2011

CONTENTS

IN SYNC WITH SUSTAINABILITY 4 - 5At Fritz Hansen, sustainability is reflected in how we design, operate and cooperate. Offering the opportunity to unleash our creative potential. READ OPENING STATEMENT

PUSHING THE INNOVATION ENVELOPE 6 - 7From Mexico to India to Seoul to Sweden, participants from around the world submitted inventive ideas to the INDEX: Design to Improve Life competition. Here’s a sneak peak at the winners. READ ARTICLE

ECO-FRIENDLY FORESTS 8 - 9We will be switching to wood from certified sustainable forests for the veneer of our Arne Jacobsen stacking chairs. READ ARTICLE

SOMETHING FOR A TABLE 10 - 11 Remnants of leather get a second life when students from various design venues brainstorm in our new series of open creative labs. READ ARTICLE

HARNESSING THE SUN AND SAND 12 - 13Using the abundant resources already available in nature, one man ventured into the desert. READ ARTICLE

THE REINCARNATION OF SERIES 7™ 14 - 15The re-launch of Arne Jacobsen’s Series 7 chair goes back to nature, appearing in 9 wood veneers and an array of painted versions. READ ARTICLE

SAVE THE ORIGINALS 16Our furniture is designed to last lifetimes, from generation to generation. Tips on how to look after your Fritz Hansen furniture? READ ARTICLE

A VISION FOR DANISH DESIGN 2020 17What’s the DNA of Danish design? How can design create value for society at large? Six professionals met to form a vision for the future. READ ARTICLE

WHICH WOOD WOULD WORK BEST 18Maple is often used for musical instruments, furniture and interiors. Some even found a home at the Copenhagen Opera House. READ ARTICLE

NOTES ON VENEER 19

COMING UP 2012 20 - 21

SUST

AINABLE QUALITYFRITZ HANSEN

SHOW THE WORLD HOW

SUSTAINABILITY,QUALITY AND

EXCLUSIVEDESIGNARE ALL

PART OFTHE SAME

SOLUTION

SUST

AINABLE QUALITYFRITZ HANSEN

IN SYNC WITH SUSTAINABILITYAS A COMPANY KEEN ON CREATING DESIGNS WHICH EXUDE BEAUTY, SIMPLICITY AND FUNC-TIONALITY, IT SHOULD COME AS NO SURPRISE THAT SUSTAINABILITY IS HIGH ON OUR AGENDA. PURSUING A FORMULA WHERE WE MAKE THINGS LAST AS LONG AS POSSIBLE ACHIEVED THROUGH A PROCESS THAT’S AS SUSTAINABLE AS POSSIBLE. IT’S REFLECTED IN THE WAY WE DESIGN, OPER-ATE AND COOPERATE, OUR CHOICE OF MATERIALS, PROCESSES SUPPLIERS AND OTHER FACTORS IN OUR ENTIRE SUPPLY AND PRODUCTION CHAIN.

WE SEE SUSTAINABILITY AS EQUALLY IMPORTANT AS HIGH QUALITY AND EXCLUSIVE DESIGN, WHERE ANY COMPROMISE WOULD BE UTTERLY OUT OF THE QUESTION. IT’S A BALANCE OF THESE THREE ELEMENTS WHICH WE SEEK. WHILE CONTINUOUSLY STAYING TRUE TO OUR VAL-UES IN TERMS OF THE VISUAL: ORIGINAL AND ENDURING AESTHETICS. THE EMOTIONAL: EMO-TIONALLY EVOCATIVE DESIGNS. AND THE RATIONAL: EXQUISITE MATERIALS AND CRAFTSMANSHIP, INSTANTLY EVIDENT IN PRODUCTS BUILT TO LAST.

WE TAKE SUSTAINABILITY SERIOUSLY. SO RATHER THAN PURSUE A QUICK FIX, OUR APPROACH INVOLVES FOCUSING FIRST ON WHERE SUSTAINABILITY MATTERS MOST, WHERE WE CAN HAVE THE MOST POSITIVE IMPACT ON OUR CUSTOMERS AND THE ENVIRONMENT. WE EMBRACE THIS CHALLENGE AND SEE IT AS AN OPPORTUNITY TO UNLEASH OUR CREATIVE ENERGY IN SEARCH OF INNOVATIVE WAYS TO ENHANCE THE ENVIRONMENTAL PERFORMANCE OF OUR PRODUCTS.

