2F

Vintage Safari Chair

Designer  Jens H. Quistgaard

Year 1960s

Material  Rosewood, Black Leather, Steel

Size  W75 x D66 x H.69/sh35 (cm)

Jens Harald Quistgaard (1919–2008)

Jens Harald Quistgaard (1919–2008) was a Danish sculptor and designer, known principally for his work for the American company Dansk Designs, where he was chief designer from 1954 and for the following three decades. Cheese knife and board attributed to Quistgaard Though a sculptor and grounded in traditional handicrafts, he quickly established a career as an industrial designer. From the mid-1950s his tableware and kitchenware designs became synonymous with Scandinavian modern and found their way into millions of homes in the US, Europe and Japan. With his international orientation and success he was groundbreaking, and he had great significance for the place which Danish design acquired in the minds of many Americans.[1] In 1958, he received the Neiman Marcus Award and during the following years he was represented at major museums in Europe and the USA.[citation needed] Many of Jens Quistgaard's works are still produced today.

Unintended Series Stools

Producer/Designer Yunhwan Kim

Material Anodized Cast Aluminum

Size ø40 x H.45 (cm)

Yunhwan Kim (1987)

Yunhwan Kim is a South Korean artist who has, in the past 5 years, made a significant mark in the world of collectible design. With his distinctive line of works called the “Unintended Series,” which includes cabinets, tables, screens, mirrors, and lighting, Kim has captivated audiences with his remarkable craftsmanship and artistic vision. Initially studying woodworking in school, Kim developed a hands-on approach to his art, embracing the tactile nature of the craft. His journey as an artist began with a series of small hand-carved wood objects such as trays, vessels, and bowls, which possessed what he refers to as “unintended shapes.” Intrigued by these forms, Kim started exploring their potential by connecting them, reversing their orientation to reveal dips and arcs, and modifying their shapes. Through this process, the works took on a life of their own, unfolding and evolving into large abstract pieces that eventually grew into his signature sculptural furniture. What sets Kim’s creations apart is their irregular, improvisational, and organic nature. His forms vaguely resemble the silhouette of spilled water, embodying a sense of fluidity and topography. Large contoured shapes define his pieces, interconnecting like tributaries or branch-like forms, creating an intricate and visually captivating composition. The fusion of these elements results in furniture that blurs the boundaries between function and art, challenging conventional notions of design.