Kaare Klint (1888-1954) – Architect and cabinetmaker. Klint was architect for e.g. the remodelling of Thorvaldsen’s Museum in 1923 and completion of the Grundtvig Church, 1930-40, from which Klint’s Church Chair is familiar. In 1914 Klint produced furniture and fittings for the newly built Faaborg Museum, e.g. the Faaborg Chair. He taught the subject furniture design, which he himself introduced to the Royal Danish Academy of Fine Arts in 1924, and where Klint came to exercise great influence on Danish furniture design. Klint had a very independent style, uninfluenced by various other currents of thought, and placed weight on analysis of function as well as selection and treatment of material.
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It was entirely natural for Kaare Klint to have found his way into the world of design. Kaare Klint was son of the well-known Danish architect Peder Vilhelm Jensen-Klint. From his father and the architect Carl Petersen Kaare Klint learnt to appreciate proportions and dimensions in classic furniture, which became the topic of measurement, comparison and discussion. Kaare Klint, however, took this line of thought further still by studying measurements of the human body, in terms of what is called anthropometry. Addressing anthropometry was a brave attempt to measure the morphology of the human body in order to create ’humane’ furniture that suited human proportions far better than had earlier been the case.
In 1924 Kaare Klint became professor at the Royal Danish Academy of Fine Arts’ School of Furniture Design, a department he contributed to setting up. Here his work with anthropometry as well as a long career as enthusiastic designer and commentator of Danish design began. Figures later to become so prominent as Børge Mogensen, Hans J. Wegner and Ole Wanscher all studied under Kaare Klint, who with his classic and functional ideals, influenced a large part of the world famous Danish design of the 1930s and thereafter. Kaare Klint hinself is especially recognized for his Safari Chair and the ‘Red’ Chair, both produced by Rud. Rasmussen. Kaare Klint naturally took part in the family business Le Klint, where paper was folded into the famous lamps.
The prelude to Le Klint started already in 1901, when architect Peder Vilhelm Jensen-Klint invented a lampshade of pleated paper – actually because he needed a lampshade for a stoneware oil lamp he had developed.
In 1943, the next generation, in the form of his son Tage Klint
, decided to turn the paper folding, which at this time had developed into a family activity, into a commercial company and founded Le Klint
’s folded lampshades are known and loved all over Denmark. They give an attractive soft light and, with their timeless, classic design, suit a wide range of lamp bases.
Klint has – as well as lamps with the characteristic lampshades – developed a series of lamps in collaboration with many of the great designers of our times. E.g. the typical folded Klint shade with the classic scissor lamp arm, designed by Erik Hansen, that comes in a variety of different types of wood.
A group of Klint’s most widely seen and well-known lamps are the Klint pendant lamps, folded in plastic in fanciful but still geometric forms. Since the time these Klint lamps were put into production they have been folded by hand by Klint’s own 'pleaters'.
Well-known designers such as Kaare Klint (son of P.V. Klint), Esben Klint, Andreas Hansen and not least Poul Christiansen have designed a wide range of pendant lamps for Le Klint. It was Poul Christiansen who, in 1967, introduced curves to the folds of the lamps instead of the straight lines that Klint had used up until then. This came to be familiar Le Klint Sinus series, developed since the late 1960s. The whole family of geometric Le Klint lamps can be regarded as further developments of Kaare Klint’s Fruit Lantern from 1944. After Le Klint’s success with these lamps the company has since resumed production and developed models now including standard lamps too.
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