BM1160 HUNTING TABLE
The BM1160 Hunting Table was made by Børge Mogensen.
The name refers to the “Hunting Cabin” theme of the Guild’s exhibition, a
detail which is also reflected in the table’s robustness and wood-focused
design.
Mogensen’s Hunting Table is slightly narrow across the
top, which makes it suitable for smaller spaces, while allowing for more
intimate social gatherings. Furthermore, the table is constructed for frequent
use with rounded corners and edges in solid wood, which reveals Mogensen’s
passion for democratic and accessible design. The stability is ensured through
the use of two diagonal brace metal bars connecting the tabletop and frame with
an aesthetically pleasing effect. Further detailing, such as the mortise and tenon
joints on the legs manufactured in contrasting wood, accentuate the table’s
handcrafted expression.
About Designer | |
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Børge Mogensen |
Børge Mogensen was
known as ‘the people’s designer’ – not only because of his convivial nature but
also because, throughout his career, he insisted on designing quality furniture
that was within people’s reach. Mogensen's approach to the creative process was to
produce pieces that placed humans at the centre and could last for generations.
With this as his starting point, he became one of the most influential
designers of the post-war era and a prominent figure among the designers behind
Danish Modern. Mogensen's ambition to design simple and functional wooden
furniture for both private and public spaces was, and continues to be, in line
with the Danish understanding of design and the concept of democratic design. His designs represent a restrained aesthetic with
emphasis on strong construction and materials of the highest quality.
Throughout his life, he swore by solid wood, particularly oak, pine and beech
wood, as well as leather. From these materials, Mogensen created a string of
simple and functional furniture pieces with the purpose, in his view, to invite
people to express themselves freely. Many people will recognize his Hunting
Table and Deck Chair Set. The driven designer avoided unnecessary adornment and
wild experiments. Instead, he stood for visual clarity, and often used the
squares of his A4 graph paper pad as the starting point for his work. Mogensen learned the stringent and clear approach to
furniture design from Kaare Klint, one of the most influential designers of his time. As a student of
Klint's at the Royal Danish Academy of Fine Arts, Mogensen was inspired by his
thoughts about the bare essentials and the fact that Klint based his designs on
human proportions. According to both Klint and Mogensen, a successful furniture
piece should radiate both visual calmness and pure functionalism. In contrast
to Klint, however, Mogensen placed considerable emphasis on developing
furniture for informal interior décor and adapted to modern production
facilities. He completed his cabinetmaker training in 1934. From
the beginning, he based his design on the universe of wood, and retained his
fondness for this organic material throughout his career. He later studied
furniture design at the Copenhagen School of Arts and Crafts (1936-1938) and at
the Royal Danish Academy of Fine Arts (1938-1942). In the same period, he was
employed at Kaare Klint's and Mogens Koch's design studios, where he worked until he was hired as chief
designer for the Danish furniture cooperative FDB in 1942. Here, Mogensen became a pioneer for the concept of
democratic design, setting a whole new agenda for modern interior design until
1950, when he established his own design studio. His plan was to develop
modern, useful furniture pieces that could be produced locally using material
from the Nordic woods.
In 1950, Mogensen was awarded the Eckersberg Medal and
in 1971 the Danish Furniture Prize. In 1972, just before his death, he was
awarded the C.F. Hansen Medal and appointed Honorary Royal Designer for
Industry at the Royal Society of Arts in London. |