In 1975, Knud V. Jensen, founder and director of the renowned Louisiana Museum commissioned the talented Danish designer Poul Kjaerholm to design the chairs for the future concert hall to be attached to the West wing of the museum built between 1966 and 1971. To decorate the walls he will order 2 gigantic paintings to the American painter Sam Francis, figure of the action painting movement
At first Poul Kjaerholm will work in partnership with the architect Vihelm Wolhert and the acoustician Jørgen Pedersen to develop a chair in symbiosis with the place as much at the functional level, as at acoustics or aesthetics ones. He imagines a system of modules, identical chairs linked to each other,creating one single object in its own right. The idea being to make the chair, the unique furniture of the auditorium and to integrate it by making it fully participate in the architectural and musical space.
SKETCH OF THE CHAIR CONCIEVED BY POUL KJAERHOLM IN 1976
They will be Folding chairs by necessity of place and passage, united by a solid maple support screwed directly to the landing, The designer simplifies their line and associates them directly within the architecture by eliminating any interaction of another element between the chair and floor. The chairs are designed with a sleek and almost monastic design composed by two square panels, crafted with talent by the cabinet maker Ejnar Pedersen, they are made with simple materials and traditional craftsmanship; the braided wood, comfortable and elastic and the maple solid wood. The braided wood allows air flowing, which highly participates in the good acoustics of the room.
THE CHAIR AFTER BEING REALISED
Perfectly integrated into the white brick walls concert hall and the dark Cabreuva wood foor and strives, they also live harmoniuosly together with the large paintings of Sam Francis.
Sam Francis is chosen and mandated between June and July 1977 to paint the paintings that will be on the walls, his work already widely represented within the museum itself. He uses very large canvases, and the superimposed spots of color, representative of his "driping" work, are like landscapes or abstract rhythms, the only colors of the auditorium. Canvases all the more highlighted by the neutrality of architecture and design, they bring depth and another dimension to this space.