jacob jensen design

JACOB JENSEN DESIGN

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Simple

One of the eternal laws of our planet is action - reaction;

in nature and in culture. A creation demands a reaction.

The success of a creation is dependent upon commitment, idea,

communication and the evolutionary process until perfection is reached.

Being aware of these components, one can achieve results which

reduce vulnerability and strengthen recognition and survival.

It is in fact very simple.

Timothy Jacob Jensen

International Gift Corporation | Vikings | 1958

General Electric | Hi-fi concept | 1962

Bang & Olufsen | Beovox Cube 2500, loudspeaker | 1967

Bang & Olufsen | Beolit 400, transistor radio | 1970

Bang & Olufsen | Beogram 4000, turntable | 1972

Bang & Olufsen | Beomaster 1200, radio / amplifier | 1969

Bang & Olufsen | Beomaster 1900, radio / amplifier | 1976

Bang & Olufsen | Beocenter 9000, music system | 1986

JO-JO | Cable reel series | 1983

Rosti | Margrethe bowl | Design by Jacob Jensen for Bernadotte & Bjørn | 1950

Nilfisk | GM200 Vacuum cleaner | Co-design Hanne Uhlig | 1992

LASAT | Unique 144 Modem | 1993

Kirk | E76 Telephone | 1976

Jabra | JX10 Bluetooth headset | 2005

Gaggenau | CK494 Glass ceramic hob | 1996

Gaggenau | EB900 built-in oven | 1993

Gaggenau | Vario built-in appliances | Co-design Reinhard Segers | 1999

Gaggenau | AH600 Extractor hood | Co-design Reinhard Segers | 1999

Bell Xpress | JACOB JENSEN Timer | 2001

Bell Xpress | JACOB JENSEN Scale | 2003

Bell Xpress | JACOB JENSEN Smoke alarm | 2001

S. Weisz | JACOB JENSEN Classic wall clock | 1988 & 2004

S. Weisz | JACOB JENSEN 510 Classic watch | 1986 JACOB JENSEN 530 Digital watch | 2003

JACOB JENSEN 681 Titanium watch | 2004 JACOB JENSEN 600 Titanium chronograph | 2005

The Jacob Jensen Design studio is situated on the Limfjord in Jutland, Denmark

Danish Eyewear | JACOB JENSEN Titanium Rimless spectacles with Titanium Temples | 2006

JACOB JENSEN Titanium Rim spectacles | 2003

Bell Xpress | JACOB JENSEN Door bell | 2005

Bell Xpress | JACOB JENSEN Weather station series | 1999-2004

Bell Xpress | JACOB JENSEN Telephone 6 | 2004

DRS Electronics | JACOB JENSEN Telephone 3 | 1994

Thermex | Inn-Line Extractor hood | 2004

Vertu | Aerius Bluetooth headset | 2006

lifa design | JACOB JENSEN Kitchen 1 | 2005

lifa design | JACOB JENSEN Kitchen 1 | 2005

Nordplan | S H A D E E 9 0 0 0 Electronic mobile storage system | 2004

Boform | Executive office table | 1993

Berg Furniture | Opus sofa | 1993

Vestas | Wind turbine | 1995

Logicar | Car study | 1982

XO Care | XO 4 Unit, total dental solution | 2003

The SunThe 11 Stars of Skive | Roundabouts | 2006

More Kraka

Resenlund Culture Centre | 3 architectural concepts | 2001 The Cubes The Mussel

The Slope

Light and Dark - Sense and Seduction

Quiet, cleansed, silver colored and black lines - Jacob Jensen’s signature.

The contrast between light and dark is one of the simplest possible ways to

create visual impression. Jacob Jensen Design is a grammar based on con-

trasts and extremes – not only in regard to the form language.

The products reflect a desire to reduce the overwhelming stream of information

of our times and create clarity, but at the same time are endowed with surprises

or magic, which confound our rational judgment. The development of this both

professional and enchanting design was begun in the 1960’s and 70’s, particularly

in relation to the B&O design profile. In recent decades the characteristic form

language has been further developed and carried to new product categories by

Timothy Jacob Jensen.