IN SYNC WITH SUSTAINABILITYAS A COMPANY KEEN ON CREATING DESIGNS WHICH EXUDE BEAUTY, SIMPLICITY AND FUNC-TIONALITY, IT SHOULD COME AS NO SURPRISE THAT SUSTAINABILITY IS HIGH ON OUR AGENDA. PURSUING A FORMULA WHERE WE MAKE THINGS LAST AS LONG AS POSSIBLE ACHIEVED THROUGH A PROCESS THAT’S AS SUSTAINABLE AS POSSIBLE. IT’S REFLECTED IN THE WAY WE DESIGN, OPER-ATE AND COOPERATE, OUR CHOICE OF MATERIALS, PROCESSES SUPPLIERS AND OTHER FACTORS IN OUR ENTIRE SUPPLY AND PRODUCTION CHAIN.

WE SEE SUSTAINABILITY AS EQUALLY IMPORTANT AS HIGH QUALITY AND EXCLUSIVE DESIGN, WHERE ANY COMPROMISE WOULD BE UTTERLY OUT OF THE QUESTION. IT’S A BALANCE OF THESE THREE ELEMENTS WHICH WE SEEK. WHILE CONTINUOUSLY STAYING TRUE TO OUR VAL-UES IN TERMS OF THE VISUAL: ORIGINAL AND ENDURING AESTHETICS. THE EMOTIONAL: EMO-TIONALLY EVOCATIVE DESIGNS. AND THE RATIONAL: EXQUISITE MATERIALS AND CRAFTSMANSHIP, INSTANTLY EVIDENT IN PRODUCTS BUILT TO LAST.

WE TAKE SUSTAINABILITY SERIOUSLY. SO RATHER THAN PURSUE A QUICK FIX, OUR APPROACH INVOLVES FOCUSING FIRST ON WHERE SUSTAINABILITY MATTERS MOST, WHERE WE CAN HAVE THE MOST POSITIVE IMPACT ON OUR CUSTOMERS AND THE ENVIRONMENT. WE EMBRACE THIS CHALLENGE AND SEE IT AS AN OPPORTUNITY TO UNLEASH OUR CREATIVE ENERGY IN SEARCH OF INNOVATIVE WAYS TO ENHANCE THE ENVIRONMENTAL PERFORMANCE OF OUR PRODUCTS.

INDEX is a Danish-based, non-profit organisation which pro-motes design as a decisive factor in creating a better world. Their INDEX: Design to Improve Life competition challenges people to use design as a solution for tackling some of the biggest issues we face. And the INDEX: AWARD is the larg-est of its kind in the world.

In an effort to foster new ideas, Fritz Hansen sponsors the People’s Choice Award, where this year over 10,000 peo-ple voted online for their favourite. The winner? Embrace Infant Warmer, engineered to maintain a baby’s body tem-perature consistently using no electricity. Giving infants an equal chance for a healthy life.

If you didn’t attend the INDEX: AWARD ceremony hosted by royal patron HRH the Crown Prince and HRH the Crown Princess of Denmark, here’s a sneak peak at each winner in the five categories:

”Fritz Hansen has actively supported and sponsored INDEX since its inception in 2002 because we believed that ”De-sign to Improve Life” was meaningful and could show a new, more global and community-oriented aspect of design that doesn’t just deal with aesthetics and beautiful proportions. It deals with designs which impact and improve life on our planet” Jacob Holm, President & CEO of Fritz Hansen

Body – See Better to Learn Better (VerBien). A free eyeglasses programme for underprivileged Mexican children. Including colourful frames the kids can customise. Enhancing their abil-ity to read, learn, get an education - and a better future. De-signed by Fuseproject (USA) led by Yves Béhar (Switzerland)

INDEX AWARD 2011

PUSHINGTHE INNOVATION ENVELOPE

Home – ELEMENTAL Monterrey. A radical new model for social housing in Mexico, where almost 50% of the space will be self-built, allowing for diverse needs and preferences. Designed by Alejandro Aravena, Fernando García-Huidobro and Gonzalo Arteaga (Chile)

Work – Design for Change from India. A design-based global school competition empowering children to be driv-ers of change, designing and implementing solutions for issues such as the environment, education and discrimina-tion. Designed by Kiran Bir Sethi and Pranay Desai (In-dia), Additional Credit: Jim Ratcliffe (D. School, Standford) and Sandy Speicher (IDEO)

