for Carl Hansen & Søn
Børge Mogensen designed the BM1160 Hunting Table for the Copenhagen Cabinetmakers’ Guild Furniture Exhibition in 1950. 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. The Hunting Table combines excellent woodwork with elegant metal brace bars, creating a bold and organic whole. The table is slightly narrow across the top, which makes it suitable for smaller spaces while allowing for more intimate social gatherings. Furthermore, it 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.
Børge Mogensen was one of the pioneers that created the foundation for the Danish Design as a culture of furniture design. His life-long ambition was to create durable and useful furniture that would enrich people’s everyday lives, and he designed functional furniture for all parts of the home and society.
Mogensen’s ideal was to create furniture with a restrained aesthetic. He believed that furniture should create a sense of tranquillity and have a modest appearance that encourages people to live their lives unpretentiously. He was acclaimed for his masterful sense of materials and proportions, and for his ability to create beautiful and distinctive furniture by emphasizing simple horizontal and vertical lines and surfaces – all in an attempt to create aesthetic clear designs that were easy to produce.
While working strictly within his self-imposed dogmas, Mogensen’s artistic temperament often led him to break his formal rules without abandoning their original intent. Thus Mogensen’s furniture can be described as both modest and very self-confident - just as their creator. Throughout his life, Mogensen was one of the boldest voices in the critical debate on furniture design. He often criticized his peers for surrendering their artistic authenticity in favor of short-sighted fashions, but he always welcomed innovations that he found offered real progression. Mogensen preferred to work in refined, yet rustic, natural materials such as solid oak, natural leather, wool fabrics, and brass mountings.
Mogensen was a trained cabinet-maker and furniture designer at the Copenhagen School of Arts and Crafts before entering the school of furniture design at Royal Danish Academy of Fine Arts, where he was taught by Kaare Klint and graduated in 1941. Throughout his career, Mogensen continued to defend the ideals of evolutionary design progression that was essential to the Klint School, while also expanding on the tradition. Contrary to Klint, Mogensen was not only inspired by the traditional cabinet-maker’s types and crafts - instead he adapted models planned for industrial production, as well as the more informal housing that emerged in the 1960s.
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