1903 - 1991, 丹麦
Johannes Andersen 是丹麦知名设计师，被公认为是中世纪丹麦现代主义的代表人物，善用柚木、黑檀木、桃花芯木等，打造了一系列兼具功能和美感的家具。
1903年，Andersen 出生于丹麦奥胡斯，在1922年完成了细木工匠的学徒生涯，并开始为多家家具制造商设计家具。30年代中期，Andersen 成立了设计工作室，逐渐形成了自己独特的风格，与 CFC Silkeborg、Trensem 等制造商合作了诸多产品。
曲线在 Andersen 的设计中占有重要地位，他充分发扬了丹麦家具的有机形态、流畅轮廓以及融合两者的内敛风格，他设计的 Carpi 沙发、Allegra 吧凳还有 Smile 咖啡桌等，都展现出了 Andersen 极富想象力的柔和曲线。除了独特的形态，Andersen 的家具也非常重视其功能性，可以延展的咖啡桌、紧凑而充分的储物空间，还有舒适的人体工学考量，都进一步证明了他作为一名细木工匠对于工艺的掌控力。
Denmark has a long tradition of producing some of the most acclaimed furniture designers of the 20th century. Johannes Andersen is no exception — his name is synonymous with mid-century modern design. He elevated Scandinavian modernism’s prioritization of practicality and space conservation to new heights and worked with luxurious woods like teak, mahogany and rosewood for a range of designs that merged grace and function.
After completing his cabinetmaker apprenticeship in his early 20s, Andersen began to design for several furniture makers, including CFC Silkeborg and Trensum. A few years later, he opened his own workshop and enjoyed success from the outset. Free of the constraints of working under another studio, Andersen quickly developed his own, distinctive style that drew on Danish functionalism and human-centered design.
After the end of World War II, Andersen noticed the worldwide postwar consumption boom and the burgeoning interest in Scandinavian modern design. He took full advantage of this and began to sell his shapely and eye-pleasing tables, chairs and sideboards to markets outside of Denmark. Other Scandinavian manufacturers took notice of Andersen’s work, which led to many successful, career-long collaborations for the furniture maker.
Like Finn Juhl and Alvar Aalto, Andersen was deeply drawn to organic shapes and flowing lines. He transformed furniture’s traditionally square or rectangular panels and surfaces — like the tops of coffee tables and seat-backs of dining room chairs — into imaginative half-moons with rounded corners, beveled edges and fluid contours. His unexpected use of curves is the highlight of his sleek Capri line for Trensum and can be found in his comfortable saddle-shaped Allegra bar stool and playful but elegant Smile coffee table, which sports an anthropomorphic grin in the slot intended to hold magazines.
Andersen wanted his furniture to be compact — he experimented with reducing the footprints of bulky furniture, and his simple, iconic credenzas, sideboards and folding bar cabinets were born. These and other vintage Johannes Andersen furnishings are in high demand today by collectors and mid-century modern enthusiasts all over the world.