Untitled - Edilportale

EJ 5 Corona 

EJ 8 A-Chair 

EJ 11 Donna 

EJ 20 

EJ 40 

EJ 56 

EJ 60 

EJ 70 · 80 Partner 

EJ 96 Apollo 

EJ 100 Oxchair 

EJ Historie / EJ History 

EJ 150 

EJ 205 Flamingo 

EJ 220 

EJ 315 

EJ 600 

EJ 660 

EJ 900 Pipeline, Cobra 

EJ 1000 Oasis 

EJ 141 · 144 

EJ 142 Waves 

EJ 400 Canobi 

EJ 800 Rotor 

EJ 880 Atlas 

EJ 2100 Meadow 

EJ 2500 Orca 

EJ 2800 Seesaw 

EJ Produkt / Product 

6-11 

12-13 

14-17 

18-21 

22-25 

26-29 

30-35 

36-43 

44-49 

50-53 

54-63 

64-65 

66-71 

72-75 

76-79 

80-85 

86-89 

90-95 

96-99 

100-103 

104-105 

106-109 

110-113 

114-115 

116-117 

118-119 

120-121 

122-127

4 

Enkelhed 

Nysgerrighed 

Håndværk 

Simplicity 

Curiosity 

Craftsmanship 

Preface Forord 

The story of Erik Jørgensen Møbelfabrik is the story of 50 years of 

Danish furniture tradition. Firmly rooted in noble craftsmanship 

traditions and pure design, the way to success of Erik Jørgensen 

Møbelfabrik has always been an inquisitive quest for new materials 

and architectural forms of expression. 

Ever since 1954 when Erik Jørgensen established his workshop 

in Svendborg, innovation and unorthodox design have been the 

company at heart. Through a close and productive collaboration 

with some of the most significant and creative designers 

Erik Jørgensen Møbelfabrik has played an important part in the 

continuous renewal of Danish furniture design. 

Working together with our specialised furniture craftsmen, the 

designers have all placed their unique, artistic signature on the 

map of Danish furniture. 

The meeting between vibrant talent and 50 years of craftsmanship 

tradition is what creates the lifeblood energy of our production. 

The innovation that results from that meeting is what gives us say 

in the development of Danish furniture. 

Niels Jørgensen. Ole Jørgensen. 

Historien om Erik Jørgensen Møbelfabrik er beretningen om 50 års 

dansk møbelkultur. Solidt forankret i de bedste håndværkstraditioner 

og et enkelt formsprog har udviklingen hos Erik Jørgensen 

Møbelfabrik været drevet af en nysgerrig søgen efter nye materialer 

og arkitektoniske udtryksformer. 

Nyskabelsen og det overraskende design har været en hjertesag 

for virksomheden lige siden Erik Jørgensen i 1954 etablerede sit 

værksted i Svendborg. Gennem et tæt og frugtbart samarbejde med 

nogle af de mest markante og nytænkende formgivere bidrager 

Erik Jørgensen Møbelfabrik til den løbende fornyelse af dansk 

møbeldesign. 

I forening med vores specialiserede møbelhåndværkere har 

designerne alle sat deres unikke kunstneriske fingeraftryk på den 

danske møbelverden. 

I mødet mellem sprudlende talent og 50 års håndværksmæssig 

tradition skabes den energi, der er selve livsnerven i vores produktion. 

I det møde opstår fornyelsen, der gør, at vi fortsat kan bidrage 

til at drive udviklingen af danske møbler fremad. 

Niels Jørgensen. Ole Jørgensen. 

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EJ 5 Corona 

Design: Poul M. Volther 

Corona er designet af Poul 

M. Volther (1918-2001) og blev 

mødt med begejstring, da den 

blev præsenteret i 1964. Siden 

tilblivelsen har stolen været 

brugt i en lang række modeserier, 

film og musikvideoer. 

Corona blev brugt af Europas 

statsledere under EU topmødet 

i København i december 2002. 

Corona was designed by 

Poul M. Volther (1918-2001) 

and received a lot of acclaim 

when it was first launched in 

1964. Since its making the chair 

has been shown in a wide variety 

of fashion features, film and 

music videos. Corona was the 

chair used by the chiefs of state 

in Europe during the EU summit 

in Copenhagen in December 

2002. 

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En sjælden kombination af 

organisk udstråling og teknisk 

kølighed. Dens fire fuldpolstrede 

skaller understøtter 

kroppen optimalt og har tydelige 

referencer til den menneskelige 

anatomi med rygsøjle og ribben. 

I kraft af sin svævende opdeling 

er Corona transparent og glider 

ind som en del af rummet. 

A rare combination of organic 

expression and technical streamlining. 

The four upholstered 

shells give maximum support of 

the body with overt associations 

to both spinal column and ribs 

of the human anatomy. Due to 

its floating constellation 

Corona seems to be almost 

transparent and effortlessly 

blends in with the room. 

EJ 5 Corona 


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EJ 5 Corona 


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EJ 8, eller A-stolen, af Torben 

Skov er et godt eksempel på, 

at jo enklere udtryk jo større 

håndværksmæssig udfordring. 

En superelegant, Bauhausinspireret 

stol, der udstråler 

kompetence. Den er luftig og 

transparent, og gør ikke 

rummet omkring den mindre. 

EJ 8, also known as the A-chair, 

by Torben Skov is a fine example 

that the simpler the look, the 

bigger the challenge from a 

craftsmanship perspective. 

A supremely elegant Bauhaus 

inspired chair with a feel of 

authority. Being light and 

transparent, the chair does not 

make the rest of the room 

appear smaller. 

EJ 8 A-chair 

Design: Torben Skov 

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Foersom & Hiort-Lorenzens 

Donna er en lille, feminin stol, 

der kan klædes af og på. Ryggen 

er den spinkleste polsterkonstruktion, 

det var muligt at 

lave i 1991. Donna er med hensyn 

til komfort som en armstol, 

blot uden arme. Den er skabt 

til bevægelse og frihed, og når 

man drejer og bevæger sig i 

stolen, fungerer ryggen som 

armlæn og støtte. 

Foersom & Hiort-Lorenzen’s 

Donna is a petite, feminine 

chair, which can be dressed 

and undressed. The back is the 

slightest padded construction 

which was possible to make in 

1991. When it comes to comfort, 

Donna is like an armchair, only 

without armrests. It was made 

to inspire mobility and freedom, 

and when you turn and move 

around in the chair, the back 

functions as armrest and 

support. 

EJ 11 Donna 

Design: Johannes Foersom & 

Peter Hiort-Lorenzen, MDD 

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EJ 11 Donna 



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I EJ 20 har professor Jørgen 

Gammelgaard (1938-1991) 

dygtigt forstået at understrege 

kontrasten mellem det stramme, 

maskuline ydre og det bløde, 

feminine indre. Den udvendige 

skal fungerer som stellet, der 

bærer de bløde hynder, som er 

gjort ekstra fyldige ved hjælp 

af en smal bund. Den faste arms 

runding, der gentages i den løse 

hynde, giver en overrumplende 

effekt, der understreger sofaens 

egenart og giver den spændstighed. 

Jørgen Gammelgaard var en 

af Danmarks dygtige og alsidige 

formgivere. Fra 1987 og frem til 

sin død var Jørgen Gammelgaard 

professor på Kunstakademiet. 

By envisioning EJ 20 professor 

Jørgen Gammelgaard (1938- 

1991) has cleverly accentuated 

the contrast between stern 

masculine exterior and soft 

feminine interior. The exterior 

shell supports the soft cushions, 

which have all been afforded 

extra volume due to the thinness 

of the underframe. The curve 

of the firm armrest, which is 

repeated in the loose cushion, 

creates an unexpected effect, 

which helps give the sofa its 

look of suppleness, as well as 

underlining its singularity. 

Jørgen Gammelgaard was one of 

the most talented and versatile 

designers in Denmark. From 

1987 until his death, Jørgen 

Gammelgaard was a professor 

at The Academy of Fine Arts. 

EJ 20 

Design: prof. Jørgen Gammelgaard 

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20 

EJ 20 

Design: prof. Jørgen Gammelgaard 

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EJ 40 



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EJ 40 




EJ 4o blev præsenteret på Kölnmessen 

i 1991. Det er en lille, 

kompakt og fuldpolstret sofa 

med en vis korpus. EJ 40 har et 

forholdsvis rentegnet og stramt 

udtryk, den udstråler orden og 

kontrol. Det er en sofa, brugeren 

sidder pænt og ordentligt i. 

Den er altid præsentabel, uden 

løse hynder, og træstellet er en 

plint af fint forarbejdet ahorn, 

mahogni, kirsebær eller bøg. 


EJ 40 was launched at The 

Cologne Fair in 1991. EJ 40 is a 

small compact sofa with a fully 

upholstered body. It has a clear 

and concise appearance that 

signals structure and control. 

This is a sofa which compels 

the user to sit in a proper and 

orderly fashion. It is always 

presentable, with no loose 

cushions, and the wood base 

is a plinth of finely finished 

maple, mahogany, cherry or 

beech. 

