ARCHITECTMADE

Before the pine, before the paint - there was this.
The original technical drawing for Discus by architect Hans Bølling shows two sizes - 90mm and 180mm - every curve plotted with the same precision that would later be translated into hand-painted pine. The drawing is a design in its own right.
Did you know each Discus is still painted by hand, one layer at a time?

For Peter Karpf (1940-2025), design was a process of discarding - removing everything unnecessary until only clarity and calm remained. Known for bending furniture from a single piece of wood, his work bridges material understanding and architectural thinking in a way that feels both disciplined and deeply human. His designs are in MoMA, the V&A and the Centre Pompidou. But more importantly, they still feel as relevant today as the day they were made.

Curious, distant, or watching - one shift of the head.
Bubo, 2017. Nikolaj Klitgaard. Turned oak - rotating head, magnetic arms, inlaid eyes.
How would you want Bubo looking at you?

We don't work with just any architect. We work with the ones whose designs you never get tired of looking at. Because an object you never tire of is an object you never replace. That is not an accident - it is the foundation of everything we do. Twenty-two years of choosing the right people, the right materials, and the right way of making things. Sustainability starts with the very first line on paper.

This is what a glass looks like before it becomes a classic. Mouth-blown by hand, shaped by heat, designed by the mind behind the Sydney Opera House. Some designs don't follow trends. They outlive them.

One bird. More steps than you'd think. All by hand.
Bird, 1959. Kristian Vedel. Turned oak - eyes inlaid in wenge and maple, head and body each worked separately before the form is complete.
How many does it take to feel like a family?

Join us for a calm get-together today at 16:00.

Thank you to everyone who has visited our exhibition so far. This afternoon we are slowing down together. Come and see our exhibition, and Carla Thonsgaard's paintings as postcards for the first time.

Maison du Danemark, 142 av. des Champs-Élysées, Paris
Exhibition is until 14 September, 12:00 to 18:00

Guided by restraint and precision. He trained as a cabinetmaker - then chose steel as his primary material, at a time when every other Danish designer was working almost exclusively in wood. Poul Kjærholm (1929-1980) called himself a "furniture architect" - with an uncompromising focus on technical quality, where every component and assembly detail is intentionally revealed. He chose materials that age with dignity, making sustainability a natural outcome of his functional, enduring philosophy. His work ended up in MoMA, the V&A - and living rooms that have never needed anything else since.

33 candles. One installation.
Solid stainless steel arms placed in a precise staggered sequence - each one holding a single flame. A disciplined, linear arrangement as sculptural unlit as it is lit.

PK-101, 1956. Poul Kjærholm.

Where in your home would you hang it?

Hans Bølling made serious work out of not being serious.
Strit, 1953. Turned teak and maple, fully articulated - legs, arms, torso, and head all movable. Every configuration a different mood. Same architect who made the Mermaid, different register entirely.
What expression would you give it?