Play – Hövding. A bike helmut packaged as a collar. In-spired by a Swedish survey showing that over 60% of cy-clists don’t wear helmets due to vanity, inside is an airbag that only inflates if the mechanism senses unusual move-ments of an impending accident. Designed by Anna Haupt and Terese Alstin (Sweden)

Community – Design Seoul. A cohesive, design-based ap-proach applied to every project pursued by the city. Boost-ing the quality of life and Seoul’s image as an eco-friendly city in harmony with their vision of “design that cares for citizens”. Designed by Seoul Metropolitan Government Team (Republic of Korea)

WWW.DESIGNTOIMPROVELIFE.COM

INDEX AWARD 2011

PUSHINGTHE INNOVATION ENVELOPE

Body - See Better to Learn Better (VerBien). Designed by Fuseproject (USA) led by Yves Béhar (Switzerland)

People’s Choice - Embrace Infant Warmer. Designed by Linus Liang, Naganand Murty, Rahul Panicker and Jane Chen (United States of America / India)

Play – Hövding. A bike helmut packaged as a collar. Designed by Anna Haupt and Terese Alstin (Sweden)

Home - ELEMENTAL Monterrey. Designed by Alejandro Aravena,Fernando García-Huidobroand Gonzalo Arteaga (Chile)

Community - A cohesive, design-based approach applied to every project pursued by the city. Designed by Seoul Metropolitan Government Team (Republic of Korea)

Work – Design for Change from India. Designed by Kiran Bir Sethi and Pranay Desai (India), Additional Credit: Jim Ratcliffe (D. School, Stand-ford) and Sandy Speicher (IDEO).

At Fritz Hansen, we continue to pursue projects and part-ners who share our view on sustainable quality. To this end, we took the initiative to change the veneer we’ve been us-ing to types of wood which only come from forests officially certified as sustainable. Meaning, forests which achieve a balance between the increasing demand for forest prod-ucts, the preservation of forest resources, biodiversity and the prosperity of forest-dependent communities. Basically conservation and management practices which are environ-mentally, socially and economically sustainable, and which generate benefits for present and future generations.

To achieve this, we have turned to the Programme for the Endorsement of Forest Certification (PEFC), the world’s larg-est international umbrella organization providing independ-ent assessment and certification, ensuring compliance with globally-accepted sustainability criteria.

Speaking to Kristian Voldby Olsen, Vice President of Sup-ply Chain Development at Fritz Hansen, part of the reason we chose PEFC was due to “the availability of high quality rotary cut veneer. This is what we use for the inner layers of all our Arne Jacobsen stacking chairs and it makes up more than 80% of the wood used for the chairs”.

Some of the requirements involve a chain-of-custody certifi-cation, which tracks wood from the certified forest through processing to the final point of sale. This scrutiny of “wood supply from harvest in the forest to the production also in-volves evaluating the likelihood that your supply really is ful-filling a demand,” says Olsen adding, “Over time the PEFC project will improve the entire collection of Arne Jacobsen stacking chairs. To receive the PEFC label, the requirement is 70% PEFC certified wood and 30% Controlled Wood from non-controversial sources. Our chairs will eventually have 86% PEFC and 14% Controlled Wood. We will of-ficially be certified this November and will begin the imple-mentation process in January 2012. As our current stocks run out we will only use PEFC and Controlled Wood.”

What does this mean for consumers? “Being assured that their wood products come from sustainable forest and are therefore in balance regarding harvesting and re-planta-tion,” remarks Olsen. The independent aspect of the certi-fication is key, as this adds credibility to the environmental and social performance of the forest operations. We are pleased to be taking this very important step towards a process that strives to protect the forests and the people who benefit from them.

ECO-FRIENDLYFORESTS

TO RECEIVE THE PEFC LABEL, THE REQUIREMENT IS 70% PEFC

CERTIFIED WOOD AND 30% CONTROLLED WOOD FROM

NON-CONTROVERSIAL SOURCES. OUR CHAIRS WILL EVENTUALLY

HAVE 86% PEFC AND 14% CONTROLLED WOOD

Design school students were chosen from different focus areas to achieve one task. Exploring the creative possi-bilities of working with remnants of leather. What ensued was something unexpected and extremely exciting... Fritz Hansen recently held such a workshop as the first in a long line of open labs. While the participants were studying various aspects of design, such as architecture, industrial design, furniture, fashion and textiles, what they all had in common is that none of them had ever worked with leather. In this case, the leather selected was leftovers from the iconic Egg and Swan chairs.