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EJ 56 

Design: Erik Jørgensen 

En klassisk sofa, fra 

Erik Jørgensens egen hånd. 

EJ 56 er international i udtryk 

og appel og kølig og afklaret i 

designet. Den har renheden i 

linierne fra den skandinaviske 

formgivningstradition, og dunhynderne, 

anbragt i den fastbetrukne 

ramme, signalerer 

venlig komfort. 

A classic sofa from 

Erik Jørgensen’s own hand. 

With its cool and deliberate 

design EJ 56 has both international 

appearance and appeal. 

The clean lines are characteristic 

of traditional Scandinavian 

design, and the down cushions, 

placed in the upholstered 

frame, signal friendly comfort. 

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EJ 56 


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EJ 60 



Med de hæftede kvadrater i 

ryghynderne fremstår EJ 60 

præcis og tidløs. Armlænene 

er formgivet med fremadrettet 

dynamik, der pirrer den æstetiske 

sans, og de separate siddeelementer 

i sæde og ryg skaber 

en klar adskillelse og sender 

et eksklusivt signal om veldefineret 

plads til den enkelte 

bruger. Samlet fremstår EJ 60 

med monumental karakter. 

EJ 60, with the fastened square 

bolsters, is an accurate and 

timeless piece. The forward-set 

dynamic of the armrest design 

is stimulating to the aesthetic 

sense, and the separate side 

elements of the seat and back 

create a clear partition which 

exquisitely signals a welldefined 

space for the occupant. 

As a whole EJ 60 presents itself 

with a sense of monumental 

character. 

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EJ 60 



EJ 60 er et resultat af samarbejdet 

mellem Erik Jørgensen 

og Foersom & Hiort-Lorenzen. 

I dag står EJ 60 på Statens 

Museum for Kunst, og er ofte 

brugt af tv-stationer, blandt 

andet til annonceringen af 

forlovelsen mellem kronprins 

Frederik og Mary Donaldson. 

EJ 60 is the result of the 

co-operation between 

Erik Jørgensen and Foersom 

& Hiort-Lorenzen. Today EJ 60 

can be found at The Danish 

National Gallery and has been 

used on several occasions by 

TV-stations. A recent occasion 

was the announcement of the 

engagement between crown 

prince Frederik and 

Mary Donaldson. 

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EJ 60 



Johannes Foersom og Peter 

Hiort-Lorenzen har i de sidste 

25 år tilhørt eliten af danske 

møbeldesignere. Peter Hiort- 

Lorenzen er udlært skibssnedker 

og uddannet på Kunsthåndværkets 

Møbelskole og på 

Kunstakademiets Møbelskole. 

Han har bl.a arbejdet på 

Kilkenny Design Workshop i 

Irland og undervist på Danmarks 

Designskole. Johannes Foersom 

er udlært møbelsnedker, 

uddannet på Kunsthåndværkets 

Møbelskole og har undervist på 

Danmarks Designskole. I mere 

end 20 år har de haft et produktivt 

og succesfuldt samarbejde 

med Erik Jørgensen Møbelfabrik. 

For the last 25 years Johannes 

Foersom & Peter Hiort-Lorenzen 

have been two of the foremost 

exponents of Danish furniture 

design. Peter Hiort-Lorenzen 

was trained as a ships maker 

and later he graduated from the 

School of Arts and Craft and 

from the Academy of Fine Arts. 

He has worked at Kilkenny 

Design Workshop in Ireland and 

been a teacher at The Danish 

School of Arts and Design. 

Johannes Foersom was trained 

as a cabinet maker and later he 

studied at the School of Arts and 

Craft and has also been a teacher 

at The Danish School of Arts 

and Design. For more than 20 

years they have had a productive 

and successful collaboration 

with Erik Jørgensen Møbelfabrik. 

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Ny-klassikeren Partner (1992) 

opfylder som loungechair 

ønsket om lethed kombineret 

med stor komfort. Stellets konstruktion 

i mat forkromet stål 

får det til at se ud som om, den 

brede ryg bliver båret på armlænene 

og næsten svæver. 

Partner er en eksklusiv loungechair 

og konferencestol og er 

fast inventar på værelserne på 

Hilton Hotel ved Copenhagen 

Airport. I konferenceudgaven 

fremstår Partner som den optimale 

executive-stol og er blandt 

andet valgt til mødelokalerne 

i Danske Banks finanscentre. 

The modern classic Partner (1992) 

meets the requirement for 

lightness combined with a high 

level of comfort. The construction 

of the frame in mat chromed 

steel makes it look as if the 

broad back is carried by the 

armrests and almost floats. 

Partner is an exclusive loungechair 

and conference chair and 

part of the standard furniture 

fittings in the rooms of Hilton 

Hotel in Kastrup. The conference 

model stands as the ultimate 

executive chair and has been 

chosen for the conference 

rooms of the financial centres 

of Danske Bank. 

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EJ 96 Apollo 



Med sine to identiske linseformede 

dele i sæde og ryg 

lever Apollo op til sit navn og 

leder tankerne hen på en rumkapsel. 

Stolens karakteristiske 

kræmmerhus-effekt indbyder 

til et trygt hvil. Forfra ses, at 

sæde og ryg er tyndest på 

midten, det øger komforten og 

understreger linseformen. 

Apollo er født af ønsket om en 

stol, der kombinerer den lette 

skalkonstruktion med siddekomforten 

i en tungere hvilestol. 

Apollo bruges i mange udfordrende 

indretninger, blandt 

andet på Statens Museum for 

Kunst. 

With its two identical lenticular 

elements in seat and back 

Apollo lives up to its name and 

conjures up images of a capsule. 

The characteristic cone-like 

effect of the chair invites the 

user to take a comfortable rest. 

The narrowest point of the seat 

and the back when seen from 

the front is the middle, which 

increases the level of comfort 

and also accentuates the lentiform. 

Apollo was created to 

meet the wish for a chair that 

combines a light shell construction 

with the comfort of a 

heavier-built easy chair. Apollo 

can be found in many different 

provocative interior settings, 

including The Danish National 

Gallery of Art. 

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EJ 96 Apollo 



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EJ 96 Apollo 



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Design: Hans J. Wegner 

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Design: Hans J. Wegner 

Oxchair tegnet af Hans J. Wegner 

(1914). Som flere andre møbler, 

der i dag har klassikerstatus, 

var Oxchair forud for sin tid, da 

den blev præsenteret i 1960. 

Med overlegne håndværksmæssige 

færdigheder havde Wegner 

skabt en meget krævende 

konstruktion. I 1989 vakte Erik 

Jørgensen og Hans J. Wegner 

i fællesskab Oxchair til live. 

Oxchair fremstår i dag som en 

skulpturel, spændstig og 

maskulin manifestation af det 

bedste i dansk møbeldesign. 

Et organisk, fuldpolstret møbel, 

der fremstår som formet ud af 

én blok. 

Oxchair was designed by 

Hans J. Wegner (1914). Like other 

pieces of furniture which are now 

regarded as modern classics 

Oxchair was ahead of its time 

when it was launched in 1960. 

Making use of superior craftsmanship 

skills Wegner had 

created a sophisticated and 

demanding construction. 

In 1989 Erik Jørgensen and 

Hans J. Wegner collaborated in 

bringing Oxchair back to life. 

Today Oxchair stands as a 

sculptural, agile and masculine 

manifestation of the very best 

which Danish furniture has to 

offer. An organic upholstered 

furniture that presents itself to 

the beholder as if formed from 

one single block. 

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The history of Erik Jørgensen 

Møbelfabrik 

The history of Erik Jørgensen Møbelfabrik is 

the story of untiring search for new modes of 

expression while remaining deeply rooted in 

profound respect for good craftsmanship. 

At the centre of the story is the dynamic and 

productive collision when craftsmanship and 

innovative aspiration meet, personified by a 

upholsterer from the southern region of Funen 

who had a vision, which, to this day, is at heart 

of Erik Jørgensen Møbelfabrik – as it will be in 

the future. 

In Western Europe the first half of the fifties 

was a breakthrough for neo-modernism. The 

initial phase of the reconstruction after World 

War II was over, and designers and architects 

started to play a pivotal role in the effort to reconstruct 

or redefine national identity. Modern 

technology and new materials helped create an 

altogether new idiom, which immediately hit 

the mark with consumers. In 1954 in Svendborg 

the young upholsterer Erik Jørgensen was to 

become part of this bigger story. On the 29th 

of July he received his trade license and 

established his workshop. Owing to his skills 

as a designer, craftsman and businessman, 

Erik Jørgensen Møbelfabrik soon became part 

of the upsurge, financially as well as culturally 

and aesthetically. 

In the 1950s the Danes had more money to 

spend, and the increase in the national income 

manifested itself as a growth of consumer 

choices. More people were now able to express 

their individual taste by their choice of design 

furniture, a privilege reserved for an elite 

group of people before the war. In Denmark 

architects like Arne Jacobsen, Hans J. Wegner 

and Børge Mogensen were among the foremost 

exponents of contemporary aestheticism with 

further intention of introducing more people to 

good design. 

