mansion
which highlights the bustling square actually used to house the visiting King & Queen of Denmark up until
1900. Similarly to the new Paustian by Strøget, Lille Torv will offer a wide selection of fashion, accessories,
lighting and interior design objects, mixed with the finest in mid-century, modern and contemporary
furniture design.
ST. KONGENSGADE 50 info@tableau-cph.com www.tableau-cph.com
1264 KØBENHAVN K + 45 31 45 31 30 @tableau_cph
 TOUCH
SOFT
2

5
4
26

The Arctander
Chair was
designed by
Philip Arctander
in 1944. It is also
known as the
Clam Chair.
8 In 2016, Paustian
reintroduced
the chair into
production in
collaboration
7 with Sofie
Arctander
Paustian.

1. Anoli 3 Opal NUURA DKK 7.499

2. HK GEORG JENSEN DKK 1.599
3. Tall Wall Mirror MOEBE DKK 3.295
4. Outline Poster Lounge Chair 43 ARTEK DKK 240
5. Freeform Sofa VITRA From DKK 63.800
6. Light Grey rough & soft box NTERINTERIOR DKK 550
7. Shelving System MOEBE DKK 7.995 9
8. Arctander Chair PAUSTIAN FURNIRURE
COLLECTION DKK 39.595
9. Sintra Table FRAMA DKK 6.600
Comodo by Achille Castiglioni & Giancarlo Pozzi, 1988 karakter-copenhagen.com
Domo floor lamp by Joe Colombo, 1965 @karaktercopenhagen
 2
1

Vibrance
1. Galore Sofa WARM NORDIC From DKK 19.995
2. Elodie Rose Twirl earring MARIA BLACK DKK 2.600
3. Delta Stool ECOPIXEL DKK 1.199
4. JU1 Jørn Utzon &TRADITION DKK 2.495
5. Gap WARM NORDIC DKK 129
6. 1815 Chronograph, Steel/Blue Sunray
ABOUT VINTAGE DKK 2.499
7. Dainty puf WARM NORDIC DKK 2.995
28

8. Jean-Michel Basquiat NEW MAGS BOOKS DKK 1.649

9. Tea Trolley 901 ARTEK DKK 18.060 4

THE TEA TROLLEY WAS INSPIRED BY

BRITISH TEA CULTURE, WHICH AINO
AND ALVAR AALTO HAD BECOME
ACQUAINTED WITH THROUGH THEIR
MANY TRAVELS, COMBINED WITH THEIR
ADMIRATION OF JAPANESE WOODWORK
6 AND ARCHITECTURE.

Over the years, numerous variations of the

Tea Trolley have been produced. Dutch
9 designer and colour expert Hella Jongerius
delved into Artek’s archives to offer her own
take on one of Alvar Aalto’s most cherished
products. Her subtle interventions resulted in
a light and a dark version of the trolley, which
plays with the shifting light on the product’s
upper and lower trays.
raawii.dk
LIVING
WITH
LEGENDS
 31

H
S THE ARTEK OFFICE IN BERLIN
 The name Artek is
a synthesis of "art"
and ‘technology’
It was Walter Gropius,
a key proponent of
modernism, who
coined the motto.
32

‘Art and technology

– a new unity.’

Marianne Goebl
MANAGING DIRECTOR OF ARTEK

We visited Artek’s office in Berlin and spent the day with their managing director Marianne
Goebl. The office was of course furnished with Artek’s classics, light and airy. Combined with a
breathtaking 360° Berlin view it was impossible not to fall even deeper in love with the Finnish
brand, even before Marianne sealed the deal for good with her knowledge and charm.

THE HISTORY
Alvar Aalto originally designed the Golden Bell pendant for the Restaurant Savoy in 1937; it combines Alvar Aalto’s
typical streamlined design and the characteristic diffused light. Golden Bell Savoy is a new version, launched in 2017
for the 80th anniversary of the Restaurant. Like the others, Golden Bell Savoy is made of one single piece of brass,
but its polished surface has been left uncoated, so over time, it will develop a beautiful and unique patina which I
like. It is so authentic.

WHY
Lighting has a significant impact on our lives, especially in the darker months and that is why I chose the Golden
Bell. Lighting doesn’t have to be so complicated and technical as many people believe it to be. I feel that people are
sometimes afraid to try things out because they think lighting has to be done in a certain way, but that isn’t true even
though it plays a key role in every home and architecture. The Golden Bell is a beautiful pendant, straightforward and
can work everywhere. You notice it but it doesn’t overtake the room, and the diffused light is gorgeous.

WHAT TURNS YOU ON

The story, it is always the story. The more I learn about things, the more I fall in love with the object.
Artek has always operated at an intersection between furniture, technology and art. Hence the name and I find that
inspiring and meaningful. Artek products have a very no-nonsense quality to them which I like. They are what they
are, and nothing is hidden.
The much-loved Arctander chair was
designed in 1944 by Philip Arctander,
a Danish architect.

“I grew up in
a home filled
with Danish
design
and I really
appreciate
the beautiful
craftsmanship
and the
minimalistic
feel that makes
Danish style
spectacular”.

33
Pernille Teisbæk
STYLIST AND CREATIVE DIRECTOR

There are influencers, and then there is Pernille Teisbæk, a social media powerhouse, stylist
and creative director at Social Zoo. Teisbæk is known for her impeccable taste both in
fashion and interior, so she was definitely on the shortlist for this article. We met her in her
beautiful house in Frederiksberg in Copenhagen were the Arctander chair plays a significant
role in her everyday life.

THE PERSONAL HISTORY

I’ve been eyeing the chair for many years without knowing it was a purely Danish Design. When I found out I
instantly knew that this was a piece I needed to invest in and that I would keep forever. I have a big passion
for chairs and love to collect different kinds, especially the ones made in Denmark.

THE ROLE
We choose to place the chair in our bathroom, which for some sounds a bit particular, but for us, it makes
the room soft and cosy - brings in the Danish “ hygge “ feel and creates the perfect contrast in the otherwise
minimalistic space. We use it on a Daily basis as it’s a comfortable place to sit and relax while our son takes
a bath in the tub.

