Danish Modern Design

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Danish Modern Design

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25/08/2026

A quieter side of Arne Jacobsen.

The Kokfelt House was designed in 1955–56 as a summer house in Tisvilde, north of Copenhagen. Modest in scale, but unmistakably Jacobsen in its precise proportions, natural light and close relationship between house and landscape.

A small summer house showing that good architecture doesn’t need to shout.

Images: Arne Jacobsen

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18/08/2026

Peder Moos (1906–1991) made his furniture almost entirely by hand, often producing just a single example.

This exceptionally rare trolley in walnut, raw glass and brass was exhibited at the Copenhagen Cabinetmakers’ Guild Exhibition in 1942 and later signed “Moos, 1948”.

With his tiny output and obsessive craftsmanship, original Moos pieces are now among the rarest in Danish design.

Images: Studio Schalling

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15/08/2026

Frits Schlegel’s villa in Hellerup, built in 1931, is one of the great early works of Danish functionalism.

Originally designed as an exhibition house, it was Schlegel’s vision for the future of reinforced concrete architecture. The composition feels almost like an abstract painting, with shifted volumes, long horizontal windows and a surprisingly bold colour scheme: dark red walls reflecting the earth, pale yellow surfaces for the sun and light blue undersides for the sky.

The interiors are just as considered. The entrance is lined in Cuban mahogany with brass fittings, while the hall opens around a sweeping staircase and large window section. Almost 100 years later, it still feels incredibly modern.

A proper functionalist time capsule.

Images: Bjørn & Byskov Ejendomsmægler

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29/07/2026

The Pelican Chair was one of Finn Juhl’s first masterpieces, unveiled at the Copenhagen Cabinetmakers’ Guild Exhibition in 1940.

Made by master cabinetmaker Niels Vodder, it broke with almost every convention of its time. Inspired by surrealist art rather than traditional furniture, its soft, sculptural form was unlike anything people had seen before.

It wasn’t an immediate success. Many found it simply too radical.

Today, it’s considered one of the defining icons of Danish modern design. And in beautifully patinated leather like this, it somehow feels even more at home.

Images: OAM

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01/06/2026

Mogens Lassen’s white functionalist villa on Sølystvej, completed in 1938, is one of the most exciting private interiors in Danish modernism.

The architecture is pure Lassen: white volumes, open spaces, roof terraces, long window bands and a clear fascination with Le Corbusier. But the real magic is inside.

The interior is still almost completely original. Built-in bookshelves, colourful details, art, textiles and a remarkable collection of Finn Juhl furniture make the house feel less like a preserved monument and more like a living time capsule.

Especially wild are the Finn Juhl pieces in the living room, including the sculptural early easy chairs and the long built-in sofa arrangement. Together with the art-covered walls and bold use of colour, they soften the strict functionalist architecture and make the whole place feel deeply personal.

A rare chance to step inside Danish modernism before it became polished, branded and museum-safe.

Guided tours take place on 12 June at 11.00 and 13.00. Each tour is limited to 15 people. DM for more info and booking.

Images: Adam Štěch

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26/05/2026

Bagsværd Church by Jørn Utzon, completed in 1976.

The story begins after Sydney. While spending time in Hawaii, Utzon became fascinated by the way clouds gathered above the sea, with daylight falling between them. That image became the idea behind one of the most remarkable church interiors in Denmark.

From the outside, Bagsværd Church is almost anonymous. Prefabricated concrete panels, white tiles and a modest suburban presence. Inside, the building opens into something completely different.

The famous ceiling is not just a formal gesture. It is Utzon translating clouds into concrete. The curved vaults gather and soften the daylight, making the room feel both intimate and strangely weightless. A church interior shaped less by decoration than by light, rhythm and atmosphere.

The furniture and fittings stay deliberately quiet. Pale wooden benches, white surfaces, tiled floors and a restrained material palette leave the ceiling and daylight to carry the space.

A reminder that Danish modern architecture was never only about furniture. At its best, it could turn concrete into something almost spiritual!

Images: Seier+Seier &

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20/05/2026

Hans J. Wegner holding the very first version of The Chair — originally designed in 1949 for master cabinetmaker Johannes Hansen.

Unlike the later upholstered editions, this early version featured woven cane in both the seat and back, giving the chair a lighter, almost architectural transparency. Wegner refined the form obsessively, reducing the chair to what he considered the essential lines needed for comfort, strength and beauty.

The Chair later became internationally known after the 1960 Kennedy–Nixon debate, but at its core it remained a deeply Danish collaboration between designer and cabinetmaker — shaped by craftsmanship rather than industry.

One of the purest expressions of Danish modern.

Image: Unknown

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15/05/2026

Finn Juhl’s house in Ordrup, completed in 1942, was conceived as a total work of art — where architecture, furniture and art merged into one cohesive interior.

The living room and studio became a testing ground for many of Juhl’s most iconic designs, including the Chieftain Chair and Poet Sofa. Unlike the stricter functionalism of many contemporaries, Juhl introduced softer forms, expressive colours and a more sculptural approach to furniture.

Artworks by figures such as Asger Jorn and Vilhelm Lundstrøm were integrated throughout the house, reflecting Juhl’s belief that modern interiors should feel personal, warm and deeply human.

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11/05/2026

Villa Kjærholm, designed in 1962 by architect Hanne Kjærholm and furnished entirely by Poul Kjærholm, feels less like a showpiece and more like a complete way of thinking.

Set along the Øresund coast north of Copenhagen, the house is defined by restraint: pale brick walls, Oregon pine ceilings, woven straw floors and carefully measured light. Every detail feels considered, yet never forced.

Poul Kjærholm’s furniture sits naturally within the architecture. Steel, leather and ash create quiet contrasts against the warmth of the interior, while large windows dissolve the boundary between house and landscape.

More than sixty years later, the villa still feels remarkably contemporary — calm, precise and deeply human.

Images: Simon Heger Knudsen & Ditte Isager

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08/05/2026

Designed in 1961 by Jørn Utzon for his friend and collaborator Povl Ahm, the Ahm House remains one of the most significant modern houses in Britain — and the only realised Utzon project in the UK.

Behind its discreet exterior unfolds a sequence of warm, light-filled spaces shaped by brick, pine and glass. The house reflects Utzon’s belief that architecture should first and foremost serve the people living in it.

More than sixty years later, the Ahm House still feels remarkably human: quiet, tactile and deeply connected to its surroundings.

Images: James O. Davies & Tim Crocker

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