HOLLIE GIBBONS The Royal Danish Academy of Fine Arts, Architecture, Design and Industrial Form. Using the asymmetrical, flexible remnants of leather, Hollie created a series of soft pots pens to be used to hold pencils, sewing kits, plants, etc. Adding a button closure to resemble a shirt collar or cuff.

LINNEA KAROLINE HOLCK The Royal Danish Academy of Fine Arts, School of Design, Textile Design. Exploring the tactile properties of leather, Linnea worked with the front and backside to create very graphic 3D relief pat-terns, including repeated curves, diagonal cut-outs, twists and folds.

MIRIAM F. BROSTRØM Kolding School of Design, Product Design. Choosing black leather and light ash veneer for contrast and stability, Miriam joined pliable circles in a cluster of three and attached them together to create an organic, fluid formation which could later be developed into a chair, bench or lounge.

TINE MIA CHRISTENSEN The Royal Danish Academy of Fine Arts, School of Design, Textile Design. Choosing the space from the tabletop to the floor, Tine used linking and knitting techniques to enhance fringe leather in vari-ous lengths. Working with flat and wrapped shapes and other tactile sensations to make a decorative object that’s interactive.

ELINA MØLGAARD CULLEN The Royal Danish Academy of Fine Arts, Architecture, Design and Industrial Form. Working with the concept of controlled chaos, Elina punched out circles in various sizes to create a pattern, with ideas on how to integrate the “negative space” created by the cut-outs themselves.

SOMETHING FOR A TABLE

SILLE AGNETE KRISTINE ROSA BRUUS JARNER The Royal Danish Academy of Fine Arts, Furniture and Spatial Design. Sille worked with pipings wrapped in leather as the foundation for a stable yet stretched tabletop. Arranged in a deliberately staggered “disarray”, the result is a soft padded linear effect for a surface that’s normally hard.

SIMON HARKER The Royal Danish Academy of Fine Arts, Architecture, Design and Industrial Form. Simon created various types of loops from leather, working with specific colours and connecting techniques, the result was an airy “woven” space-dividing screen that can be drawn around a table or used to enclose or define space within a room.

TANJA MØGELGAARD MATHORNE The Royal Danish Academy of Fine Arts, School of Design, Textile Design. Playing with light and shadow, Tanja sewed leather straps into drop shapes arranged on a transparent, elliptical acrylic plate suspended from the ceiling. Designed so the light source above would create intriguing shadows on the table or floor below.

THOMAS SKOV The Royal Danish Academy of Fine Arts, Architecture, Design and Industrial Form. Focusing on leather seams, joints and transitions, Thomas created a portable, fold-out workstation offering space for a laptop and more or as a “playing board” for kids. Ideal for college dorms or public spaces with no privacy.

SERAFINA WEINHOLD ANDERSEN Academy of Fine Arts, Munich, Germany, Inner Architecture. Cutting out rectangles of leather and sewing them together with a thick thread, Serafina designed a rug with a decidedly raw approach. Randomly placing the rectangles next to each other with no definitive edge to add to the earthy effect.

According to Fritz Hansen’s Head of Design, Christian Grosen, the concept is “an open platform for design tal-ents where they can unfold their creative potential and be-come inspired by each other. The overall purpose of this kind of workshop is to create a closer relationship between the industry and the design community. The outcome is for the benefit and inspiration of everyone involved.”

The brief? To create something for a table, where the participants were free to experiment with any aspect sur-rounding a table.

“It would be a waste if we overlooked the opportunity for transforming other types of leftover materials into an-other design entity. To this end we envision an array of activities where we can explore both the creative poten-tial of the material – and the people designing with it.”

What struck Grosen as refreshing was their process of designing, as well as the finished pieces themselves. “Each design discipline has its own approach, process and outcome – all very different. Some focusing on tex-tures, some on functionality and some on the visuals.”

MARKUS KAYSER

HARNESSINGTHE SUNAND SAND

While many product designers confine their studies to their work space - or computer space, German designer Markus Kayser took to the Egyptian de-sert, bringing his first solar-powered laser cutter in a suitcase. His experiments with the sun and sand led him to a discovery that revolutionises the design prototyping process known as 3D printing.

By tapping into the abundant supplies of sun and sand, he formed the foundation for a completely new solar-powered machine and production pro-cess. Using the sun’s rays instead of a laser and sand instead of resins, he created objects which were the physical manifestation of very precise computer-drawn 3D designs used today.