THE MEANING OF GOOD DESIGN

I grew up in a home filled with Danish design and I really appreciate the beautiful craftsmanship and the
minimalistic feel that makes Danish style spectacular. Many of these pieces never run out of style and often
stays in families for centuries, which adds an environmental note that I really care about.
 Sometimes
things

3
34

are best kept

10

clean and
simple

1. Oh My Darling wavy gold Ring SIGRUN DKK 800 2. Gatto FLOS DKK 3.750 3. Twirling Bird WARM NORDIC DKK 249 4. Cork Family, model B VITRA
DKK 3.400 5. Candle Holder Chrome STOFF NAGEL From DKK 299 6. Resting Cat VITRA DKK 1.590 7. Carved Wood Tray WARM NORDIC DKK 499
8. Eleventh Hour BYREDO 9. Wooden Sphere, Oak KRISTINA DAM DKK 950 10. Soft Pad Chaise VITRA DKK 45.600
GO ANYWHERE
YOU WANT TO GO,
BRING ANYONE
YOU WANT TO BRING,

AND DISCOVER THE MOST EXHILARATING EXPERIENCE A TESLA FOR

A WEEKEND. ENTER HERE:
DRIVE EVER, AT HOME AND ON THE ROAD.
www.tesla.com/paustian
Tesla can get you anywhere you want to go with its rapidly expanding number
of Supercharger locations, and I have enjoyed their destination chargers while
away from home. However, Tesla’s vision for the environment is more important to
me. Tesla is one of the most innovative and impactful companies tackling climate
change. They use clean electricity in their production, and their batteries have
a low environmental impact. This is the reason why I am a Tesla owner.

Frantz Longhi
CEO of Paustian
 4

5
36

10

GRA
9
PHIC
1. Pendant Light A110 “Hand Grenade” ARTEK DKK 3.620
11

2. Pulsar Cushion, Raf Simons KVADRAT DKK 1.810

3. Lumio Lumio DKK 2.295
4. Grid Sideboard KRISTINA DAM DKK 15.000
5. Coat Rack MOEBE DKK 795
6. Artek 80 Anniversary Poster ARTEK DKK 240
7. Sferico KARAKTER CPH DKK 249
8. The Orange WARM NORDIC DKK 7.995
9. PK25 FRITZ HANSEN DKK 67.638
10. Cotton Poplin Candle BYREDO
11. Lab Light Floor KARAKTER CPH DKK 5.495
 CHA
OSING
38

THE
ORGA
NIZED
WORDS BY
DANIEL ALEXANDER FUGLSANG ØSTERGAARD
PHOTOGRAPHY BY
ANDY PRICE & MISHAEL PHILLIPS
 ABSTRACT
CONCRETE
YET

DISGUSTING
YET
DELICIOUS

REAL

39
UNREAL
YET

PERFECT
YET
FLAWED

What you’re about to see is hard to define,

but impossible to ignore.
Step inside the wonderful and wicked world of Wang & Söderström.
 WANG &
SÖDERSTRÖM
40

THERE’S JUST SOMETHING ABOUT THE WORKS OF WANG &

SÖDERSTRÖM. IT’S HARD TO PUT YOUR FINGER ON EXACTLY WHAT
IT IS, BUT IT LEAVES YOU WITH AN OVERPOWERING URGE TO DIVE
HEADFIRST INTO THEIR ALTERNATIVE UNIVERSE OF SHAPES,
SIZES, COLOURS, ANTI-GRAVITY, ET CETERA. THE SWEDISH DUO IS
TIGHTROPING THE FINE LINE BETWEEN CHAOS AND CONTROL, AND
SO FAR THEY’RE KEEPING PERFECT BALANCE BY QUESTIONING
EVERYTHING, BOTH IN THE ‘REAL’ AND DIGITAL WORLD, CREATING
A PERFECT, UN-PERFECT BLEND OF HYPERREALITY. IT ALL MAKES
VERY LITTLE SENSE IN ALL THE RIGHT WAYS.
Assuming the roles of puppet masters, pulling the three-dimensional strings, are Anny Wang &
Tim Söderström. Since setting up shop together in 2016, the visionary pair have created their
very own, idiosyncratic style that is set in a hyperrealistic (the inability to distinguish reality from a
simulation of reality) world without rules or limitations, but often inspired by the imperfections of
the ‘real’ one, inhabited by you, me and anyone but Anny & Tim, who still visit occasionally.

Putting the abstract into words is obviously no easy task. In the dynamic duo’s own words,
they aim is to be “relatable but hard to comprehend at the same time”. It may sound somewhat
oxymoronic, but according to Tim & Anny, being “in between” is forcing the viewers to question
what they see;

“Everything we do should feel both real and surreal at the same time. We always add an element
of surprise to our work to make the viewers question what they see. It could be that movement is
distorted, gravity is out of play details that feels slightly off. We’re never trying to confuse people,
but we always hope to change the perception of what’s real”.

“We know, we can’t control the individual takeaways, but we’re sure that our animations,
simulations and sculptures are able to activate and stretch the senses through space, colours,
shapes and even things such as childhood memories.”
41
42
The level of abstraction is through the roof, but the weird feeling
you get is comfortingly familiar in a delicious and disgusting
combo. “Weird is good for humans. We like to weird things up as
a contrast to the constant strive for perfection.”
Somewhere between the disgusting and delicious. The actually
often touch. Weirding it up. Contrast is good. The new and weird
is good for humanity. Playing around with blurriness, weirdness.
The inverted nature of Wang & Söderström’s work is apparent,
not only through their visual expression but their entire practice.
Putting it into the words that “real-world’ers” are better able
to understand, Anny & Tim compare their approach to other
traditional crafts. Well, Sort of;
“Like a ceramist who starts with a lump of clay, we do the same
but in a digital way. But where the ceramist’s starting point is a
chaotic mess of clay, ours is the exact opposite. We set out with
the ultimate perfect sphere. It’s so mathematically perfect that it
could never be found in nature. But it’s actually too perfect in a
way that you can’t relate to at all”.
The signature Wang & Söderström treatment is all about flawing
the perfect to create some sort of chaotic mess that’s somewhat
relatable, whether they are exploring the digital or physical side
of 3D.
“The ceramist’s goal is to try and organise the chaos. We, on the
other hand, want to chaos the organized. We add noisy surfaces,
push and pull away from perfection in order to make the digital
look natural”.
The role of the undisputed poster-couple of mind-boggling 3D
animations wasn’t exactly in the cards for neither of the two. Both
Anny & Tim applied their creative talents in a far more hands-
“Weird is good for humans.
We like to weird things up as a contrast
to the constant strive for perfection.”
on and concrete manner before stumbling upon the limitless
possibilities of 3D software in Narnia-esque fashion. Anny, who
has an educational background as a Spatial & Furniture Designer,
began to tinker with 3D software after hours and posted her
simulations to her growing amount of Instagram followers, while
Tim, an architect by education, found 3D tools to give him a much
43
needed instant payoff during initial work on architectural projects.
Their fast and substantial success has allowed the eye-catching
duo to venture into the more rigid realms of commercial work,
realising large-scale projects for international clients such as
Nike, Rimowa, New York Times, Swedish National Television and
Selfridges London. Right now, everybody wants what Wang &
Söderström has to offer, and the duo is riding the wave as the
new, exciting flavour.
“We’re in a great position. We’re in demand with means that we
can fund our practice exclusively through commercial projects
that we really want to work on. That kind of monetary freedom
allows us to experiment without having to worry about how to pay
the bills next month. It keeps our approach fresh and exciting and
it spills over into our work. It also allows us to take on bigger and
better commercial projects”.
On the topic of creative freedom, Tim further adds perspective to
the liberation that comes from doing great work on big projects.
“Growing up, I used to love the TV commercials by the Swedish
director Roy Andersson. He had a very distinctive, very
recognisable style and he used to do commercials for things
like ketchup, insurance companies and Volvo. This allowed him
to fund his own, totally uncompromised feature films without
abandoning his own vision. I really admire that approach, and it’s
something Anny, and I try to mirror to an extent.”
44

