Danish Modern From the 1950s onwards, this term, along with its Scandinavian and Swedish counterparts, was widely used to describe those aspects of Danish design that acknowledged some of the characteristics of Modernism but were distinguished by the use of more traditional materials, natural finishes, organic shapes, sculptural form, and a respect for craftsmanship.
Danish architect and furniture designer Edvard Kindt-Larsen (1901–1982) collaborated frequently with his wife Tove Kindt-Larsen (1906–1994). The couple worked in the fields of architecture, furniture design, silverware design, and textiles from the 1930s to the 1960s, ranking among Denmark’s leading designers.
The son of a farmer, he attended Askov Højskole, a folk High School, before training as a cabinetmaker in Jutland and later in Copenhagen. From 1926 to 1929, he worked in Paris, Geneva and Lausanne. In 1935, he moved into Bredgade in Copenhagen where he started his own workshop which he maintained for 20 years. He attended evening classes at the Royal Danish Academy of Fine Arts where he studied under Einar Utzon-Franck and Kaare Klint.
In 1934, he set up his own design office. He designed the 1932 Safari chair, still in production today by Interna in Frederikssund (Denmark). He designed a range of objects, including furniture for Rasmussens Snedkerier, Ivan Schlechter, Cado, Danish CWS, and Interna; carpets; fittings; silver; and fabrics for use in the restoration of Danish churches. He published the book Modern Danish Arts — Craftsmanship (1948).
Koppel had his debut as a sculptor at the Artists’ Authumn Exhibition in 1935 with an expressive portrait bust. He was also represented with drawings on several exhibitions. His best works as a sculptor are the busts of Valdemar and Jytte Koppel (1938 and 1942, both in black granite) and Tora Nordstrom Bonnier and Karl-Adam Bonnier (both 1944).
Kastholm was apprenticed as a boy to a blacksmith and worked at that trade for five years in the United States before returning to Copenhagen to study design. Between 1954 – 1958 he studied at the Bygingsteknisk Skole, Frederick, under Arne Jacobsen. In 1959 the Grafisk Høskole. After graduation, he practised architecture and furniture design in Beirut.
In 1927, Jacobsen established his practice in Hellerup. He was Denmark’s first exponent of Functionalism, influenced by Modern architecture of the 1930s, such as Le Corbusier, Gunnar Asplund, and Ludwig Mies van der Rohe. His first significant assignment was the Bellavista housing complex in Copenhagen, which he completed between 1930 and 1934.
Lütken was the principal designer at Kastrup & Holmegard Glasverk from 1942 to 1945, where he adopted his predecessor Jacob Bang’s Modern shapes. In the 1950s, he implemented considerable improvements in manufacturing and aesthetic at Holmegard, inspired by the Triennali di Milano. His pieces featured fluid forms in light-coloured glass, some of which had satin-finish etching. He used heated metal to sculpt created glass.
Lise and Hans Isbrand have shown up at the SE shows multiple times with intriguing and experimental prototypes. Their work, on the other hand, tends to be more focused on ordinary life. As a result, they are responsible for various fascinating workplace furniture, inventive culinary utensils, and other items.