pp911 Slow Chair by Søren Ulrik Petersen

Slow Chair

Slow Chair designed in 2000 by Søren Ulrik Peterson for PP Møbler, who say about him:

His training as cabinet maker and his education the Danish School of Design have been decisive for this reccurrently prize-winning designer. His work is thus characterised by the confident hand of the craftsman, an eye for detail, and thorough knowledge of furniture construction principles. And, simultaneously, his design education steps into character. One senses a generous creative excess in his models. With its focus on functionality and simplicity, this excess points to his anchorage in the Danish design tradition . But also there is the more personal aspect which first and foremost signals a sense of humour and a certain degree of laid back attitude.

Søren Ulrik Petersen started working with PP Møbler in 1998. Just one year later, the result was the arm chair Suppose, which was launched at SE’s exhibition the same year. Since then, Søren Ulrik Petersen has been a regular visitor at the workshop in Allerød at least once a week.

Despite Søren Ulrik Petersens education as cabinet maker back in 1985, it was not until his collaboration with PP Møbler that he ventured working with wood in his designs. The dialogue has since then been characterised by mutual respect where each party benefits from the others professionalism.

His humility and respect for the craft means that Søren Ulrik Petersen always uses the cabinet maker’s knowledge when developing his designs. He never prsents completely finished models, but rather an idea or concept, which is then finished in cooperation with the craftsmen at the workshop. Consequently, the process is dynamic, progressive, and mutually inspiring

Franquin’s armchair by Leblon Delienne – M & O 2017 (04)

Franquin's Armchair

by Leblon Delienne

Leblon Delienne is a French producer of Mainly comic strip oriented figurines. Inspired by André Franquin, a famous Belgian comic strip cartoonist, artists of Leblon Delienne have designed this Franquin chair.

Machine Age Armchair by K.E.M. Weber

Machine Age Armchair by KEM Weber aside

Machine Age Armchair by KEM Weber front

via 1stdibs dealer

More about KEM Weber

Architect and designer Kem Weber arrived in the United States in the vanguard of a wave of progressive Central European talents — among them, Rudolph Schindler, Richard Neutra, Paul T. Frankl and Ilonka Karascz — who would profoundly affect the course of modernism in the United States. In his new home, Weber created a wholly American form of modern design that is sleek and stylish, yet comfortable and practical.

Karl Emanuel Martin Weber — “Kem” was his self-styled nom d’usage — was born and trained in Berlin. In 1914, he became an accidental immigrant to the U.S.. Sent to San Francisco by his teacher-turned-employer, architect Bruno Paul, to oversee an installation at a global design expo, Weber was marooned by the outbreak of World War I. But he quickly grew to love California, even if his early years there were difficult. When design commissions were hard to find, he took jobs as a lumberjack, chicken farmer and art school teacher. (He gained U.S. citizenship in 1924.)

In the mid-1920s, while working for the Los Angeles–based Barker Bros. department store — the largest furniture retailer in the country at the time — Weber regularly traveled around the nation to deliver lectures on modernism. His reputation as a champion of a new, clean and elegant style earned him architectural commissions and contracts to design furniture and items such silverware, coffee services and cocktail shakers. His masterpiece is the Airline lounge chair, designed 1934-1935. With its raked, gently angular frame and cantilevered seat, the chair suggests movement, speed and forward progress. Though it seemed perfect for mass production, Weber was never able to convince a major manufacturer to take it on. In the end, fewer than 300 Airline chairs were made. Today, those may be the rarest examples of Weber’s work, but are always worth looking out for. As you will see on these pages, his designs are both intelligent and stylish. They deserve to be a part of any serious collection of American modernism.

Not Only Hollow Chair by Dirk van der Kooij – 2017 Object Rotterdam 03

Not Only Hollow Chair by Dirk van der Kooij

At Studio Dirk Van der Kooij techniques are developed to make a better world.
The chair is created with a completely new, high-tech process. An in-house developed robot melts plastic, into a pipe like shape and then carefully writes out the shape of this chair, somewhat like 3d printing.
Each line is hollow to minimize resources, and the source is 100% recycled synthetics.
The minimalistic shape and the extremely low resolution make the looks of the chair closely related to how it’s made.
It is not only recycled or minimizing resources, it’s not only a newly developed 3d printing process, it is not only a catchy design piece…
The true beauty lies in the combination of it all…

Quoted from Dirk van der Kooij

OW149 Ole Wanscher Colonial Armchair

Turnable cushions and seems very practical and comfy. Designed by Ole Wanscher for Carl Hansen and Son

via Skandium