Although today relatively obscured by the fame of his peers, Arne Jacobsen and Hans Wegner, Finn Juhl remains a central name in the story of Danish modernism. His chairs still impress with their sculptural, expressive forms (his Pelican chairs, which critics dubbed “tired walruses” when they first came out, look avant-garde even today) and the meticulous craftsmanship required to produce them. Finn Juhl and His House (Hatje Cantz), a new book by Per H. Hansen, reevaluates Juhl’s famous designs—as well as the best exhibition space of the designer’s work, his own home in Ordrup, just outside of Copenhagen. Remarking that “When I build a house, I don’t like someone else to come in and spoil it,” Juhl made sure to design every detail of his home, and he adjusted the details until his death in 1989.
Although Juhl was educated as an architect, he designed only a few houses. He built his own home in 1941, with the inheritance received after his father’s death. He approached the design of his home primarily as a furniture and interior designer, starting from articulating the interiors and reserving the development of the exteriors for the very end. His idea was that furniture created the room, and the room created the facade.
The 2,200-square-foot home is made up of two buildings connected by a low entrance hall. As one of the early examples of open plan houses, the spaces flow into one another organically, and all the rooms open up to the surrounding garden through large windows and doors, making the outside a direct extension of the interior.
Juhl kept the the inside of the house in a constant state of flux. The furniture and the layout changed throughout the years as Juhl developed new designs and incorporated them into the interiors. In the dining room, for instance, Juhl originally employed Windsor chairs, only to replace them with his own designs sometime in the 1940s and finally settle on his Egyptian chairs in 1949. While he mostly utilized furniture he designed with cabinetmaker Niels Vodder, some pieces he designed specifically for the space, like the famous Poet sofa of 1942. “One cannot create happiness with beautiful objects, but one can spoil quite a lot of happiness with bad ones,” said Juhl, as he kept developing his designs, keeping in his home only the ones he was fully satisfied with.
Juhl’s guiding thought was to foster an interaction between furniture, art, color, and light. Perhaps the best example of his approach can be found in the living room where, above a white Poet chair, hangs Vilhelm Lundstrom’s painting of Juhl’s wife, around a white brick hearth that extends into the room like a rug. The room becomes a medley of light and texture.
Now, as the house has become a part of Ordrupgaard museum, visitors get to experience the effects of this midcentury marvel for themselves.
Dora Vanette is a part time lecturer at Parsons The New School for Design. She holds MA degrees in 20th Century Art History and English from University of Zagreb, Croatia, as well as in Design Studies from Parsons The New School for Design. She has written about art and design for a variety of print and online publications. firstname.lastname@example.org
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