There’s no denying the enormous possibilities of technology like 3D software and 3D printing,
and even though Anny & Tim are on the frontline of the development and actual use of the tools,
the two don’t consider themselves pioneers. However, they’re both convinced of the real-world
usability and overall potential as a premier problem solver of the future. Most recently, Wang &
Söderström collaborated with material researchers from the University of Lund on a project to
“visualize and communicate nanowires”. an extremely small (It takes 50.000 nanowires to reach
the thickness of a human hair) property with great potential, used in solar cells and electronic
devices which can be grown in labs.

“The amazing thing with digital tools is that you can simulate different scenarios things without
building it in real life. As the technology evolves, you can do even more precise digital simulations
on how something will be in the real world, and that minimises mistakes greatly and adds efficiency.

And the closing advice to any aspiring 3D-explorers?

“Never stop
using the tools
incorrectly.”
45
IC
ONS
PHOTOGRAPHY BY
NICOLAJ DIDRIKSEN
CREATIVE DIRECTION & STYLING
JOHANNA CHRISTENSEN

MODEL MAKEUP & HAIR

ILETHIA SHARP, SCOOP MODELS STINE RASMUSSEN, SCOOP ARTISTS
Modular Sofa by Erik Rasmussen, 1969 PAUSTIAN FURNITURE COLLECTION
Coat STELLA MCCARTNEY MyTheresa Pants MUNTHE
Armchair 41 “Paimio“ by Alvar Aalto, 1932 ARTEK DKK 29.690
Suit MANGO
 Gesture by Hans Olsen, 1957 WARM NORDIC DKK 2.995
Triangolo Chair by Per Holland Bastrup, 1989 FRAMA DKK 7.800
Earring Sadie MARIA BLACK DKK 700
Rings Harold MARIA BLACK DKK 1.200
Bodysuit LIVE THE PROCESS MyTheresa Pants STELLA MCCARTNEY MyTheresa Boots VINTAGE
Fauteuil de Salon by Jean Prouvé, 1939 VITRA DKK 25.800
Dress COS
Arctander Chair by Philip Arctander, 1944 PAUSTIAN
FURNITURE COLLECTION DKK 29.995
 1. Bertoia Diamond Chair by Harry Bertoia, 1952 KNOLL DKK 14.500
2. Balloon chair by Hans Olsen, 1955 WARM NORDIC DKK 7.995
3. Prismatic Table by Isamu Noguchi, 1957 VITRA DKK 4.450
4. Navy Chair by Wilton C. Dinges, 1944 EMECO DKK 5.600
5. LC2 by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928 CASSINA DKK 50.824
6. All Plastic Chair by Jasper Morrison, 2016 VITRA DKK 2.050
7. Plywood Group LCW by Charles & Ray Eames, 1945-1946 VITRA DKK 18.700
8. Pebble by Welling/Ludvik, 2018 WARM NORDIC DKK 2.995
9. 9.5° Chair by Rasmus B. Fex, 2014 FRAMA DKK 5.950
8

4
6

1
637 UTRECHT by Gerrit Thomas Rietveld, 1935 CASSINA DKK 32.320
Arctander Chair by Philip Arctander, 1944 PAUSTIAN FURNITURE COLLECTION DKK 29.995
Blazer ISABEL MARANT Bodysuit LIVE THE PROCESS MyTheresa
Lobby Chair ES 108 by Charles & Ray Eames, 1960 VITRA DKK 49.100
Dress COS
LC3 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, 1928 CASSINA DKK 82.585
Dress NANUSHKA MyTheresa
MEET
THE
T
Behind every great brand
is a great story. In the
curious case of Ole &
Monika Paustian, there
are probably hundreds.
Armed with a foolproof

61
eye for the future design
classics and a personal
approach above all,
the trailblazing couple
shaped a successful
furniture business on
gut feeling rather than
spreadsheets.

WORDS BY
DANIEL ALEXANDER
FUGLSANG ØSTERGAARD

PHOTOGRAPHY BY
JOHANNA CHRISTENSEN
62
It’s 1964, and a young man in an old business is about to embark on
a kamikaze mission. With nothing but ideas and persistence in his
pockets, he’s on his way to Gentofte, a posh suburb on the outskirts of
Copenhagen, to cold call at the front door of the Danish mid-century
architect, Børge Mogensen. Shooting for the stars, he’s hoping to

63
persuade Mogensen into decorating his newly opened furniture store
on Vesterbrogade.
The man with the plan is Ole Paustian and, surprisingly, his here-goes-
nothing bike ride into the wealthy suburbs, trying to impress the who’s
who of architecture, isn’t in vain. The heralded architect is impressed by
the tenacity of the young salesman, but other engagements prevent him
from taking on the project.
Looking back, Ole may have lost the initial battle, but he eventually won
the war. The bold encounter in Gentofte has since turned into a life-long
friendship with Børge Mogensen and it essentially went on to epitomize
the alternative, very personal style that Ole & Monika Paustian conducted
through parties, exhibitions, jazz concerts and great furniture. Today, Ole,
Monika and their well-fed yellow Labrador, Herman are enjoying retirement
in the late Børge Mogensen’s former villa in Gentofte, completing the circle
on a remarkable journey.
This is the story of the remarkable events that transpired between then and
now, retrospectively anecdoted by the pioneering Paustian’s.

