The sublime simplicity of the Japan Sofa is a far cry from some of Finn Juhl’s earliest furniture designs and is inspired by traditional Japanese building techniques. The solid horizontal backrest, resting on the slightly tapered legs, is a reference to a Japanese temple door. The backrest ends in a circular recess, adding an optically refined impression with great effect. That was very typical of Finn Juhl, who famously said that deviation is in the detail.
Finn Juhl’s partnership with the furniture manufacturer France & Son gave birth to a series of furniture well-suited for industrial production, while staying true to the ideals of simple designs that reigned in the 1950s. The most famous example of this cooperation is probably the Japan Series from 1957, which consists of a lounge chair, a footstool, a two seater sofa and a three seater sofa.
Even with the Japan Sofa’s simple construction, Finn Juhl was true to his idea of emphasising the difference between the carried and the carrying elements by separating the backrest from the bearing frame with brackets in brass. The Japan Sofa Three Seater is available in oak or walnut with upholstery in textile.
Year – 1957, relaunched 2007 Country of origin – Denmark
Materials – Frame: Oak natural oil, Oak neutral oil, Walnut
Upholstery: Textile or leather
Dimensions –
FJ 5301 Lounge chair: L 60 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5302 2- seater sofa: L 120 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5303 3- seater sofa: L 180 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5300 Footstool: L 60 cm x D 53 cm. Seat height 35 cm
“Art has always been my main source of inspiration. I am fascinated by shapes which defy gravity and create visual lightness.” – Finn Juhl
Rather than thinking in terms of practical construction, Finn Juhl had the mind-set of a sculptor, when he shaped a piece of furniture. In the 1940s and 1950s, this way of working had never been seen before. His ambition was to design furniture with movement and life. Finn Juhl took pride in making both the structurally supportive elements of the furniture and the seated person look as though they are floating. In some of his chairs, the backrest and the seat are almost invisibly joined, as if they were clouds floating through the room.
In creating his furniture, Finn Juhl worked with two elements: The carrying element, and the carried. He eventually became known for his special ability to separate the bearing parts from the borne. This is one of many examples of how he broke free from conventional working methods and found his inspiration in art.
Initially, in fact, Finn Juhl wanted to become an art historian. Since his early years, he had been interested in fine arts. However, his father wouldn’t allow a career as an artist. Instead, Finn Juhl enrolled at the Department of Architecture at the Royal Academy of Arts in Copenhagen. Finn Juhl began his studies in the 1930s, which was an important period in furniture design, when modern design started to emerge. While he was still a student, Finn Juhl started working with the prominent Danish architect Vilhelm Lauritzen in 1934 where he worked on major projects such as the Danish Broadcasting House and Copenhagen Airport.
Finn Juhl was kept so busy that he never finished his studies. Despite this, he received the honour of becoming a member of the Academic Architect Society in 1942 and, later in life, he became a visiting professor at the Institute of Design in Chicago. By the time he had made a name as a furniture designer, he would always speak
of himself as being self-taught.
One of the international highlights of Finn Juhl’s career was designing the complete interior of the Trusteeship Council Chamber at the UN headquarters in New York between 1951 and 1952.
Trade discount available on application.
Manufacturer’s warranty applies. Please contact a Danish Red consultant for details.
Approximately 18-22 weeks
The sublime simplicity of the Japan Sofa is a far cry from some of Finn Juhl’s earliest furniture designs and is inspired by traditional Japanese building techniques. The solid horizontal backrest, resting on the slightly tapered legs, is a reference to a Japanese temple door. The backrest ends in a circular recess, adding an optically refined impression with great effect. That was very typical of Finn Juhl, who famously said that deviation is in the detail.
Finn Juhl’s partnership with the furniture manufacturer France & Son gave birth to a series of furniture well-suited for industrial production, while staying true to the ideals of simple designs that reigned in the 1950s. The most famous example of this cooperation is probably the Japan Series from 1957, which consists of a lounge chair, a footstool, a two seater sofa and a three seater sofa.
Even with the Japan Sofa’s simple construction, Finn Juhl was true to his idea of emphasising the difference between the carried and the carrying elements by separating the backrest from the bearing frame with brackets in brass. The Japan Sofa Three Seater is available in oak or walnut with upholstery in textile.
Year – 1957, relaunched 2007 Country of origin – Denmark
Materials – Frame: Oak natural oil, Oak neutral oil, Walnut
Upholstery: Textile or leather
Dimensions –
FJ 5301 Lounge chair: L 60 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5302 2- seater sofa: L 120 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5303 3- seater sofa: L 180 cm x D 70 cm x H 78 cm. Seat height 35 cm FJ 5300 Footstool: L 60 cm x D 53 cm. Seat height 35 cm
“Art has always been my main source of inspiration. I am fascinated by shapes which defy gravity and create visual lightness.” – Finn Juhl
Rather than thinking in terms of practical construction, Finn Juhl had the mind-set of a sculptor, when he shaped a piece of furniture. In the 1940s and 1950s, this way of working had never been seen before. His ambition was to design furniture with movement and life. Finn Juhl took pride in making both the structurally supportive elements of the furniture and the seated person look as though they are floating. In some of his chairs, the backrest and the seat are almost invisibly joined, as if they were clouds floating through the room.
In creating his furniture, Finn Juhl worked with two elements: The carrying element, and the carried. He eventually became known for his special ability to separate the bearing parts from the borne. This is one of many examples of how he broke free from conventional working methods and found his inspiration in art.
Initially, in fact, Finn Juhl wanted to become an art historian. Since his early years, he had been interested in fine arts. However, his father wouldn’t allow a career as an artist. Instead, Finn Juhl enrolled at the Department of Architecture at the Royal Academy of Arts in Copenhagen. Finn Juhl began his studies in the 1930s, which was an important period in furniture design, when modern design started to emerge. While he was still a student, Finn Juhl started working with the prominent Danish architect Vilhelm Lauritzen in 1934 where he worked on major projects such as the Danish Broadcasting House and Copenhagen Airport.
Finn Juhl was kept so busy that he never finished his studies. Despite this, he received the honour of becoming a member of the Academic Architect Society in 1942 and, later in life, he became a visiting professor at the Institute of Design in Chicago. By the time he had made a name as a furniture designer, he would always speak
of himself as being self-taught.
One of the international highlights of Finn Juhl’s career was designing the complete interior of the Trusteeship Council Chamber at the UN headquarters in New York between 1951 and 1952.
Trade discount available on application.
Manufacturer’s warranty applies. Please contact a Danish Red consultant for details.
Approximately 18-22 weeks