Armed with a Masters in Product Design at the pres-tigious Royal College of Art in London, Markus’ aim is to explore opportunities in the production of de-sign involving new and overlooked processes and technologies, proposing hybrid solutions and new methodologies in manufacturing.

We are fascinated by this fresh approach to combin-ing natural energy and materials together with tech-nology, as well as a more eco-aware production pro-cesses. We applaud Markus’ bold initiative to question the status quo, blurring the lines between art, science and engineering by turning to nature for tools already available to all of us.

WWW.MARKUSKAYSER.COM

THE COLOURS WERE CAREFULLY SELECTED TO MATCH THE NATURAL WOOD. WE DON’T SEE THEM AS PART OF A COLOUR RANGE, BUT AS SINGLE COLOURS WHICH MATCH THE WOOD

THE REINCARNATION OF SERIES 7™

You’d be hard pressed to find a design connois-seur who doesn’t know Arne Jacobsen. Considered the father of Scandinavian modernism and one of Denmark’s most recognised design maestros, Jacob-sen’s work appears in museums, high-end hotels and private collections around the world. And the Series 7 chair is a perfect example of Jacobsen’s ultra simple signature style. A fusion of purity with functionality in an enduring style. It’s no wonder the Series 7 has proved to be immensely popular even today – over 50 years since its introduction.

In honour of Jacobsen’s original concept, we are re-launching a new version which takes the chair back to its roots. Back to nature. This time in 9 different types of wood veneer to choose from, as well as painted versions in an array of colours to compli-ment your home or office.

“Each piece of wood is a piece of nature, it’s unique. Wood is a warm material in terms of the physical qualities and the tones and hues of the wood itself,” smiles Michael Helmer Larsen, our Prototype Devel-oper at Fritz Hansen. Larsen has been involved in the process of selecting the different veneers and credits the popularity of Series 7 to its light, organic, sculptural appearance. What happens when wood is used as the driving design element in this new ver-sion? “With wood veneer it’s possible to make this chair very light and very strong. The same shape is not possible in plastic, for example, without chang-

ing the shape design dramatically. No other mate-rial competes with wood for this chair comparing strength, weight and sustainability.”

Actually, wood is sustainable for numerous reasons. As a durable material, wood has long lasting quali-ties which make it age with beauty. It also has an aesthetic appeal which remains timeless. As Larsen sees it, “Wood is a sustainable material as it is a renewable resource. Furthermore, if you can create a chair that stays nice and people will keep for a long time, the chair will only get more sustainable.”

The process of choosing the 9 veneers was based on the colours of the veneers themselves. “Our inten-sion was to make a scale in wood tones, going from the lightest to the darkest,” explains Larsen. “So we had to add some wood types.” Even the colours in the painted versions were chosen to be synergistic with the wood tones. “The colours were carefully selected to match the natural wood,” says Larsen. “We don’t see them as part of a colour range, but as single colours which match the wood. We try to avoid short-lived trends and focus on colours that can fit any interior and last for generations. “

Each new Series 7 can be considered an original because each type of wood has its own grain pat-tern, tones, textures and nuances – so no two chairs are alike. Meaning, you have another chance to own an icon of streamlined design.

At Fritz Hansen, we only design, make and manufac-ture original designs. What’s more, we go to great lengths to ensure that the materials we use are ro-bust and resilient. The result is carefully constructed designs built to last lifetimes. Contemporary classics passed on from generation to generation.

Even after they leave the showroom, we care about our products and want to help you make them last as long as possible. With this in mind, we have pro-duced a video with insights as to how to look after your leather upholstery.

On Facebook we will continue to post tips regard-ing the proper care of your Fritz Hansen products. Additionally, you’ll find some easy ways to identify all your classic Fritz Hansen designs. Feel free to post questions on our Facebook wall and we’ll do our best to come through for you.

WWW.FACEBOOK.COM/REPUBLICOFFRITZHANSEN

In the meantime, we hope you enjoy living with our designs. That’s what they’re meant for.