“The combination of
contemporary furniture and
quirky events differentiated
us from the competition.
It wasn’t a defined strategy,
but rather a natural extension
of us and our personalities”.
 Finishing up on the aspiring young man from the scene above,
he eventually found someone to decorate his furniture store. As
recommended by Mogensen himself, Ole pegged the architect
John Vedel-Rieper to orchestrate an organic shopping experience
in Paustian on Vesterbrogade, rather than the glorified warehouses
that most furniture stores resembled at the time.
“It was just rows upon rows of chairs, tables and sofas, without
any context. in collaboration with Vedel-Rieper, we strived to
create living environments, as you see in any respectable furniture
store today”.
The aesthetically pleasing furniture store on Vesterbrogade 67
quickly gained a reputation among the artists and architects at
the time. Firstly, the young couple knew how to peddle furniture,
but perhaps more importantly, they excelled in the role as hosts,
creating a retail space unlike any other at the time. One that
reached far beyond tables and chairs. A buzz was starting to build
around the dynamic duo with the up close and personal approach.
Acting as the young hip counterweight to the establishment, Ole
& Monika continued to break down the existing boundaries of
how to run something as mundane as a furniture store.
“We had a natural desire and an ambition to do things
differently. To be perfectly honest, selling furniture isn’t the
most exhilarating thing in the world. We invited avantgarde
64
performance artists such as Kirsten Dehlholm and Erik
Nørgaard to exhibit in our store, and the press absolutely
loved it”.
“The combination of contemporary furniture and quirky events
differentiated us from the competition. It wasn’t a defined strategy,
but rather a natural extension of us and our personalities”.
“We had a natural desire
and an ambition to do
things differently. To be
perfectly honest, selling
furniture isn’t the most
exhilarating thing in
the world. We invited
avantgarde performance
artists such as Kirsten
Dehlholm and Erik
Nørgaard to exhibit in
our store, and the press
absolutely loved it”.
The Paustian’s represented a fresh and familiarised way of running
a business, focused on building relationships rather than boosting
the bottom line. Four years in, the store was barely breaking even,
and the modest profits were used to boost further and personalise
the unique profile of Paustian. The commercial breakthrough
eventually presented itself in the strangest of places.
“It occurred to us that traditional horse covers could double as
carpeting. We commissioned an Italian weaving mill called Prado
to manufacture the prototypes from military cloth, and back
home it was a booming success. Our in-house designer Erik
Rasmussen made a newspaper add for the horse cover carpets,
and we ended up selling 16 kilometres worth.”
“Eventually the bug caught on, and other stores began to sell their
own version of horse cover carpets which prompted us to turn our
attention elsewhere.”
In retrospect, it’s evident that Ole & Monika were continuously
ahead of their time. First and foremost through their
adventurous attitude, but also due to an infallible eye for the
trends and tendencies of tomorrow. The visionary couple was
among the first to venture beyond Danish design, introducing
future icons like Charles & Ray Eames and Alvar Aalto
exclusively at Paustian.
“If we like it, the chance is that others are going to like it as well.
That was essentially the simple approach we had when we were
looking for new inventory. There’s no secret formula, but for us, a
keen eye and solid gut feeling proved to be just right.”
“Whenever we found something we really believed in, it was
always important for us that we had exclusive distribution rights
to brands we helped popularise in Denmark and, among others,
we managed to obtain the exclusive rights to distribute products
from Artek and Vitra in Denmark. Ironically, the only one we didn’t
have exclusive rights on was Børge Mogensen.”
Increased popularity and a growing assortment of Danish and
international furniture meant that empty square meters were
getting scarce on Vesterbrogade 67. Paustian had gradually
swallowed up every floor of the building, even expanding the
store turned cultural hub with a makeshift cinema. Ole & Monika
eventually decided it was time to move on to bigger and better
things and the choice of location wasn’t exactly obvious.
At the time they were renting a warehouse in a remote industrial
area in Copenhagen’s North Harbour, and they had gradually been
falling in love with the waterfront plot. Space wasn’t premium and
it was cheap compared to central Copenhagen. Now all they
needed was an architect to carry out their vision of the retail
space of tomorrow and beyond.
“We obviously knew a number of great architects but didn’t feel
comfortable choosing one friend over another. That’s why we
approached Jørn Utzon, who was in a league of his own at the
time we asked him to take on the task. We had previously worked
with Utzon when he designed and decorated the interior of
Bagsværd Church with pieces of Alvar Aalto furniture which was
sold exclusively in Paustian at the time, and he was both a great
guy and a brilliant architect. Nobody frowned when we chose
Utzon, and now the house is deemed worthy of preservation.
Rightfully so”.
It’s now been 8 years since Ole & Monika handed over the keys to
the iconic Utzon House, but Paustian remains. And to be honest,
with the true and tested foundation Installed by the pioneering
parents, it’s destined to be a longlasting foundation.
 S

SOFT plaid Striped Creme by Helene Blanche, 2018 PAUSTIAN FURNITURE COLLECTION DKK 1.999
KIILA Coat Stand by Daniel Rybakken ARTEK DKK 3.575
O
FT
66

BY
HELENE
BLANCHE
PAUSTIAN INTRODUCES SOFT, A COLLECTION OF THROWS AND
PILLOWS DESIGNED EXCLUSIVELY FOR PAUSTIAN BY DANISH
TEXTILE DESIGNER HELENE BLANCHE. THE COLLECTION TAKES
ITS POINT OF DEPARTURE IN THE CLASSIC ‘HORSE CLOTH’
TEXTILE, THAT THE FOUNDER OF PAUSTIAN, OLE PAUSTIAN,
STARTED USING BACK IN THE 1960’S IN INTERIORS AND FOR
FURNITURE. SOFT UNFOLDS IN A GEOMETRIC EXPRESSION
AND PAYS HOMAGE TO THE DANISH WEAVERS KIM NAUER,
VIBEKE KLINT AND LIS AHLMAN, WHO ALL CONTRIBUTED TO
THE GOLDEN ERA OF DANISH TEXTILE DESIGN IN THE 20TH
CENTURY.
 “I enjoy working
with such
basic, yet highly
sophisticated
patterns and I feel
at home in the
sphere between
Cubist art and my
historical Parisian
textile samples”

