Arne Jacobsen & Fritz Hansen
Like a locomotive Arne Jacobsen pushed through the landscape of Danish design and architecture for more than half the past century. The traces are still present, everywhere around us today, more than 30 years after his death: From the architecture that we admire as we rush by, to the objects we use and enjoy every day.
Or consider at a distance as stars on the international design stage. When Jacobsen was not working, he worked nevertheless - only with something else. To him, relaxation meant a shift to another project in the creative realm. This is what enabled such an enormous output with no compromises on quality.
More than ever, Arne Jacobsen’s design is a distinct part of the image that our surroundings and, gradually, we too, have of the core of the Danish design identity.
The best designs have long since passed on to ’The Hall of Famous Objects’, where the reasons and causes behind the design need not be questioned, and where the success story is a case of world-class branding; 20th century icons and timeless, classic elegance. Everything has been said, and everything analysed - or is there still more to be said?
The idea as the point of departure: From the complex to the very simple. With a relatively small studio staff, Jacobsen mastered the range from large, complex building projects (like Danmarks Nationalbank) to the teaspoon in his cutlery. Throughout this range lay a consideration of every detail in the total design of the building, which was the invisible force that drove him to his goals. The goal required a huge work effort: The idea may have been strong from the outset, but nevertheless appeared vague to Jacobsen, until he had worked them out and defined the design thoroughly - not without the assistance of close associates.
The distinct accuracy and striking likeness of his drawings with the end-result, especially of many of his watercolours of buildings, reflects his ability to bring ideas to life. Jacobsen originally wanted to be a painter, and this is especially evident in the level of ambition in his presentation drawings.
Or consider at a distance as stars on the international design stage. When Jacobsen was not working, he worked nevertheless - only with something else. To him, relaxation meant a shift to another project in the creative realm. This is what enabled such an enormous output with no compromises on quality.
More than ever, Arne Jacobsen’s design is a distinct part of the image that our surroundings and, gradually, we too, have of the core of the Danish design identity.
The best designs have long since passed on to ’The Hall of Famous Objects’, where the reasons and causes behind the design need not be questioned, and where the success story is a case of world-class branding; 20th century icons and timeless, classic elegance. Everything has been said, and everything analysed - or is there still more to be said?
The idea as the point of departure: From the complex to the very simple. With a relatively small studio staff, Jacobsen mastered the range from large, complex building projects (like Danmarks Nationalbank) to the teaspoon in his cutlery. Throughout this range lay a consideration of every detail in the total design of the building, which was the invisible force that drove him to his goals. The goal required a huge work effort: The idea may have been strong from the outset, but nevertheless appeared vague to Jacobsen, until he had worked them out and defined the design thoroughly - not without the assistance of close associates.
The distinct accuracy and striking likeness of his drawings with the end-result, especially of many of his watercolours of buildings, reflects his ability to bring ideas to life. Jacobsen originally wanted to be a painter, and this is especially evident in the level of ambition in his presentation drawings.
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