Erik Jørgensen regarded himself as part of 

the development. In his workshop on Nannasvej 

in Svendborg he combined his craftsmanship 

Erik Jørgensen Møbelfabriks 

historie 

Historien om Erik Jørgensen Møbelfabrik er 

historien om en nysgerrig søgen efter nye 

udtryksformer forankret i en dyb respekt for 

det gode håndværk. Centralt i historien står det 

dynamiske og produktive sammenstød mellem 

håndværket og den innovative stræben. Personificeret 

i en sydfynsk møbelpolstrer med en 

vision, der er fundamentet under Erik Jørgensen 

Møbelfabrik i dag – og i fremtiden. 

I Vesteuropa var den første halvdel af halvtredserne 

et gennembrud for ny-modernismen. 

Den første fase af genopbygningen efter 

Anden Verdenskrig var slut, og designere og 

arkitekter begyndte at spille en afgørende rolle 

i bestræbelserne på at genetablere eller redefinere 

de nationale identiteter. Med moderne 

teknologi og nye materialer skabte de et helt 

nyt formsprog, der ramte plet hos forbrugerne. 

I Svendborg blev den unge møbelpolstrer 

Erik Jørgensen i 1954 en del af den større historie. 

Den 29. juli modtog han sit næringsbrev. 

Han etablerede sit værksted, og, takket være 

sin kunnen som formgiver, håndværker og forretningsmand, 

formåede han fra begyndelsen 

at gøre Erik Jørgensen Møbelfabrik til en del af 

opsvinget, såvel økonomisk som kulturelt og 

æstetisk. 

Danskerne fik flere penge mellem hænderne 

i 1950’erne, og velstandsstigningen udmøntede 

sig i flere og nye forbrugsmuligheder. Nu kunne 

langt flere udtrykke deres personlige smag gennem 

valget af designmøbler, en mulighed der før 

krigen havde været en lille overklasse forundt. 

I Danmark var arkitekter som Arne Jacobsen, 

Hans J. Wegner og Børge Mogensen blandt de 

mest fremtrædende eksponenter for den nye 

tids æstetik, der samtidig havde som ambition 

at udbrede god design i befolkningen. 

Erik Jørgensen så sig selv som en del af udviklingen. 

I værkstedet på Nannasvej i Svendborg 

kombinerede han håndværksmæssige færdigheder 

og forståelse for materialerne med 

de nye, funktionalistiske designtendenser. 

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skills and his flair for materials with the new, 

functionalistic design trends. He was open 

and forthcoming and had an uncompromising 

insistence on quality with regard to design as 

well as craftsmanship. With unfailing commitment, 

and in collaboration with a handful of 

skilled craftsmen, he managed to establish a 

well-reputed company in only a few years. 

In 1960 the staff had expanded to include 

six trained craftsmen, and the company had 

outgrown the workshop on Nannasvej. 

Erik Jørgensen moved to Korinth by Faaborg, 

25 kilometres away, and the workers commuted 

back and forth until 1965 when the company 

returned to a newly built factory in Svendborg. 

A considerable investment and a stately building, 

which was an extension of Erik Jørgensen’s 

level of ambition. 

By then the staff numbered 15 workers, and 

Erik Jørgensen Møbelfabrik had found a work 

form which corrosponded with the founder’s 

wish: constantly to contribute promoting 

product development for new furniture in 

Denmark. Erik Jørgensen went on to take that 

measure by collaborating closely with some of 

the leading furniture designers in the country. 

Ever since the collaboration started in the late 

fifties, it has evolved constantly, and today 

the relationship between the factory and the 

designers is closer than ever. 

The new factory in Svendborg made it possible 

for Erik Jørgensen to carry out yet another 

ambition. As a consequence of the technological 

development, the process from drawing board 

to living room which furniture went through 

was going through a dramatic change in those 

years. Within a couple of years the entire 

production process was industrialized, and 

Erik Jørgensen saw great potential in that 

development, both with regard to a more 

effective production and making use of new 

materials, which could change the design of 

furniture radically. 

Han var åben og imødekommende og med en 

kompromisløs insisteren på møblernes kvalitet, 

såvel i designet som håndværksmæssigt. 

I kraft af sit stærke engagement lykkedes det 

ham på få år at skabe en velrenommeret virksomhed 

i samarbejde med en gruppe dygtige 

håndværkere. I 1960 var medarbejderstaben 

udvidet til seks uddannede håndværkere, og 

virksomheden var vokset fra værkstedet på 

Nannasvej. Erik Jørgensen søgte til Korinth, 

ved Faaborg, 25 kilometer væk, og medarbejderne 

pendlede frem og tilbage, indtil 1965, 

hvor virksomheden vendte tilbage til en nyopført 

fabrik i Svendborg. En stor investering 

og et byggeri i fornem kvalitet, et billede på 

Erik Jørgensens ambitionsniveau. 

På dette tidspunkt talte staben 15 medarbejdere, 

og Erik Jørgensen Møbelfabrik havde 

fundet en arbejdsform, der harmonerede med 

grundlæggerens ønske om konstant at medvirke 

til at drive produktudviklingen af nye møbler 

fremad i Danmark. Det sikrede Erik Jørgensen 

med et meget nært samarbejde med en række 

af landets toneangivende møbeldesignere. 

Siden samarbejdet med arkitekterne begyndte 

i slutningen af halvtredserne, har det udviklet 

sig konstant, og i dag er relationen mellem 

fabrikken og designeren tættere end nogensinde. 

Den nye fabrik i Svendborg gjorde det 

muligt for Erik Jørgensen at realisere endnu 

en ambition. Møblets vej fra tegnebordet til 

dagligstuen var nemlig under voldsom forandring 

i disse år, som en konsekvens af den 

teknologiske udvikling. Over en kort årrække 

blev hele fremstillingsprocessen industrialiseret, 

og det var en udvikling, som Erik Jørgensen 

så store muligheder i. Både for en effektiv 

produktion og for at tage nye materialer i 

brug, der kunne påvirke formgivningen af 

møblerne. Erik Jørgensens gode ry nåede 

hurtigt København, og efterhånden begyndte 

flere kendte arkitekter at få deres gang på 

værkstedet i Svendborg. 

Erik Jørgensen’s good reputation quickly 

spread to Copenhagen, and gradually more 

established architects started frequenting 

the workshop in Svendborg. One day in the 

beginning of the 60s, Poul M. Volther had left 

his drafting room in the capital and set course 

toward southern Funen on a journey which 

would lead to the creation of the legendary 

chair Corona a few years later in 1964. Poul M. 

Volther brought with him an air of the big city 

and modern culture, and in many ways the 

collaboration with him was illustrative of the 

philosophy which Erik Jørgensen had about 

design and production. Working interactively 

with the architects in order to create the right 

combination of form, function and quality was 

crucial to him. It was Erik Jørgensen’s firm belief 

that his equal flair for the market and craftsmanship, 

combined with the creative minds of 

the designers, was the key to popular furniture 

design. Some of the biggest classics the 

company produced were designed by himself, 

all characterized by the achievement of balance 

between aestheticism and functionality. 

The collaboration with Poul M. Volther was 

a determining factor for the development of 

the company. In Volther Erik Jørgensen had 

found a man just as ambitious as him self. 

Volther’s perfectionism and Erik Jørgensen’s 

enterprising feel for the market was a fruitful 

partnership and contributed to the progress 

of the company. 

After Poul M. Volther, a string of Danish 

architects followed, and in close collaboration 

with Erik Jørgensen they all laid the bricks of 

Danish furniture design history during the postwar 

era. Rud Thygesen and Johnny Sørensen, 

David Lewis and Gunnar Graversen, 

Jørgen Gammelgaard, Verner Panton, 

Niels Gammelgaard, Erik Ole Jørgensen and 

Hans J. Wegner all contributed greatly to the 

development of modern furniture in Danish 

homes. 

En dag i begyndelsen af 60’erne var det således 

Poul M. Volther, der havde forladt sin 

tegnestue i hovedstaden og sat kursen mod 

Sydfyn på en rejse, der et par år senere, i 1964, 

førte til skabelsen af den legendariske stol 

Corona. Poul M. Volther bragte et strøg af storby 

og moderne kultur med sig, og samarbejdet 

med ham var på mange måder illustrativt for 

Erik Jørgensens filosofi om design og produktion. 

For ham var det afgørende at være i samspil 

med arkitekterne for derigennem at skabe den 

rigtige blanding af form, funktion og kvalitet. 

Det var Erik Jørgensens grundtanke, at hans 

føling med markedet og håndværket kombineret 

med formgivernes kreativitet var nøglen til 

populære designmøbler. Selv formgav han flere 

af virksomhedens største klassikere, netop 

med blik for det rette forhold mellem æstetik 

og funktionalitet. 

Samarbejdet med Poul M. Volther spillede en 

afgørende rolle i virksomhedens udvikling. Her 

fandt Erik Jørgensen en mand, der var lige så 

ambitiøs som han selv. Volthers perfektionisme 

og Erik Jørgensens entreprenante markedsforståelse 

var en frugtbar cocktail og medvirkede 

til at drive virksomheden fremad. 

