This Poul Kjaerholm PK61 Basalt Top Ejvind Kold Christensen, 1956 is no longer available.
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This low table created to complement the PK22 lounge chair was one of his most elementary designs, but it had the power of a menifesto. The table was constructed of four welded steel elements joined with machine screws and topped with plates of stone or glass. Both types of tops were honed to create a non-reflective finish that complemented the amtt surface of the steel legs and reinforced the sensation of a single, self-contained object. The legs extended above the horizontal bars, flush ith the surface of the table, to hold the top in position. The pinwheel-like structure of the base created a square that allowed Kjaerholm tof asten each of the four elements at two points, increasing the rigidity of the frame. The result was an object that was visually and tructurally stable.
Important literature: The furniture of Poul Kjaerholm; Catalogue Raisonne
About Poul Kjærholm (Designer)
A trained cabinetmaker, Poul Kjærholm’s use of industrial methods and materials in the 1960s brought a fresh, graceful, sleek new style to Danish modern design.
At Copenhagen’s School of Arts and Crafts, Kjærholm studied under Hans Wegner and Jørn Utzon — an industrial designer and the architect of the celebrated Sydney Opera House. The latter greatly influenced Kjærholm’s furniture production techniques — although he employed natural materials such as cane and leather, to a far greater extent than his peers Kjærholm embraced the use of steel (rather than wood) framing for his chairs and tables.
Kjærholm’s signal design was the PK 22 chair of 1956, a low-slung leather lounger on a steel base. The ideas introduced in the PK 22 — Kjærholm’s designs were named using a numeric system devised with his manufacturer, E. Kold Christensen — were refined throughout his career, as the offerings below show: the PK 11 chair of 1957, with back and armrests formed by a semicircle of ash; the capacious, richly patinated leather seat of a vintage 1961 PK 9 chair; the elegant rattan swoop of the PK 24 chaise longue (1965). The chaise longue's leather headrest, held in place by a steel counterweight, best shows Kjærholm's particular gift for combining technological advancements with a respect for traditional detailing. While respectful of the past, Poul Kjærholm's sensibility is one of optimism and expectation. His was design for those who lived with verve and élan, and confidently anticipated the future.
Read more about Poul Kjaerholm in Introspective Magazine
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