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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
Page 2 and 3: EJ 5 Corona EJ 8 A-Chair EJ 11 Donn
Page 4 and 5: 6 EJ 5 Corona Design: Poul M. Volth
Page 6 and 7: 10 EJ 5 Corona Design: Poul M. Volt
Page 8 and 9: 14 Foersom & Hiort-Lorenzens Donna
Page 10 and 11: 18 I EJ 20 har professor Jørgen Ga
Page 12 and 13: 22 EJ 40 Design: Johannes Foersom &
Page 14 and 15: 26 EJ 56 Design: Erik Jørgensen En
Page 20 and 21: 38 EJ 70 · 80 Partner Design: Joha
Page 23 and 24: 44 EJ 96 Apollo Design: Johannes Fo
Page 25 and 26: 48 EJ 96 Apollo Design: Johannes Fo
Page 27 and 28: 52 EJ 100 Oxchair Design: Hans J. W
Page 29: 56 skills and his flair for materia
Page 33 and 34: 64 EJ 150 Design: Gunnar Graversen
Page 35 and 36: 68 Foersom & Hiort-Lorenzens Flamin
Page 37 and 38: 72 EJ 220 · 270 Design: Erik Jørg
Page 39 and 40: 76 EJ 315 Design: Erik Ole Jørgens
Page 41 and 42: 80 EJ 600 Design: Erik Jørgensen F
Page 43 and 44: 84 EJ 600 Design: Erik Jørgensen 8
Page 45 and 46: 88 EJ 660 Design: EJ design team EJ
Page 47: 92 EJ 900 Pipeline Design: Johannes
Page 50 and 51: 98 EJ 1000 Oasis Design: Niels Gamm
Page 52 and 53: 102 EJ 144 Design: Anne-Mette Jense
Page 54 and 55: 106 EJ 400 Canobi Design: David Lew
Page 56 and 57: 110 EJ 800 Rotor Design: Johannes F
Page 58 and 59: EJ 880 Atlas Design: Legaard & Chri
Page 60 and 61: 118 Anne-Mette Jensen og Morten Ern
Page 62 and 63: 122 6-11 EJ 5 Corona design: Poul M
Page 64 and 65: 126 90-95 EJ 900 Pipeline design: J

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