Efter Poul M. Volther fulgte en perlerække 

af danske arkitekter, der alle lagde brikker til 

dansk møbeldesigns historie i efterkrigstiden 

i et tæt samarbejde med Erik Jørgensen. 

Rud Thygesen og Johnny Sørensen, David Lewis 

og Gunnar Graversen, Jørgen Gammelgaard, 

Verner Panton, Niels Gammelgaard, Erik Ole 

Jørgensen og Hans J. Wegner, bidrog alle 

afgørende til udviklingen af nye møbler til 

danske hjem. 

57

58 

Rud Thygesen has nothing but good memories 

from the collaboration. “It was a pleasure to 

work with Erik Jørgensen, because he had such 

a keen interest in design, which set him apart 

from most other manufacturers. On top of that, 

he was an excellent craftsman, and I learned a 

lot about product development from working 

with him. It was wonderful that you could 

speak the same language as the manufacturer. 

The same spirit certainly still seems to be part 

of the company, and today Erik Jørgensen is 

one of the leading design companies in the 

business,” says Rud Thygesen. 

In the late 1960s Erik Jørgensen became very 

engaged in how to redefine the design of sofas 

and make that most-popular living room piece 

of furniture an aesthetic and comfortable 

experience. The fruit of his ideas was the box 

sofa EJ 220, which founded a new school for 

Danish sofa design after the launch in 1970. 

Furniture, which now reflected the increase of 

the national income, was becoming more 

lavish, relaxed and characterized by excess. 

At that time the first sporadic export of 

Erik Jørgensen furniture was just getting started. 

Hotels in the Middle-East were graced by 

Corona, which also made its way to the 

American market. In 1971 Jack Nicholson leaned 

back in a Corona in the film ‘Carnal Knowledge’. 

The meeting of two icons, the man and the 

chair, is an apt picture of the level of ambition 

at Erik Jørgensen Møbelfabrik. 

As early as 1971 a move had become 

necessary again, and once more Erik Jørgensen 

chose Svendborg, this time the suburb Tved, 

where the company has since had its premises, 

which have expanded four times over the years. 

It was around the same time the company 

seriously started to consider systemizing their 

export. The interest from abroad was an undeniable 

fact made evident by the number 

of envelopes with exotic stamps, which were 

arriving in Tved in those days. 

Rud Thygesen har i dag kun gode minder om 

samarbejdet. “Det var en fornøjelse at arbejde 

med Erik Jørgensen, fordi han var så designinteresseret, 

derved adskilte han sig fra langt 

de fleste af de andre fabrikanter. Samtidig var 

han en fremragende håndværker, så jeg lærte 

meget om produktuvikling af at arbejde sammen 

med ham. Det var dejligt at tale samme 

sprog som fabrikanten. Den ånd ser bestemt 

ud til stadig at præge virksomheden, og 

Erik Jørgensen er i dag en af de designførende 

virksomheder i branchen,” siger Rud Thygesen. 

Erik Jørgensen selv var i de sene 1960’ere 

optaget af, hvordan man kunne redefinere sofaens 

formsprog og gøre det populære dagligstuemøbel 

til en æstetisk nydelse med god komfort. 

Resultatet af hans overvejelser blev kassesofaen 

EJ 220, som dannede skole for dansk 

sofadesign efter sin introduktion i 1970. 

Velstandsstigningen i samfundet afspejledes 

nu i møblernes formsprog, der blev mere ødselt, 

afslappet og præget af overskud. På dette tidspunkt 

foregik den første, sporadiske eksport 

af Erik Jørgensens møbler. Hoteller i Mellemøsten 

forskønnedes af Corona, der også fandt 

vej til det amerikanske marked. I 1971 lænede 

Jack Nicholson sig tilbage i en Corona i filmen 

”Carnal Knowledge”. Mødet mellem de to 

ikoner, manden og stolen, er et godt billede 

på ambitionsniveauet hos Erik Jørgensen 

Møbelfabrik. 

Allerede i 1971 var det igen nødvendigt at 

flytte. Erik Jørgensen valgte endnu en gang 

Svendborg, denne gang forstaden Tved, hvor 

virksomheden siden har boet, i lokaler, der 

siden er blevet udvidet fire gange. 

Samtidig begyndte virksomheden for første 

gang at gøre sig alvorlige overvejelser om at 

systematisere eksporten. Omverdenens interesse 

var så afgjort tilstede, det sås af de mange 

konvolutter med eksotiske frimærker, der 

ankom til Tved. Nu skulle det være, besluttede 

Erik Jørgensen, og arbejdet med at opbygge et 

Erik Jørgensen made up his mind that it had to 

be now or never, and the process of building an 

international network of distributors was put 

into action. 

The development of the export accelerated 

from 1973 and on. Canobi quickly became a big 

success on the foreign markets. In the 70s 

Erik Jørgensen became known as “the king of 

sofas”. In the face of this newly won fame, 

the company maintained a certain self-ironic 

distance, which was evident in an advertisement 

for the American market in 1975. “Funen has 

fostered three celebrities, Andersen, Nielsen 

and Jørgensen. Andersen for the fairytales, 

Nielsen for the music and Jørgensen for the 

sofas,” the text read. The sofas 220, 260 and 

315 profiled the refusal to compromise design 

or craftsmanship invested in the finishing of 

the materials whose standard Erik Jørgensen 

demanded was exquisite. 

The globally renowned textile company, 

Kvadrat, is among Erik Jørgensen’s oldest cocollaborators. 

One of the founders of Kvadrat, 

Erling Rasmussen, describes a dedicated and 

demanding co-collaborator. 

“Erik Jørgensen was an example of a good 

craftsman who had visions. It was very important 

to him to be part of the promotion of 

design, but never by compromising his high 

standard for quality. He put great demands on 

his suppliers because of his love of quality,” 

says Erling Rasmussen. 

verdensomspændende netværk af forhandlere 

blev sat i værk. 

Udviklingen i eksporten tog fart fra 1973. 

Modellen Canobi blev hurtigt en stor succes 

på de udenlandske markeder. Op gennem halvfjerdserne 

blev Erik Jørgensen kendt som 

”sofakongen”. Berømmelsen forholdt virksomheden 

sig til med en vis selvironi, som det kom 

til udtryk i en annonce til det amerikanske marked 

fra 1975. ”Fyn har fostret tre berømtheder, 

Andersen, Nielsen og Jørgensen. Andersen 

for eventyrerne, Nielsen for musikken og 

Jørgensen for sofaerne,” lød teksten. Sofaerne 

EJ 220, EJ 260 og EJ 315 dokumenterede 

kompromisløsheden, både i formsproget og 

i den håndværksmæssige forarbejdning af 

de materialer, som Erik Jørgensen stillede 

ekstremt høje krav til. 

Den globalt anerkendte tekstilvirksomhed 

Kvadrat hører til blandt Erik Jørgensens ældste 

samarbejdspartnere. Den ene af Kvadrats 

grundlæggere, Erling Rasmussen, fortæller om 

en engageret og krævende samarbejdspartner. 

”Erik Jørgensen var den gode håndværker 

med de gode visioner. Det var afgørende for 

ham at være med til at drive formgivningen 

fremad, men aldrig ved at gå på kompromis 

med kvaliteten. Han stillede store krav til sine 

leverandører, netop på grund af kærligheden 

til kvaliteten,” siger Erling Rasmussen. 

59

60 

In 1982 the company changed its strategy 

and entered the growing market for design 

furniture aimed on the contract market. By then 

the first companies were beginning to profile 

themselves through design and interior design, 

and Erik Jørgensen clearly saw the potential of 

that market. It was a visionary decision, made 

exclusively by Erik Jørgensen, and the company 

became the first northern-European supplier 

of fully upholstered furniture for the world of 

business and commerce. At the same time the 

private market was weathering some difficult 

years, so from a business point of view alone, 

the decision turned out to be profitable. 

An additional positive about the change was 

that the collaboration with the foremost 

Danish furniture designers was revitalized. 

Erik Jørgensen was inquisitive by nature, 

always on the lookout for new visual modes of 

expression, so it was not surprising when he 

in 1983 began collaborating with two young 

architects, Johannes Foersom and Peter Hiort- 

Lorenzen. The occasion was The Joiners’ Fall 

Exhibition in Helligåndskirken in Copenhagen, 

and the project was called Rotor. 

After the minimalist and pared down design 

of the 70s, the attitude toward design in 

Europe was changing, and a design collective, 

Memphis, was leading the way. The group 

experimented with new materials and a very 

conceptual attitude towards design, and in 

Denmark Johannes Foersom and Peter Hiort- 

Lorenzen were two of the finest exponents of 

this new visual idiom, which marked a break 

both aesthetically and commercially. With the 

sofa Rotor they had created a beautiful and 

functional piece of furniture, which, dependent 

on the positioning of the movable back 

elements, can be transformed from a two seat 

sofa into a tete á tete sofa or a chaise longue. 

For Erik Jørgensen Møbelfabrik Rotor marked 

their entry on the new market, and it was about 

the same time that Pipeline saw the light of day. 