Helene Blanche is a Danish textile designer who
graduated from Central Saint Martins College of
Art and Design in London. Intrigued by woven
fabric and the way a single thread moves to create
a Structural repetition, it is this textural rhythm and
vibrant dynamic that inspires her: “I enjoy working
with such basic, yet highly sophisticated patterns
and I feel at home in the sphere between Cubist
art and my historical Parisian textile samples”.
Helene Blanche is responsible for the creative
direction of Tapet-Cafe alongside designing their
in-house textile and wallpaper collections. Her
collections are sold exclusively at Tapet-Cafe in
Denmark, and from a selection of handpicked
international showrooms, particularly in Paris,
London, Stockholm, Moscow and Sydney.
67
SOFT is woven in pure baby alpaca wool from
Peru. Using a minimalistic and sophisticated take,
Helene Blanche has redefined the softly textured
throws by creating two new patterns, “Stripes”
and “Plain“, while still maintaining the classic
“Checks”. All three designs in the SOFT collection
emit classic elegance and have a simple, yet
luxurious feel. The throws are suitable for use in
a wide variety of interiors and work beautifully
together in a multitude of combinations due to the
subtle colour scheme, which emanates freshness,
yet establishes an emotional depth. The patterns
have a modern look with an artisan finish, the
substance of which becomes exceptionally clear
when the patterns are viewed and used together.

Plain Orange Plain Rust Checks Multi Checks Rust Creme Checks White Striped Blue Striped Creme
DKK 1.999 DKK 1.999 DKK 1.999 DKK 1.999 DKK 1.999 DKK 1.999 DKK 1.999
 THE FIBERGLASS CHAIRS
68

WERE LAUNCHED ON
THE MARKET IN 1950,
INTRODUCING A NEW
FURNITURE TYPOLOGY
THAT HAS SINCE BECOME
WIDESPREAD: THE
MULTIFUNCTIONAL CHAIR
WHOSE SHELL CAN BE
COMBINED WITH A VARIETY
OF BASES TO SERVE
DIFFERENT PURPOSES.
Eames Fiberglass Side Chair DSW
by Charles & Ray Eames, 1950
VITRA DKK 6.060

TAKE A SEAT
 Standard SP VITRA No1 by Nendo REPUBLIC OF FRITZ HANSEN Navy Chair EMECO Chair 69 ARKET
DKK 3.750 DKK 5.000 DKK 5.600 DKK 3.180

“A chair must be
really important as
an object, because
my mother always
told me to offer my
Drop Chair REPUBLIC OF FRITZ HANSEN
DKK 6.629
PK1 POUL KJÆRHOLM,
CARL HANSEN & SØN
DKK 2.495
chair to a lady.”

69
- Ettore Sottsass

Cow Horn Chair WARM NORDIC CH33 CARL HANSEN & SØN Be My Guest WARM NORDIC
DKK 5.995 DKK 4.826 DKK 5.995

413 Cab CASSINA ASAP Chair PAUSTIAN FURNITURE Chair 66 ARTEK Gesture WARM NORDIC
DKK 16.975 Collection DKK 3.125 DKK 3.190 DKK 2.995
 70

1
AT

PHOTOGRAPHY BY
THE

NICOLAJ DIDRIKSEN
2

3
1. Tulip Armless Chair by Eero Saarinen, 1957 KNOLL DKK 13.400 2. Thonet 209 by Gebrüder Thonet, 1859 THONET DKK 8.150

TABLE
2. Vidun by Vico Magistretti, 1987 DEPADOVA DKK 24.060
 2

71
1. Naan CASSINA DKK 52.266
8 2. Asap PAUSTIAN FURNITURE COLLECTION DKK 6.150
3. EM Table VITRA DKK 30.100
4. Noguchi VITRA DKK 29.600
5. Evermore WARM NORDIC DKK 19.995
6. A-Table VITRA DKK 32.600
7. Asap PAUSTIAN FURNITURE COLLECTION DKK 8.750
7 8. Saarinen KNOLL From DKK 77.200 to 138.900
9. Trestles FRAMA DKK 18.600
10. Herringbone Tile WARM NORDIC DKK 19.995

10

9
 When you recycle
a plastic bottle,
72

you’re doing
something good.
When you recycle 111
of them, you’re doing
something great.
Help your bottle
become something
extraordinary again.
 We make chairs.
In America.
Often by hand.
Mostly from recycled stuff.
But always to last.

Navy Chair EMECO DKK 5.600 111 Chair EMECO DKK 3.200

ONE MAN’S TRASH

73
IS ANOTHER
LAND’S TREASURE
IN 2006, COCA-COLA APPROACHED EMECO WITH A PROBLEM: BILLIONS
OF PLASTIC BOTTLES WERE BEING SENT TO LANDFILLS EVERY YEAR.
ONE SINGLE PLASTIC BOTTLE TAKES 500 - 1000 YEARS TO FULLY BREAK
DOWN, WHICH MAKES FOR A PRETTY DEPRESSING MATH PROBLEM ON
BEHALF OF OUR PLANET.
Thanks to the stagering number of plastic bottles being used and disposed every
year, Polyethylene Terephthalate (PET) is probably the most common plastic
on earth. It takes a lot of thinking and testing and work hours to turn PET into
something structurally sound enough to sit on. But well worth the time.
Through upcycling, Emeco transformed plastic waste into a new material, made
from recycled plastic bottles from Coca-Cola. The chair is aptly named the 111
Navy Chair because every chair keeps 111 plastic bottles away from landfills.
Since its launch in 2010, more than
30 million plastic bottles have been reincarnated as chairs, and that number is
growing every day as Emeco is working their way toward zero waste.
Talk about changing the notion of ‘plastic furniture’.
 Uffe Buchard, Founder & Creative Director
of Darling Creative Studio
Editor in Chief & Publisher of DANSK Magazine

A
NEW
SHADE
74

OF
NORDIC
Messing around with classics is a dangerous game, but the new Danish design
brand, Warm Nordic, is more than up to the task, with their tasteful line-up of
overlooked icons mixed with today’s aesthetics. The concept of Warm Nordic
is dubbed ‘classic meets contemporary’ and the young brand is out to prove
that there’s plenty more to the golden age of Danish design than Wegner,
Juhl & Jacobsen. The Danish style-guru and all-around creative, Uffe Buchard,
directed the launch of Warm Nordic earlier this year and we caught up with him
for a chat about design then and now, and how to tie the two eras together.