SAVE THEORIGINALS

A VISIONFOR DANISH

DESIGN IN 2020

The Danish government invited a group of six prom-inent people in design to articulate a vision for the future, based on design as a powerful driver of in-novation. A vision that recognizes Denmark as a design nation worldwide. Where design is responsi-bly integrated for the purpose of improving people’s lives, meeting social challenges, enabling organi-sations to thrive economically and creating value for Danish society at large. Drawing on Denmark’s distinctive design heritage to establish a broader definition of design - beyond its basic ability “to give form” - to a one where creativity and purpose-fulness are intrinsically intertwined.

It’s a process which involved exploration into the DNA of Danish design, as it’s a key component to our national identity. Both in terms of how we view ourselves and how the world views us. Key values deeply engrained in our cultural mindset include de-mocracy, freedom, legal rights for all, respect for all individuals, as well as a strong sense of aesthetics and the appreciation of nature. In short, design em-braces everyone and is present everywhere ...

Having been selected as part of the Vision commit-tee, Fritz Hansen is honoured to play a role in paving the path for Danish design of the future. And proud to be a member of a nation which puts such a high priority on responsible design.

Members of the Committee:

•   Chairman Dr. Johan Roos, Moving Minds,  Sweden (former President of Copenhagen Business School)

•  President & CEO, Anders Byriel, Kvadrat A/S•  Award-winning Designer Louise Campbell•  President & CEO, Jacob Holm, Fritz Hansen A/S •    Rector Elsebeth Gerner Nielsen, 

Kolding School of Design•  Professor Yrjö Sotamaa, Aalto University, Finland

READ THE VISION STATEMENT

WHICH WOOD WOULD WORK BEST...?

Most people consider a walk in the forest amidst the trees as the best way to truly experience and appreciate wood. But actually, wood is all around us. And not just outside in nature. Take maple, for example. A cherished material used for different types of products and a range of industries. It’s used to create a variety of musical instruments, such as elec-tric guitars, violins, drums and grand pianos, able to reso-nate very consistent, even tones across the sound spectrum. It’s also a favourite for making fine furniture, the interior of exclusive homes and offices, as well as decorative panel-ling in limousines and luxury yachts.

There are about 129 species of maple, most of which are native to Asia, with several types also appearing in Europe, North America and northern parts of Africa. What makes maple especially appealing is that it’s a lighter coloured wood with diffused, evenly-sized pores which create a fine texture and even grain. While it’s rather tough and resistant to wear and tear, that’s not enough of a criteria for every piece of maple – even as a veneer – to become part of our Fritz Hansen furniture. In fact, before wood is delivered to us, it undergoes a stringent visual screening process. Even the highest grade of wood can be rejected if it’s not suitable for the purpose of our furniture. In one case, it was a ship-ment of maple veneer that didn’t meet our standards. But that doesn’t mean it was discarded.

The same maple veneer found its way to its proper home. The Copenhagen Opera House. When entering the grand foyer, you can’t help but notice the enormous dome above the auditorium, where the veneer has been applied to help form the outer shell. The transverse stripes of this particular veneer have a lot of structure, with numerous knots which resemble eyes. As a result, it almost appears to have a textured pattern, as opposed to a smooth surface, and thus provides excellent shade. Add to that maple’s amazing acoustic qualities and you have the ideal solution. The ef-fect? Extremely impressive. While mother nature can’t be blamed for such aesthetic inconsistencies, by working with sustainable production processes, the maple veneer took its rightful place in another icon of Danish design.

OREGON PINEOregon pine has a rather distinctive expression, due to very narrow stripes in the grain, unique striped patterns andorange, red tones.

MAPLEMaple is our whitest type of wood, with a more deli-cate structure, texture and touch. Featuring finelines and a surprisingly even grain throughout.

ELMElm can be found in numerous colour variations. Watch for a coarse and slightly rough grain, seen in earthy browns with bits of yellow and green.

DARK STAINED OAKDark stained oak is our darkest wood. Which offers prominent grain and large pores, setting the scene for a coarse texture.

WALNUTWalnut has a wonderful, natural look with occasional small knots. Seen in light silver, dark brown and bril-liant black grains.

CHERRYCherry is a ravishingly rich, reddish wood with quite a fine grain, boasting a consistent tonality and a beautiful glow.

OAKOak offers prominent grains and pores, setting the scene for a coarse texture. Known for its honey col-ours from light brown to golden.

BEECHBeech appears fragile at first glance, with fine, tight streaks of gorgeous grains seen in slightly pale red-dish tones.

ASHAsh has large variations in the raw structure of the wood, giving an understated yet expressive appear-ance in light, golden colours.

NOTES ON VENEER

COMINGUP 2012