I 1982 ændrede virksomheden strategi og 

bevægede sig ind på det spirende marked for 

designmøbler til erhvervslivet. På det tidspunkt 

var de første virksomheder begyndt at 

profilere sig gennem formgivning og indretning, 

og Erik Jørgensen så klart markedets potentiale. 

Det var en visionær beslutning, egenhændigt 

truffet af Erik Jørgensen, og virksomheden blev 

den første nordeuropæiske leverandør af fuldpolstrede 

møbler til erhvervslivet. Samtidig 

gennemlevede privatmarkedet nogle vanskelige 

år, så også forretningsmæssigt var beslutningen 

en gevinst. 

Det var endnu en gevinst, at samarbejdet med 

de mest fremtrædende danske møbeldesignere 

blev revitaliseret af skiftet. Også som menneske 

var Erik Jørgensen nysgerrig og konstant på 

udkig efter nye visuelle udtryk, og derfor var 

det ikke overraskende, at han i 1983 indledte 

et samarbejde med de unge arkitekter 

Johannes Foersom og Peter Hiort-Lorenzen. 

Anledningen var Snedkernes Efterårsudstilling 

i Helligåndskirken i København, og projektet 

hed Rotor. 

Efter 70’ernes minimalistiske og beskedne 

design var opfattelsen af formgivning i Europa 

ved at ændre sig ført an af designkollektivet 

Memphis. Gruppen eksperimenterede med nye 

materialer og en meget konceptuel tilgang til 

design, og i Danmark var Johannes Foersom og 

Peter Hiort-Lorenzen blandt de fineste eksponenter 

for det nye formsprog, der markerede 

et nybrud æstetisk såvel som kommercielt. 

I sofaen Rotor skabte de et smukt og funktionelt 

møbel, der alt efter de bevægelige rygdeles 

placering kan forvandles fra en tosædet sofa 

til en tete á tete sofa eller chaiselong. 

Rotor markerede Erik Jørgensen Møbelfabriks 

indtog på det nye marked, og stort set samtidig 

så Pipeline dagens lys. En visionær og spektakulær 

nyskabelse, et superfleksibelt, modulopbygget 

system af sofaer, der medvirkede 

til at sikre Erik Jørgensen et både markant og 

A visionary and spectacular new creation, a 

super-flexible, module-constructed system 

of sofas, which contributed to establish 

Erik Jørgensen as someone with a considerable 

and solid foothold on the contract market. The 

collaboration with Foersom & Hiort-Lorenzen 

led to other great victories. Partner from 1992 

is one of the biggest commercial successes 

of Erik Jørgensen Møbelfabrik. Today the 

company offers a line of furniture from lobbies 

to waiting rooms, the minister’s office and the 

conference room. A full program, which, in 

addition to the constant evolution of home 

design furniture, ensures that Erik Jørgensen 

Møbelfabrik hold solid positions in two 

profitable markets. 

Encouraged by the successful collaboration 

with Johannes Foersom and Peter Hiort-Lorenzen 

and wishing to follow the development in 

Danish furniture closely, the company decided 

to set up the Erik Jørgensen Møbelfabrik Design 

Award, which is given out every other year. The 

intention of the prize is to maintain and develop 

the collaboration with young designers and 

innovative design conceptualization. The first 

winner was the double chaise lounge Waves 

designed by Anne-Mette Jensen & Morten Ernst. 

Along with Louise Campbell, they belong to a 

new generation of talented designers with whom 

Erik Jørgensen Møbelfabrik is collaborating. 

From 1994 Erik Jørgensen’s oldest son, 

Niels Jørgensen, gradually took over the daily 

management of the company, including responsibility 

for product development. Erik Jørgensen, 

however, remained active and inspiring in the 

development of the company and on the board 

until his death in 1998. 

Niels Jørgensen and the youngest son, 

Ole Jørgensen, who is now the sales director, 

have succeeded to lift the heritage of their 

father and continue the ambition to break new 

ground. Resting on a solid tradition of good 

craftsmanship and a well-developed sense of 

solidt fodfæste på erhvervsmarkedet. Samarbejdet 

med Foersom & Hiort-Lorenzen førte til 

flere triumfer, blandt andet Partner fra 1992, 

en af Erik Jørgensen Møbelfabriks største 

kommercielle succeser. I dag tilbyder virksomheden 

møbler til alt fra foyeren og ventesalen 

til ministerkontoret og mødelokalet. Et fuldt 

program, der sammen med den konstante 

udvikling af møbler til boligmarkedet sikrer, 

at Erik Jørgensen Møbelfabrik går på to ben. 

Ansporet af det succesfulde samarbejde med 

Johannes Foersom og Peter Hiort-Lorenzen 

og af ønsket om tæt at følge udviklingen i 

dansk møbeldesign, besluttede virksomheden 

i 1993 at indstifte Erik Jørgensen Møbelfabriks 

Designpris, der uddeles hvert andet år. 

Ambitionen med prisen er at fastholde og 

udvikle samarbejdet med de yngste designere 

og med den innovative designudvikling. Den 

første vinder var dobbeltchaiselongen Waves, 

tegnet af Morten Ernst og Anne-Mette Jensen. 

Sammen med Louise Campbell tilhører de den 

nye generation af talentfulde formgivere, som 

Erik Jørgensen Møbelfabrik samarbejder med. 

Fra 1994 overtog Erik Jørgensens ældste søn, 

Niels Jørgensen, gradvist den daglige ledelse 

af virksomheden, herunder ansvaret for udvikling 

af nye produkter. Erik Jørgensen var imidlertid 

fortsat særdeles aktiv og medlevende i 

virksomhedens udvikling og sad i bestyrelsen 

til sin død i 1998. 

Det er lykkedes Niels Jørgensen, og den 

yngre søn, Ole Jørgensen, der i dag er 

salgsdirektør, at løfte arven fra deres far og 

videreføre ambitionen om at være nyskabende. 

Hvilende på et solidt fundament af godt 

håndværk og en veludviklet kvalitetssans har 

de stræbt efter at præsentere det uventede, 

ofte med succes. For eksempel i 2001, hvor 

Erik Jørgensen i samarbejde med Kvadrat 

præsenterede en stofserie designet af 

Charles og Ray Eames ved en event på Statens 

Museum for Kunst. 

61

62 high quality, more often than not they have Stoffet fra de amerikanske verdensstjerner 

The assignment for interior design at the 

Sideløbende hermed har mere glamourøse 

sought to present the unexpected with great klædte Erik Jørgensen-klassikere som Rotor, 

EU summit in Copenhagen in 2002 was done miljøer fået øjnene op for kvaliteten i møblerne 

success. Such a success occurred in 2001, when Donna og Corona. Andre eksempler er Flamingo 

with furniture from Erik Jørgensen as the result fra Erik Jørgensen. Der er stigende efterspørgsel 

Erik Jørgensen, together with Kvadrat presented fra Foersom & Hiort-Lorenzen, Louise Campbells 

of a close cooperation between designers and efter møblerne i forbindelse med film, musik- 

a series of fabric, designed by Charles and Seesaw og Anne-Mette Jensen og Morten Ernsts 

Erik Jørgensen Møbelfabrik. 

videoer, udstillinger, modeserier og blandt 

Ray Eames at an event at the Danish National 144. Erik Rimmer, der er chefredaktør for bolig- 

At the same time the high quality standard andre George Michael og Ricky Martin har i de 

Gallery of Art. The fabric from the American magasinet Bo Bedre, understreger virksom- 

of Erik Jørgensen furniture has been discovered seneste år taget plads i de sydfynske kvalitets- 

megastars looked good on Erik Jørgensen hedens værdi for den danske møbelindustri, der 

by a variety of glamorous venues. A growing møbler. 

classics like Rotor, Donna and Corona. 

skyldes evnen til konstant at være med fremme 

demand for the furniture to be used in film, music Nytænkningen hos Erik Jørgensen Møbel- 

Other examples are Flamingo from Foersom & indenfor formgivning, uden at ofre kvaliteten. 

videos, exhibitions, fashion features has not fabrik har altid været forankret i et krav om kun 

Hiort-Lorenzen, Louise Campbell’s Seesaw and “Erik Jørgensen Møbelfabrik har et brand, 

gone unnoticed, and in recent years celebrities at bruge materialer, der opfylder de højeste 

Anne-Mette Jensen and Morten Ernst’s 144. der er et kvalitetsstempel, og det har en virk- 

like George Michael and Ricky Martin have krav på markedet. Virksomheden har en række 

Erik Rimmer, who is chief editor at the lifesomhed i denne branche kun, hvis den konstant 

taken a seat in these high-class pieces of langvarige samarbejdsrelationer med de 

style magazine Bo Bedre, stresses the impor- leverer møbler, der er i orden. Ethvert kompromis 

furniture which originated from the southern bedste underleverandører af stål, læder, 

tance which the company has for Danish 

med kvalitetsniveauet afslører sig over tid. 

region of Funen. 

træ og polstermaterialer. Langt de fleste pro- 

furniture industry is based on the ability 

Den indsats kombineret med risikovilligheden 

The trademark innovation at Erik Jørgensen ducenter er danske, og de er ofte i dialog med 

constantly to be at the forefront of design betyder, at Erik Jørgensen Møbelfabrik tilhører 