Photography by CHRISTIAN FRIIS

You also
have to reach

Herringbone Tile Console table by Charlotte Høncke, 2017 WARM NORDIC DKK 6.995
beyond the HOW DO YOU ADD A RELEVANT
PERSPECTIVE TO DANISH

common idea MID-CENTURY DESIGN?

You start by altering some of the apparent details

of ‘good
that can add relevancy to the older design. It
could be textiles with more quirky colours, using
different types of wood which can alter the look

taste’. It can’t
from dusty to funky, and then there’s the general
use of colours which can elevate vintage design

be too safe.
into the future if done right. You also have to reach
beyond the common idea of ‘good taste’. It can’t
be too safe. There has to be something appealing
and different for the style and decor magazines to
write about and for the bold and eccentric buyers
to fall in love with.
HOW DID YOU GET INVOLVED
WITH THE LAUNCH OF WARM HOW DOES WARM NORDIC ALIGN
NORDIC? WITH THE CURRENT, OVERALL
Our initial role at Darling Creative Studio was to
put Warm Nordic into words, and discuss how to
EXPRESSION IN DESIGN?
In my opinion, Warm Nordic hits right in the heart of
differentiate Warm Nordic from all the other furniture
the current design climate. The style right now, and
brands on the market and how to communicate
in the immediate future, can’t be too pretentious
this. We ended up talking more about lifestyle than
and afraid of colours but has to be playful and
design, and our early talks were centred around
harmonious. It has to be a mix of innovative, young
values, opinions on design and Frantz’ interesting
design and classics with a vintage feel that adds
take on cool Nordic design. The general philosophy
personality and a narrative to interior design.
behind the brand was both different and visionary
Last but not least, there has to be an element of
right from the start. After Frantz decided on the
cosiness. That’s the buzzword of design right now
name, Warm Nordic, we began working on a logo,
and has been for quite some time.
followed by a careful process of curating products
and picking out textiles, types of wood and other
materials in accordance to our range of products.
WHAT’S THE ESSENCE OF WARM
NORDIC? CAN IT BE CAPTURED

75
WHAT’S THE PROCESS BEHIND THROUGH A HANDFUL OF THE
BUILDING A NEW BRAND? PRODUCTS?
If you put five quintessential Warm Nordic styles
The most important part of our work at Darling
into a huge centrifuge, you would end up with the
Creative Studio was to fully understand Frantz
perfect Warm Nordic mixture. Tasteful and good
and his visions for the brand. This process was
looking. My five personal favourites are The Fried
actually fairly uncomplicated because of Frantz’
Egg by Hans Olsen, Herringbone Tile Dining Table
straightforward manner and an often shared
by Charlotte Høncke, Cow Horn Chair by Knud
opinion on Nordic style and its heritage, and one of
Færch, Ambiance Table Lamp by Svend Aage
our main tasks was to make sure that these visions
Holm-Sørensen and the Secant Sofa Table by Sara
were carried out in the right blend of tradition and
Wright Polmar.
innovation. This turned out to be an extremely
effective process that was completed over a few,
Warm Nordic is available to purchase in all Paustian
but very long days in Aarhus with Frantz and his
Stores, at Warm Nordic Pop-up in Aarhus, and on
talented employees where we discussed and
warmnordic.com.
talked back and forth about the details of Warm
Nordic. The result is warm, playful and Nordic but
with a vital twist.

WHERE’S WARM NORDIC

POSITIONED IN THE OVERALL
CONVERSATION OF DANISH
DESIGN?
The overall expression of Warm Nordic is both
warm and cosy, with deep roots in Scandinavian
mid-century design. But the brand also embraces
the design ideas of the future for homes inspired
by then Nordic feel. The contrast between classic
and innovation is the essence of Warm Nordic and
the overall expression has duality and a playful feel
to it. To me, Warm Nordic symbolises a brand new
direction in Nordic design, representing the new kid
on the block that is difficult to place in the timeline
of Danish design.

Fried Egg by Hans Olsen, 1956 WARM NORDIC DKK 19.995

 6

13

5
1
76

14
9

ZE

Photo: Mies van der Rohe Pavilion

N IN 1951 THE JAPANESE-AMERICAN
10

ARTIST ISAMU NOGUCHI BEGAN

TO DESIGN THE AKARI LIGHT
SCULPTURES, A GROUP OF WORKS
HANDCRAFTED OUT OF WASHI PAPER
THAT EVENTUALLY COMPRISED OVER
100 LUMINAIRES TABLE, FLOOR AND
CEILING LAMPS.

He chose the name ‘akari’ for these

objects, a word that means ‘light’ in 11
Japanese, connoting both illumination 15
and physical lightness. ‘The harshness
of electricity is transformed through the
magic of paper back to the light of our
origin – the sun

1. Akari 33N VITRA DKK 7.150

2. Akari 23A VITRA DKK 2.650
3. Akari 15A VITRA DKK 7.890
4. Akari 16A VITRA DKK 5.290
12
5. Akari E VITRA DKK 17.900
6. Akari 45X VITRA DKK 2.550
7. Akari 45A VITRA DKK 2.250
8. Akari 120A VITRA DKK 22.400
9. Butterfly Stool VITRA DKK 4.950
10. Apothecary Hand Wash 500 ml FRAMA DKK 290
11. Apothecary Hand Lotion 500ml FRAMA DKK 650
12. Day Bed 710 ARTEK Fra DKK 29.170
13. Cicognino 834 CASSINA DKK 9.160
14. Barcelona Chair KNOLL DKK 50.600
15. Console Table KARAKTER CPH DKK 60.000
196 9 VI NTAG E 1815 CH RONOG R AP H 1 8 20 AU TOM ATI C 1 9 71 AU T. SW I SS M A DE 1 9 88 M O O NP H ASE
7 M ODE L L E R / UN I SEX 7 M O DEL L ER 3 M ODE LLE R 9 M ODE LLE R ABO UT VINTAGE x F REDERIQ UE CO NSTANT

1 . 699 DKK 2.49 9 DKK 3.84 9 DK K 6 .9 9 9 DK K 2 4 . 9 9 9 DKK

LI MI T E D E D I T I ON LIMITED ED ITIO N

WWW.ABOUTVINTAGE.COM
 78

SHORT

PHOTOGRAPHY BY
JOHANNA CHRISTENSEN
RAAWII LIVES AND WORKS BY THREE GROUND RULES: PRODUCTS WITH A SENSE OF PROPORTION. ROOM FOR