Metal, glass, simplification, miniaturization, technological enthusiasm, consumer

empathy - what makes Jacob Jensen Design unique is the exceptional

ability to understand and use the tendencies of the times and to refine

ideas, functions, forms and color. We are speaking of sophisticated extracts

of the design of our age.

The form language can be characterized as the merging of two main streams in

the design of the twentieth century. Jacob Jensen cultivates the idealistic, Euro-

pean Bauhaus tradition, described with slogans like “Less Is More” and “Form

Follows Function”. Simple function and easily understood forms and color reflect

the foundation in European modernism: Reason.

JACOB JENSEN DESIGN

However, in his young days Jacob Jensen worked for the American design

icon Raymond Loewy and joins his consumer oriented MAYA principle: “Most

Advanced Yet Acceptable”. Jacob Jensen’s design is not just built up around

reason. It further satisfies the consumer’s need for adventure, poetry and

enchantment. This is not achieved alone with different, exciting, streamlined

forms. Often the seduction has the character of pure magic.

Jacob Jensen Design’s elegant contrasts, simple function and enticing ideas can

be summed up in three concepts: distance, closeness, and touch.

Distance: A single, streamlined, ultramodern form, combined with contrasts of

silver and black. It is this part of the form language, which is primarily associated

with Jacob Jensen and which is so striking that people the world over can

recognize a Jacob Jensen design at a distance.

Closeness: Thoroughly worked through aesthetic details, both in relation to

the design of the three dimensional, for example switches, and in the graphics.

It is in particular this care for detail where Jacob Jensen’s roots in Danish crafts

and furniture become visible.

Touch: Something surprising happens when you touch the apparatus. A display

begins to pulse, a lid opens in meditative slowness, an unexpected user panel

appears. There is an enticing gift included.

The Jacob Jensen form language has in close to 50 years of existence shown itself

to be unusually sustainable and futuristic, also in our late modern age. This is due

to the merging of reason and seduction, which shows Jacob Jensen Design to be

not less radical, but indeed a more mature form of modernism.

The now very broad product palette developed by Timothy Jacob Jensen shows

the large potential of the form language as a messenger of ideas and functions

in the objects of everyday life.

Light and Dark - Sense and Seduction

Quiet, cleansed, silver colored and black lines - Jacob Jensen’s signature.

The contrast between light and dark is one of the simplest possible ways to

create visual impression. Jacob Jensen Design is a grammar based on contrasts and

extremes – not only in regard to the form language.

The products reflect a desire to reduce the overwhelming stream of information

of our times and create clarity, but at the same time are endowed with surprises

or magic, which confound our rational judgment. The development of this both

professional and enchanting design was begun in the 1960’s and 70’s, particularly

in relation to the B&O design profile. In recent decades the characteristic form

language has been further developed and carried to new product categories by

Timothy Jacob Jensen.

Metal, glass, simplification, miniaturization, technological enthusiasm, consumer

empathy - what makes Jacob Jensen Design unique is the exceptional

ability to understand and use the tendencies of the times and to refine

ideas, functions, forms and color. We are speaking of sophisticated extracts

of the design of our age.

The form language can be characterized as the merging of two main streams in

the design of the twentieth century. Jacob Jensen cultivates the idealistic, Euro-

pean Bauhaus tradition, described with slogans like “Less Is More” and “Form

Follows Function”. Simple function and easily understood forms and color reflect

the foundation in European modernism: Reason.

JACOB JENSEN DESIGN

Christian Holmsted Olesen, Curator

The Danish Museum of Art & Design

Simple

3rd edition

Co-ordination: Betina Nielsen

Art direction: Nigel Hopwood

Layout: Thomas Bennedsen

Printing house: Delta Grafisk

Bookbinding: Ab bogbinder

©2006 JACOB JENSEN DESIGN

www.jacobjensendesign.com

www.jacobjensen.com

Printed in Denmark 2006

ISBN 87-988405-2-5

JACOB JENSEN DESIGN

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