Møbelfabrik has always been rooted in a 

Erik Jørgensen Møbelfabriks designere om 

without sacrificing quality. 

den danske møbelelite,” siger Erik Rimmer. 

demand that only materials that live up to the produktionsmetoder, materialevalg og konstruk- 

“Erik Jørgensen Møbelfabrik has a brand, Et nyt kompetenceområde har i stigende 

highest standard on the market are to be used. tioner. Kravene til medarbejderne er lige så høje 

which is the same thing as a mark of high grad præget virksomheden i det seneste årti, 

The company has many long-standing work som til materialerne, og Erik Jørgensens succes 

quality, and the only way that a company like nemlig samarbejdet med indretningsarkitekter 

relations with the best distributors of steel, skyldes måske mere end noget andet den lange 

theirs can achieve that is consistently to deliver om store nybyggerier og indretningsopgaver, 

leather, wood and upholstery. By far most of række af dygtige og engagerede medarbejdere, 

furniture that is beyond criticism. Any compro- både i Skandinavien og på de europæiske 

the manufacturers are Danish, and on a regular der har præget virksomheden gennem hele 

mise with regard to quality standards will nærmarkeder. Hilton-hotellet ved Kastrup 

basis they work together with the designers dens historie. På den måde sikres fornyelse og 

show itself over time. That kind of investment, Lufthavn er blot et enkelt eksempel. 

at Erik Jørgensen Møbelfabrik with regard kvalitet. På den måde sikres perfektion og 

combined with the willingness to take risks, Indretningsopgaven i forbindelse med EU 

to methods of production, materials and 

provokation. 

means that Erik Jørgensen Møbelfabrik is topmødet i København i 2002 blev også løst 

constructions. The company expectations from 

absolute top-notch in Danish furniture design,” med møbler fra Erik Jørgensen og i et tæt sam- 

the employees are no less demanding than the 

says Erik Rimmer. 

arbejde mellem arkitekterne og Erik Jørgensen 

standard of materials, and the success of 

A new ground of competence, which has Møbelfabrik. 

Erik Jørgensen is perhaps more than anything 

increasingly shaped the company this recent 

else due to a staff of skillful and committed 

decade, has been the collaboration with 

employees, who have all played an invaluable 

interior designers on big projects and large- 

role in shaping the company through all its 

scale new buildings both in Scandinavia 

history. That is how renewal and quality are 

and on European markets. Hilton Hotel by 

ensured. That is how perfection and provocation 

Copenhagen Airport is just an example. 

are secured. 

63

64 

EJ 150 

Design: Gunnar Graversen 

Med sin lave højde og fyldige, 

vandrette madras har 

Gunnar Graversens EJ 150 et 

uhøjtideligt udtryk. Formen 

på de skrå armlæn og de lave 

ryghynder giver samtidig 

sofaen en dynamisk karakter, 

som understreges af de hæftede 

knapper. 68-generationens 

foretrukne sofa har vist sig at 

være evigt ung. 

The low height and voluminous, 

horizontal mattress give 

Gunnar Graversen’s EJ 150 an 

unpretentious appearance. The 

shape of the slanting armrests 

and low bolsters give the sofa 

a dynamic character which the 

fastened buttons help underline. 

The 68-generation’s sofa 

of choice has proven to be 

forever young. 

65

66 




67

68 


Flamingo blev præsenteret på 

møbelmessen i Bella Center i 

2003 og har på kort tid etableret 

sig som en meget populær 

stol til både erhverv og bolig. 

Stolen er en svungen formskal 

balanceret på en tynd trådfod, 

og med sine fine linier er 

Flamingo noget af det ypperste, 

moderne polstringsteknik kan 

frembringe. Skallerne i sæde 

og ryg er uhørt slanke og 

skarpt tegnede. Udviklingen af 

formstøbte selvbærende emner 

gør det muligt at spænde sædeog 

rygstykker på et let stel og 

skabe en stærk stol med et elegant 

udtryk. Flamingo udstråler 

friskhed og modernitet med 

fine hentydninger til fuglens 

vingefang. 

. 




69

70 


Flamingo was launched at The 

Furniture Fair at Bella Center in 

2003 and has proven to be a 

very popular chair in a very 

short time for business and 

homes alike. The chair is a 

curved shell balanced on a slim 

wire foot. Flamingo with the 

delicate outlines is an example 

of the very best that modern 

upholstering technique has to 

offer. The shells of the seat and 

back are inordinately slender 

and sharply outlined. The 

development of moulded selfsupporting 

units has made it 

possible to fasten the seat 

and back elements to a light 

frame and create a strong chair 

with an elegant appearance. 

Flamingo has a fresh and 

modern appeal with subtle 

references to the wing span 

of a bird. 




71

72 

EJ 220 · 270 


Med sine smalle armlæn 

og relativt lave højde har 

Erik Jørgensens EJ 220 en let, 

blød og skødesløs fremtoning. 

De store, fyldige hynder udstråler 

overskud, komfort og hjemlig 

hygge. En af de ting, der optog 

Erik Jørgensen i de sene 

1960’ere, var, hvordan man 

kunne redefinere sofaens formsprog 

og gøre det populære 

dagligstuemøbel til en æstetisk 

nydelse med god komfort. 

Resultatet af Erik Jørgensens 

overvejelser blev kassesofaen 

EJ 220, som siden sin introduktion 

i 1970 har dannet skole for 

sofadesigns i Danmark. 

The narrow armrests and 

relatively low height give 

Erik Jørgensen’s EJ 220 a light, 

soft and casual appearance. 

The big voluminous cushions 

signal abundance, comfort and 

a feeling of hominess. One of 

the challenges that preoccupied 

Erik Jørgensen in the late 

1960s was how to redefine the 

design of sofas and turn the 

popular living room piece of 

furniture into an aesthetic 

visual experience with a high 

level of comfort. The result of 

Erik Jørgensen’s contemplations 

was the box sofa EJ 220, which 

was introduced in 1970 and has 

since founded a school for how 

sofas are designed in Denmark. 

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74 

EJ 220 


75

76 

EJ 315 

Design: Erik Ole Jørgensen 

Med sit stramme og dog indbydende 

snit udstråler EJ 315 

dansk design og møbelhåndværk. 

Det fornemme træstel 

understøtter en slank hyndestruktur, 

der får liv og dybde 

fra de mange hæftede knapper. 

EJ 315 fremstår som myndig 

og rolig. I stofudgaverne, med 

Erik Jørgensens klassiske 

tekstiler, er præcisionen i tilskæringen 

synlig i overgangene 

på hyndernes flader. EJ 315 blev 

hurtigt kendt som den ultimative 

danske stofsofa i høj kvalitet. 

Den er designet af møbelarkitekt 

Erik Ole Jørgensen 

(1925 – 2002), hvis enkle, funktionelle 

møbler har placeret 

ham blandt de bedste danske 

møbeldesignere. 

77

78 

Characterised by a sober and 

yet inviting style, EJ 315 

embodies Danish design and 

furniture craftsmanship. 

The distinguished-looking 

wood base gives support to a 

slim structuring of cushions, 

which are given additional life 

and depth by the effect of many 

fastened buttons. EJ 315 comes 

across as stern and calm. In the 

fabric versions, covered in 

Erik Jørgensen’s classic fabrics, 

the precision with which the 

cutting has been executed can 

be seen in the linings on the 

surfaces of the cushions. EJ 315 

quickly became known as the 

ultimate Danish fabric sofa of 

such high quality. The sofa was 

designed by furniture designer 

Erik Ole Jørgensen (1925-2002), 

whose simple, functionalist 

furniture has placed him among 

the best Danish furniture 

designers. 

EJ 315 

Design: Erik Ole Jørgensen 

79

80 

EJ 600 


Fordi EJ 600 ikke er opbygget 

med en udvendig skal, fremstår 

den som et selvstændigt, organisk 

korpus. Som en muskuløs 

organisme der på én gang er 

ren i formen og afslappet i 

udtrykket. De kraftige dimensioner 

på sæde, ryg og arme 

danner en harmonisk helhed, 

som udstråler tyngde i kontrast 

til de elegante, koniske ben, 

der giver en svævende helhed 

og trækker de horisontale linier 

frem. I 1996 blev EJ 600 relanceret 

som svar på en stigende 

efterspørgsel på fuldpolstrede 

sofaer med et kraftigere udtryk. 

Ved relanceringen blev sofaen 

også vist i en elementversion 

under navnet Landscape. 

Because EJ 600 is built without 

an exterior shell, it appears as 

an independent organic body, 

a muscular organism which 

comes across as a pure example 

of design, but with a relaxed 

appearance. 

The sturdy dimensions of the 

seat, back and armrests form a 

harmonious whole, which gives 

a sense of weight in contrast to 

the graceful, conic legs which 

create a floating unity and 

emphasise the horizontal lines. 

In 1996 EJ 600 was launched 

again to meet the growing 

demand for fully upholstered 

sofas which had a more solid 

look. The element version of 

the sofa, named Landscape, 

was also shown at the launch. 