STORIES
DESIGNERS. AND PRODUCTION WITH RESPECT FOR PEOPLE AND SOCIETY.
Small Vase Grey by Nicholai Wiig-Hansen RAAWII DKK 350
 LUMIO HAS ONE OVERALL
PURPOSE AND THAT IS TO MAKE
LIFE BETTER BY DESIGNING
SIMPLE, BEAUTIFUL AND
FUNCTIONAL PRODUCTS. LUMIO
CREATES PRODUCTS THAT
MAKE LIFE EASIER AND MORE
PLEASURABLE.
Mini Lumio+ by Max Gunawan
LUMIO DKK 1.895

79
THE CLASSIC ZEBRA FABRIC WAS ORIGINALLY
DISCOVERED BY AINO AALTO DURING HER
EUROPEAN TRAVELS. INCORPORATED IN
ARTEK INTERIORS AS EARLY AS THE 1930S IT
IS CHARACTERISED BY A SOFT, SENSUAL
FEEL AND STRIKING VISUAL DEPTH.
Zebra Pouch by Aino Aalto ARTEK DKK 440

IN 1972, LINDA WOLFARD RECEIVED A HANDBLOWN

GLASS OIL LAMP AS A PRESENT FROM HER HUSBAND
JON, A LOCAL GLASSBLOWER. THE ORIGINAL OIL LAMP
BECAME A CENTREPIECE IN THEIR HOME, AND DUE TO
THE DEMAND FOR THE UNIQUE DESIGN, THE COUPLE
FOUNDED THE COMPANY WOLFARD
Oil lamp WOLFARD from DKK 650
80

REDUCING AND REUSING

SHOULD BE THE FIRST
STEP IN TACKLING WASTE.
DANISH BUSKGROUP
IS MAKING TOTE BAGS
AND PILLOWS FROM
“RECYCLED DEAD STOCK”,
LEFTOVER FABRICS FROM
RICK OWENS’ LATEST
COLLECTION.
Totebag RECYCLE DEAD STOCK
by BuskGroup DKK 200
81
ART
MEETS
ARCHI
TEC
 83

Fjordenhus (Fjord House) is no ordinary building. The architectural

landmark, rising from the depths of Vejle Harbour as a Loch
Ness-ian foreign entity of bricks and mortar, is rather an inhabitable
work of art with its sculptural body, spectacular setting and
extraordinary attention to detail. Then again, you probably wouldn’t
expect anything less from a building created by the innovative
Midas touch of Olafur Eliasson.

WORDS BY DANIEL ALEXANDER FUGLSANG ØSTERGAARD

PHOTOGRAPHY BY ANDERS SUNE BERG
84

Fjordenhus is the first building designed entirely by artist Olafur Eliasson and architect
Sebastian Behmann with Studio Olafur Eliasson. As commissioned by Kirk Kapital A/S, the
ambition was to merge art and architecture to create something third, not easily defined.
Every decision throughout the process is approached like a piece of art, further blurring the
lines between the two fields.

This alliance of expressions carries on throughout the building. The majority of the interior
is site-specific and tailormade to fit the complex shape and narrative of Fjordenhus, with a
special emphasis on materials, light and usability. Paustian’s Workshop and Chief Furniture
Architect, Ole Flyvholm worked closely with Studio Olafur Eliasson to embody Eliasson’s
visionary ideas for the custom-made interior of Fjordenhus.
THROUGH
THE EYE
OF THE ARTIST
Olafur Eliasson
THE PROCESS
Solving the complexity of Fjordenhus, both in regards
to the setting and the structural shape, was achievable
through years of research and development. To realise
a project of this magnitude, you need a courageous
client, whose mindset and outlook is not just limited to
creating an office building. From the very early design
stages, the building was placed in the water, framing the
surrounding elements such as the wind and the natural
light, enhancing these qualities that we usually don’t
pay attention to, creating a foyer of the elements and
establishing the narrative for the building.
THE VISION
The central idea of the building is its unique setting within
the environment, extending Vejle into the fjord and creating
a relation to the city, the harbour, the water and all the other
surrounding elements. Fjordenhus is conceived like a work
of art, so to me personally, it is a work of art. I think that art
and architecture can co-create what’s almost a third thing.
It’s really about doing something which allows these two
different fields to merge into something stronger that they
can’t achieve separately and I really think Fjordenhus is an
example of that.
THE TAKEAWAY
Fjordenhus is an artistic approach translated into an
architectural discipline in which the latter needs to present
the answers to the questions imposed by the former.
Being in the building is about having a dialogue with the
surroundings. As we use it, we automatically become co-
authors of the experience, art and architecture aside.
THROUGH
THE EYE
OF THE CRAFTSMAN
85
Ole Flyvholm, Chief Furniture
Architect, Paustian Contract
THE PROCESS
Studio Olafur Eliasson commissioned us as a local
contractor to conduct and coordinate the production
phase of the ten unique designs, 195 pieces in total
explicitly made for Fjordenhus by Olafur Eliasson.
I approached the design from a strictly technical point
of view, helping to carry out the artistic vision of Olafur
Eliasson.
The massive 6mm thick, double curved steel base for
the unique Executive Desks and Lounge Tables were
manufactured in New Zealand and then shipped all the
way to Denmark, underlining the enormous complexity
involved in the production of the unique tables.
THE CHALLENGE
There’s natural friction when you combine an artistic
vision with the physical restrictions of craftsmanship,
production methods and serial production. Olafur
Eliasson’s site-specific tables were designed as an
individual work of art with a tolerance level of 0 mm, which
is virtually impossible to achieve in serial production.
Add in the fact that Olafur’s tables are composed of
both sheet metal and wood, both materials reacting
entirely differently under duress, and you’re looking at
a Sisyphus Job. Convincing a manufacturer to take on
the job under these ultra-strict requirements, way off the
industry standard, wasn’t an easy task.
 Art

meets
86

architecture
 “ Art and
architecture can
co-create what’s
almost a third thing.
It’s really about doing
something which
allows these two
different fields to
merge into something
stronger that they
can’t achieve
separately”.

87
 EN

Ensemble Sofa by Theresa Rand, 2018 PAUSTIAN FURNITURE COLLECTION DKK 38.985
SE
MB
LE
88

BY
THERESA
RAND
PAUSTIAN INTRODUCES ENSEMBLE - A MODULAR SOFA, A
LOUNGE CHAIR AND COFFEE TABLES DESIGNED BY THERESA
RAND. THE ENSEMBLE SOFA CONSISTS OF EIGHT DIFFERENT
SOFA MODULES, THAT CAN BE COMBINED IN MANY WAYS –
AS CORNER SOFAS, 2-SEATER SOFA, 3-SEATER SOFA, WITH
ROUNDED SIDES OR WITH AN INTEGRATED OTTOMAN, ETC. THE
ENSEMBLE SOFA IS COMPLEMENTED BY A LOUNGE CHAIR AND
3 COFFEE TABLES THAT ARE ALL REFLECTING THE EXPRESSION
OF THE SOFA.
 “Although
functionality is
very important too,
the atmosphere,
which furniture
and objects create
and the impact,
which they have
on a space and on
people using this
space, is crucial.”
Theresa Rand is an architect, educated in both
Germany and Denmark. After graduating from
the School of Architecture in Copenhagen she
concentrated on furniture design.
Her approach is very intuitive: “Although
functionality is very important too, the atmosphere,
which furniture and objects create and the impact,
which they have on a space and on people using
this space, is crucial.” Studio ‘Theresa Rand’ is
based in Copenhagen and works on functional
yet poetic furniture, living accessories and
lighting, characterized by pure lines with a sensual
expression. The focus of the studio’s work is on
the use of natural, authentic and lasting materials,
their tactile qualities and on the way in which they
are combined.
89
The idea behind the Ensemble sofa was to wrap
comfort in elegance and a light expression.
The Ensemble sofa is flexible and customizable
without having a bulky look. The rounded edge
elements and the ottoman have the shape of a
half-circle, which gives the sofa a more curvy,
cosy, and inviting appearance. It is playing with
basic geometrical shapes but has a soft feel. The
name Ensemble refers to one of the meanings of
the word in French: together.
The inspiration for the Ensemble coffee table
comes from Brazilian mid-century architecture
and design and has been reinterpreted in a
contemporary Scandinavian way.
The construction of the coffee table is simple and
geometrical, playing with the half circle shape that
the sofa is also based upon.
 + RELAX +

+ LC3 Sofa by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1934 CASSINA From DKK 72.307
+

+ +
90

Outline Sofa Series 3 seater by Anderssen & Voll, 2016 MUUTO From DKK 39.900

+ 202 8 by Piero Lissoni, 2014 CASSINA From DKK 95.235

+

+ William by Damian Williamson 2010-2015 ZANOTTA From DKK 85.500

+
Candle holder, chrome, per piece - DKK 299,00
CLASSIC
A RE-DISCOVERED

The STOFF Nagel candle holder was a design icon in the 60’s – a personal piece of art that could be stacked into endless beautiful
sculptures. Designed by Werner Stoff for Hans Nagel the candle holder was a collector’s item for many years. Today the candle hol-
der has been re-introduced by the Danish design company STOFF Copenhagen and comes in chrome, black and solid brass
 92

+
+

Baseline by Jens Juul Eilersen EILERSEN From DKK 40.129 Polder Sofa by Hella Jongerius, 2015. Limited Edition VITRA From DKK 50.60

+
+

Galore, Rikke Frost 2017 WARM NORDIC From DKK 19.995 206 8 Cube by Piero Lissoni, 2017 CASSINA From DKK 51.057

+
+

Paustian Modular Sofa by Erik Rasmussen, 1969 PAUSTIAN FURNITURE COLLECTION From DKK 32.600 Grand Sofa by Antonio Citterio, 2017 VITRA From DKK 84.300
+

+
+

Square 16 by Studio De Padova DEPADOVA From DKK 42.221 Soft Modular Sofa by Jasper Morrison, 2016 VITRA From DKK 59.100
+

+
+
ALWAYS LISTEN TO YOUR DOG. Paustian presents exclusive German dog accessories
brand Cloud7. DOG beds, carriers, collars, leashes, coats, bandanas, bowls, toys...

Cloud7
®

Finest for Dogs & Dog Lovers

 94

LC1 by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, 1928 CASSINA DKK 23.390

WITH
PHOTOGRAPHY BY
PLAYING
NICOLAJ DIDRIKSEN

1. Nuage Métallique by Ronan & Erwan Bouroullec, 2016 VITRA DKK 1.310 2. Stool E60
by Alvar Aalto, 1934 ARTEK DKK 2.320 3. Screen 100 by Alvar Aalto, 1936 DKK 17.920
 1. Ohio Vase by Hugau & Larsson, 2017 REFLECTIONS COPENHAGEN DKK 2.650 2. Alfredo Vase by Alfredo Häberli, 2015 GEORG JENSEN DKK 999

DO
WS
SHA 95
 LET THERE
96

BE LIGHT
FRINGE, AN ICONIC TABLE LAMP WITH
SOPHISTICATED FRINGES, CREATED IN 1960
BY THE ACCLAIMED SWEDISH LIGHTING
GENIUS, HANS-AGNE JAKOBSSON, AND NOW
FINALLY AVAILABLE FOR ALL THOSE DESIGN
LOVERS WHO WERE UNSUCCESSFUL AT
AUCTIONS. FRINGE IS A TIMELESS DESIGN
STATEMENT, CONSTRUCTED TO CREATE
WARM, COSY LIGHTING BY MEANS OF THE
FRINGES THAT CONCEAL THE LIGHT SOURCE
BEAUTIFULLY.
Fringe by Hans-Agne Jakobsson, 1960
WARM NORDIC DKK 2.995
 6

97
1

8
3

1. Model 548 FLOS DKK 9.180

2. Snoopy FLOS DKK 6.750
3. PH 3/2 Limited Edition LOUIS POULSEN DKK 9.995 9
4. Ventus Pendant FRAMA DKK 2.900
5. Formakami JH5 &TRADITION DKK 1.595
6. VL45 Radiohus Pendant LOUIS POULSEN DKK 3.095
7. VV Cinquanta Twin ASTEP DKK 9.920
8. Lightsome WARM NORDIC DKK 3.995
9. Big Bang FOSCARINI DKK 6.170
10. Pendant Light A330S “Golden Bell“ ARTEK DKK 5.050

10

2
L
b
b
D
Less,
but
better
DIETER RAMS
It takes an
eye for design.
Knowledge of
materials. Concern
for the environment.
A love for furniture
and accessories
that can be used
for generations.
It takes respect for
tradition and the
courage to think
differently.
paustian.com