81

82 

EJ 600 


83

84 

EJ 600 


85

86 

EJ 660 

Design: EJ design team 

87

88 

EJ 660 

Design: EJ design team 

EJ 660 er skabt af Erik Jørgensens 

interne designteam. I slutningen 

af 90’erne opstod der et 

behov på specielt det italienske 

marked for minimalistiske, 

skandinaviske sofaer, og 

Erik Jørgensen Møbelfabrik 

besluttede at lave en nyfortolkning 

af virksomhedens klassiske 

sofadesign. Med brede armlæn 

og store flader fremstår EJ 660 

enkel i sit formsprog. 

Den klassiske kassesofa, hvor 

den udvendige kasse bærer de 

voluminøse hynder, som signalerer 

stor komfort. 

EJ 660 was designed by 

Erik Jørgensen’s internal team 

of designers. In the late 90s 

a demand for minimalist, 

Scandinavian sofas materialised, 

particularly on the Italian 

market, and Erik Jørgensen 

Møbelfabrik decided to create 

an updated version of the 

classic sofa design for which 

the company was known. 

The EJ 660 design is simple; 

with broad armrests and big 

surfaces. The classic box sofa 

where the exterior box supports 

the voluminous cushions which 

send a signal of great comfort. 

89

90 

Pipeline er en visuel kraftpræstation 

af Foersom & Hiort- 

Lorenzen og var et voldsomt 

statement på erhvervsmarkedet 

ved introduktionen i 1984. Det 

modulopbyggede venterumssystem 

rummer et overvældende 

antal kombinationsmuligheder. 

Udtrykket er på en gang organisk 

og strømlinet og Pipeline 

er konstant udfordrende for det 

nysgerrige sind. Buer og sving 

kan være både flade og skarpe, 

det giver den store fleksibilitet 

og åbner mulighed for uventede 

forløb. Samtidig er komforten 

i top. Pipeline er et cool møbel, 

der inviterer til stærke farver. 

Pipeline is a visual tour de force 

by Foersom & Hiort-Lorenzen, 

and it made a dramatic statement 

on the contract market 

when it was introduced in 1984. 

The modular waiting room 

system offers an overwhelming 

number of combination options. 

The look is both organic and 

streamlined, and Pipeline 

presents a constant challenge 

for the inquisitive mind. Made 

possible by ample flexibility, 

curves and turns can be soft 

as well as sharp, which only 

enhances the possibility of the 

unexpected. At the same time 

the level of comfort is superb. 

By any standard Pipeline is a 

cool piece of furniture with 

undeniable appeal for vibrant 

colours. 

EJ 900 Pipeline 



91

92 

EJ 900 Pipeline 



93

96 

EJ 1000 Oasis 

Design: Niels Gammelgaard 

Niels Gammelgaards Oasis er 

et amorft møbel, der signalerer 

komfort, til det offentlige rum. 

Den fine udskæring til ryggen 

danner en bue og giver, sammen 

med de meget faste skumelementer, 

brugeren en følelse 

af tryghed. Oasis kan kombineres 

i slangede forløb, i indvendige 

og udvendige cirkler i lige 

rækker eller i talrige andre 

formationer. Oasis er møblet til 

et professionelt miljø, med et 

strejf af lounge-stemning og 

har, takket være støbeteknikken, 

en overlegen holdbarhed. 

Niels Gammelgaard’s Oasis 

signals comfort and is an 

amorphous piece of furniture 

with office buildings in mind. 

The delicate opening for the 

back forms a curve which, 

combined with very firm foam 

units, gives the user a feeling of 

safety. Oasis can be combined 

in a series of winding forms, 

inside and outside circles in 

straight alignment or a variety 

of other formations. A superior 

moulding technique gives 

Oasis a masterly durability, 

and Oasis works well in a 

professional environment with 

a touch of lounge-atmosphere. 

97

98 

EJ 1000 Oasis 

Design: Niels Gammelgaard 

99

100 

EJ 141 · 144 

Design: Anne-Mette Jensen & 

Morten Ernst 

Med sin store, vandrette flade, 

den blanke underside af sort 

glasfiber og sit transparente 

stel får EJ 144 et let udtryk 

som en membran, der adskiller 

himmel og jord. EJ 144 (One for 

four) er tegnet af Anne-Mette 

Jensen og Morten Ernst. 

I dag indgår den i flere lobbyer 

og halls som afslappende oaser 

på avancerede europæiske 

designerhoteller. 

The big horizontal surface, 

smooth black fibre-glass 

construction and transparent 

base of EJ 144 easily lead the 

thoughts to a membrane 

separating heaven from earth. 

EJ 144 (One for four) is designed 

by Anne-Mette Jensen and 

Morten Ernst. Today it is seen 

in lobbies and halls as relaxing 

oases in advanced European 

designer hotels. 

101

102 

EJ 144 


Morten Ernst 

103

104 

EJ 142 Waves 


Morten Ernst 

Navnet siger det hele. 

En formfuldendt skulpturel 

manifestation. Waves vandt 

Erik Jørgensen Møbelfabriks 

første designkonkurrence i 

1994, der blev udskrevet i 

anledning af virksomhedens 

40 års jubilæum. Anne-Mette 

Jensen og Morten Ernst indledte 

deres samarbejde med at deltage 

og altså vinde konkurrencen. 

Dengang var de stadig studerende 

på Kunstakademiets 

Arkitektskole, men siden har 

de dannet professionelt par. 

The name says it all: A fully 

formed sculptural manifestation. 

Waves was the winner of the 

first Erik Jørgensen Møbelfabrik 

design competition in 1994, 

which marked the 40 years 

jubilee of the company. 

Anne-Mette Jensen and Morten 

Ernst started their collaboration 

when they participated, and 

ended up winning, the competition. 

At the time they were still 

students of The Academy of 

Fine Arts School of Architecture 

but since then they have worked 

together as a professional team. 

105

106 

EJ 400 Canobi 

Design: David Lewis & Gunnar Graversen 

En modulopbygget sofa med 

hjørne- og mellemelementer, 

designet af David Lewis og 

Gunnar Graversen. Canobi er 

lav og antiautoritær i udtryk. 

Ambitionen var en sofa i overensstemmelse 

med tidens 

afslappede trend, men samtidig 

med god komfort. Stelkonstruktionen 

giver nogen fasthed, 

men det overordnede signal er 

afrundet og afslappet, i harmoni 

med tiden. I dag begejstrer 

Canobi igen trendskabere. 

A modular system sofa with 

corner- and mid-sections 

designed by David Lewis and 

Gunnar Graversen. The ambition 

of creating a sofa in keeping 

with the casual trend, while 

still preserving a high level of 

comfort, resulted in the Canobi, 

a low construction with an antiauthoritarian 

look. The construction 

of the frame gives an 

impression of firmness, whereas 

the overall signal is rounded 

and relaxed. Ever contemporary, 

Canobi has what it takes to 

excite trend-setters all over 

again. 

107

EJ 400 Canobi 

Design: David Lewis & Gunnar Graversen 

109

110 

EJ 800 Rotor 



111

112 

EJ 800 Rotor 



Med Rotor har Foersom & Hiort- 

Lorenzen formået at kombinere 

en høj grad af funktionalitet 

med smukke former. Afhængig 

af placeringen af de to separate 

rygdele forvandler Rotor sig fra 

en tosædet sofa til en tête-à-tête 

sofa eller chaiselong. I lukket 

tilstand gør de høje ryglæn 

Rotor til et privat møbel, der 

imidlertid også kan indbyde til 

dialog, når ryggen åbnes op. 

Rotor er Foersom & Hiort- 

Lorenzens første arbejde for 

Erik Jørgensen. Det var også 

Erik Jørgensens første møbel 

rettet direkte mod erhvervsmarkedet, 

og sofaen er i dag en klassiker 

i erhvervsprogrammet. 

With the Rotor Foersom & 

Hiort-Lorenzen have successfully 

managed to combine a 

high level of functionalism with 

beautiful forms. Dependent on 

the positioning of the back 

units, Rotor transforms itself 

from a two-seat sofa to a têteà-tête 

sofa or a chaise longue. 

The tall backrests, when closed, 

turn Rotor into a private piece 

of furniture, which in turn also 

invites dialogue when the back 

is opened. Rotor is Foersom 

& Hiort-Lorenzen’s first work 

assignment for Erik Jørgensen. 

Rotor was also Erik Jørgensen’s 

first piece of furniture specifically 

aimed at the contract market, 

and today the sofa is one of 

the classics in the contract programme. 

113

EJ 880 Atlas 

Design: Legaard & Christensen 

114 Det gode møbel til hjemmet 

egner sig til samtale, og Tina 

Christensen og Kai Legaards 

Atlas er et fornemt eksempel. 

En multifunktionel sofa, der 

dækker alle behov for at sidde, 

ligge eller slænge sig. De to 

separate chaiselong-elementer 

er spejlvendte og med hjul. 

Atlas er en lang sofa eller det 

optimale møbel til to, der kan 

lide hinanden. Udtrykket er 

både elegant og afslappet og 

inviterer til gode oplevelser. 

Good furniture for the home 

facilitates conversation, 

and Tina Christensen and 

Kai Legaard’s Atlas is a classy 

example of just that. A multipurpose 

sofa for sitting, lying 

down or sprawling. The separate 

chaise longue elements are 

laterally reversed and have 

been fitted with wheels. 

Atlas is a long sofa – or the 

best furniture possible for two 

people who like each other. 

The refined and casual look is 

suggestive of good experiences. 

115

116 

EJ 2100 Meadow 



Et møbel med mange anvendelsesmuligheder, 

der på en 

elegant måde spiller på tidens 

fragmentariske udtryk. De fritstående 

elementer gør møblet 

transparent. Og afhængigt af, 

hvordan de placeres, kan møblet 

forandres til daybed, chaiselong 

eller sofa. Meadows er 

således foranderlig, men altid 

komfortabel, blandt andet takket 

være madrassens pocketfjedre. 

A multi-purpose furniture 

which plays on the fragmentary 

reality of contemporary life. 

Meadow is transparent, because 

of the detached elements and, 

depending on how they are 

placed, Meadow changes to 

daybed, chaise longue or sofa. 

So Meadow is changeable, but 

always comfortable, owing in 

large part to the pocket springs 

of the mattress. 

117

118 

Anne-Mette Jensen og Morten 

Ernsts Orca er et møbel, der 

giver varme til kølige rum. 

Orca kombinerer design og interaktion 

på en måde, der nedbryder 

barrierer og gør ventetid til 

en god oplevelse. De polstrede 

sæder kan monteres modsat, 

så en samtale med sidemanden 

har optimale betingelser. Orca 

er organisk og overraskende, 

med en delikat linieføring. 

Formgivningsmetoden er billedhuggerens, 

og tilbage står et 

råt møbel, der flot kontrasteres 

med det stramme stel. 

Anne-Mette Jensen and Morten 

Ernst’s Orca is a furniture which 

seems warm if the room seems 

cold. Orca combines design and 

interaction in a way that breaks 

down barriers and makes 

waiting a positive experience. 

The upholstered seats can be 

placed facing each other, ensuring 

the ideal circumstances for 

a conversation with the person 

sitting next to you. 

Orca is organic and surprising, 

characterised by delicate lines. 

The shaping method of the 

design is the sculptors’, and 

what is left is a raw piece of 

furniture which is contrasted 

by the stringency of the base. 

EJ 2500 Orca 


Morten Ernst 

119

120 

EJ 2800 Seesaw 

Design: Louise Campbell 

Med tydelige referencer til barndom 

lægger Louise Campbells 

Seesaw op til leg og dialog. 

Typisk for Louise Campbells 

formsprog har vippen et skær 

af drømme og magi over sig. 

Den overraskende form udfordrer 

normale forestillinger om 

polstrede møbler og tilbyder 

funktioner, som man ikke forbinder 

med indretning. Seesaw 

egner sig til brainstorm og uformel 

snak. Dialog opstår naturligt, 

da man skal være to for at 

finde balancen på Seesaw, og 

der er ikke langt til smilet, når 

først man har sat sig til rette. 

With clear references to 

childhood Louise Campbell’s 

Seesaw is both playful and 

inviting. Characteristic of 

Louise Campbell’s design the 

seesaw has an element of dream 

and magic about it. The surprising 

form challenges normal 

expectations of upholstered 

furniture and offers functions 

that one does not usually 

associate with interior design. 

Seesaw is equally suited for 

brainstorming as informal chat. 

Dialogue occurs quite naturally, 

since you have to be two people 

to find the balance on Seesaw, 

and breaking out in a smile is 

never far away once you have 

seated yourself. 

121

122 

6-11 EJ 5 Corona 

design: Poul M. Volther 

12-13 EJ 8 A-Chair 

design: Torben Skov 

14-17 EJ 11 Donna 

design: Johannes Foersom & 

Peter Hiort-Lorenzen MDD 

18-21 EJ 20 

design: prof. Jørgen Gammelgaard 

22-25 EJ 40 



26-29 EJ 56 

design: Erik Jørgensen 

30-35 EJ 60 



30-35 EJ 65 / 66 



Produkt · Product 

36-40 EJ 70 Partner 



41-43 EJ 70 / 71 



41-43 EJ 72 



41-43 EJ 80 Partner 



44-49 EJ 96 Apollo 



50-53 EJ 100 Oxchair 

design: Hans J. Wegner 

123

124 

Produkt · Product 

64-65 EJ 150 

design: Gunnar Graversen 

66-71 EJ 205 Flamingo 



72-75 EJ 220 


72-75 EJ 220 


72-75 EJ 270 


72-75 EJ 290 


76-79 EJ 315 

design: Erik Ole Jørgensen 

80-85 EJ 600 


80-85 EJ 600 Landscape 


86-89 EJ 660 

design: EJ design team 

125

126 

90-95 EJ 900 Pipeline 



EJ 901/1 EJ 901/2 EJ 901/3 

• 60 cm • • 120 cm • 

• 180 cm • 

EJ 903/1 EJ 903/2 EJ 903/3 

• 60 cm • • 120 cm • 

• 180 cm • 

EJ 905/1 EJ 905/2 EJ 905/3 

EJ 905 

• 60 cm • • 120 cm • 

• 180 cm • 

EJ 907/1 EJ 907/2 EJ 907/3 EJ 909/1 EJ 909/2 EJ 909/3 

• 72 cm • 

EJ 915/2 EJ 915/3 EJ 925 / 30° EJ 926 / 30° 

• 144 cm • 

• 

72 cm 

• 

• 

60 cm 

• 

EJ 918/90° EJ 919/60° 

EJ 920/45° 

EJ 921/90° EJ 922/90° EJ 923/60° EJ 924/60° 

EJ 900-1 

EJ 934/62 

• 62 cm • 

+ 

• 

55 cm 

• 

• 132 cm • 

• 

R: 

93 

cm 

• 

• 204 cm • 

EJ 934/75 

• 75 cm • 

• 

R: 

93 

cm 

• 

R: 

105 

cm 

• 

72 cm 

• 

• 

• 

60 cm 

• 

72 cm 

• 

• 

R: 

105 

cm 

• 

• 

+ • 

+ + + • 

+ + • 

• 

EJ 901 

• 192 cm • • 72 cm • • 132 cm • 

• 192 cm • 

• 

55 cm 

• 

EJ 935/62 

• 

70 cm 

• 

EJ 935/75 

• 62 cm • • 75 cm • 

• 206 cm • • 198 cm • 

• 

70 cm 

• 

• 

R: 

93 

cm 

• 

R: 

105 

cm 

• 

R: 

93 

cm 

96-99 EJ 1000 Oasis 

design: Niels Gammelgaard 

100-103 EJ 141 / 144 

design: Anne-Mette Jensen & 

Morten Ernst 

104-105 EJ 142 Waves 


Morten Ernst 

106-109 EJ 400 Canobi 

design: David Lewis & 

Gunnar Graversen 

110-113 EJ 800 Rotor 



114-115 EJ 880 Atlas 

design: Legaard & Christensen 

116-117 EJ 2100 Meadow 



118-119 EJ 2500 Orca 


Morten Ernst 

120-121 EJ 2800 Seesaw 

design: Louise Campbell 

127

Adresses 

128 Erik Jørgensen 

Møbelfabrik A/S 

Industrivænget 1 

DK-5700 Svendborg 

Denmark 

Phone +45 62 21 53 00 

Fax +45 62 22 90 24 

Showroom B4-101 

Bella Center 

DK-2300 København S 

Phone +45 32 52 99 11/38 39 

www.erik-joergensen.com 

info@erik-joergensen.com 

Erik Jørgensen GmbH 

Glockengießerwall 17 

D-20095 Hamburg 

Germany 

Phone +49 (0)40 333 13 211 

Fax +49 (0)40 333 13 327 

erik.joergensen@t-online.de 

EJ Holland 

Nynke van Hichtumwei 21 

NL-8915 JE Leeuwarden 

Netherlands 

Phone +31 (0) 58 21 38 405 

Fax +31 (0) 58 21 69 405 

info.ej.jb@planet.nl 

EJ Sverige 

Släntstigen 14 

SE-432 53 Varberg 

Sweden 

Phone +46 (0) 340 925 20 

Fax +46 (0) 340 925 24 

tb@erik-joergensen.com 

EJ Japan 

101 Garlic Bldg., 

3-43-1 Yoyogi, Shibuya-ku 

Tokyo 151-0053 

Japan 

Phone +81 (0)3 5304 7668 

Fax +81 (0)3 5304 7669 

ej-japan@hh.iij4u.or.jp 

Text : Kontrabande Aps 

Translation : Mie Okuno 

Product photo : Erik Brahl · 

Per Nagel · Pok Studios · Piotr · 

Hans Ole Madsen · Kim Ahm 

Worldphoto : Finn Nygaard 

Repro : Peter Hanson 

Print : Kannike Graphic as 

Design : Finn Nygaard, MDD, AGI

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