B O C O N C E P T.

C O M
2019

FROM DENMARK.
TO THE WORLD.
 Home. A space imbued with you. A composition of elements
that tells your unique story. Helping you find home has been
our life’s work since 1952. And this year, we show you the
way by shining a light on ours.

In these pages, explore Denmark, through our culture,

inspiring dwellings and ubiquitous appreciation for great
design. Meet local creatives and our renowned designers –
all driven by the passion of their craft.

Every hue, every detail, every word has been curated to

inspire your personal expression. Not a space built on
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perfection. But a home made for living. From ours to yours.

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FROM DENMARK. TO THE WORLD.

FRONT COVER:
Amsterdam lounging module for sofa, medium armrest left As shown, dusty green Velvet fabric 3032/matte dark grey metal finish.
H24¾xW86¾xD42¼”. [Amsterdam - 8100] Waza rug As shown, silver, 100% viscose. W67xL94½”. [Waza]

PAGE 2-3:
Imola chair As shown, black Velvet fabric 3036/matte black structure lacquered. H43½/21½xW37½xD39”. [Imola - 8510] Imola
footstool As shown, black Velvet fabric 3036/matte black structure lacquered. H16¼xW26xD22¼”. [Imola - 8550] Curious table lamp
As shown, black metal. H23¾xØ4”. [Curious]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 P. 6 - 7 DANISH DESIGN SINCE 1952

Contents P. 8 - 9

P. 10 - 13
BEHIND THE FORM

10 YEARS OF AN ICON

P. 18 - 79 LIVING

P. 26 - 27 W AV E S O F C R E AT I V I T Y

P. 44 - 47 CURRENT TRENDS

P. 70 - 71 INTERIOR DESIGN SERVICE

P. 80 - 81 QUALITY BY TRADITION

P. 82 - 113 DINING

P. 114 - 117 M I K K E L K A R S TA D

P. 118 - 125 SLEEPING

P. 128 - 157 S T O R A G E & W O R K S PA C E

PAGE
P. 150 - 151 THE ART OF LOOKING FORWARD

P. 158 - 163 OUTDOOR FURNITURE

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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
In a sleepy town in 1950s Denmark, a pair of young cabinetmakers stand
at the entrance of their new factory. They’re proud. The space may be
modest in size but it is perfectly formed; all painstakingly built by their
hands.

DANISH DESIGN
SINCE 1952

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Just two years earlier, Jens Ærthøj and Tage the accompanying dining chair, designed by
T H E H I S T OR Y

Mølholm began their furniture business
in the hot summer of 1952. Then, their
only company was skill and youthful
determination. Now, they are walking in
with four employees, a growing list of orders
and the satisfaction of a pursued ambition:
to introduce quality Danish furniture to a
broader audience.
Meeting that demand while maintaining
such high standards of quality required
a pioneering spirit. They would have to
combine their traditional craftsmanship with
Denmark’s wave of late industrialization.
Machines were now more affordable, efficient,
and accurate. Investing wisely would speed
up production and keep costs low, without
compromising the quality the customers
loved.
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architect Arne Wahl.
Joining those tenets with Jens and Tage’s
innate business acumen, was a recipe for well-
crafted success. Just eight years later, they
moved to a new 14,000 square feet location.
There, the company grew, evolving from
manufacturer to retail chain. From a small
firm to Denmark’s biggest and most global
furniture brand, with nearly 300 stores in
over 60 countries – and counting.
Our headquarters sit on the same location we
acquired in 1962 – an analogy to the brand:
design excellence rooted in heritage with a
keen eye to the future. It’s how Jens and Tage
worked then. It’s how we always will.

Jens and Tage stood on the principles that

made Danish design admired around the
world. Simplicity, craftsmanship, elegant
functionality, and quality materials. That
year, those values were seen in the smooth
movement of the company’s popular
extendable teak dining table. While their
belief in the pared-down aesthetic of Danish
Functionalism would be brought to life in

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Anders Nørgaard / “My design is characterized
by beautiful lines, minimal styling, and perfect
proportions. However, functionality is always key.”
The Danish architect and furniture designer is famed
for his ability to conceive sofas and chairs that are
coveted around the world.
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ARDE / “Furniture is art in the form of functionality

and beauty. When a design has art, it strikes a
chord with the consumer.” Danish designer ARDE,
blends his homegrown minimalism with elements
of the unexpected, to create designs that pique the
Henrik Pedersen / “I don’t do this for money or imagination.
fame. My passion is creating good products that can
be used by customers around the world.” The Danish
furniture and lighting designer uses his innate
sensibility to produce captivating designs; including
the iconic Imola chair.

BEHIND THE FORM

We work with some of the most respected designers in Denmark and further afield. They’re all award-
winning experts, as you would expect. But perhaps more important is our mutual interpretation of
great design: elegant, well considered products that reflect our time and improve our lives.

As the creatives behind our collection, we trust them with our life. And with over a hundred fabrics
and leathers, and numerous material, colour and customization options, you can trust our designs to
enrich your home.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
Oki Sato / ‘‘We want to give something more with our
design. A little twist that catches the eye and creates
a small moment.” Founder of nendo, and youngest
ever Wallpaper Magazine Designer of the Year, Oki
Sato’s unique take on Japanese design has made him
a household name. Morten Georgsen / “When you combine pleasing
proportions with beautiful colours, materials, and
craftsmanship, you create a design that evokes a
good feeling.” Our longest running partnership, the
Danish designer has been conceiving designs for us
since 1993.

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Frans Schrofer / “My overall guiding

principle is to create tools for living. A
language of form without words.” Part of
Karim Rashid / ’’The object should include a sense of
more than three generations of renowned
humanity. Something soft that touches you and makes you
creativity, the award-winning Dutch
feel at ease.” The Egyptian-born, Canadian-raised New
designer draws from a rich palette of artistic
Yorker is one of the most famous, prolific and awarded
and technical knowledge.
designers of his generation.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Henrik Pedersen
Henrik’s designs offer a warm minimalism; a luxury that calls to you
without the needless lexicon of ornamentation and glitz. His design
language is a blend of comfort, natural curves, clean lines, and honest
materials – honesty being one of his mantras.
10 YEARS OF AN ICON
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Walking into Henrik Pedersen’s home
T H E I MOL A C H A I R
confirms everything you have heard about
the celebrated designer. It sits in an exclusive
location to the south of Denmark’s second
capital, Aarhus. And yes, it’s beautifully
designed, decorated, and furnished – as you
would expect. But grand and pretentious it’s
not. This isn’t a space designed for asserting
status. Nor is it an homage to the owner’s
aesthetic prowess. The space is a warm and
welcoming home, made for living.
No surprise then to learn that “down to
earth” is a phrase often used to describe
the 51-year-old identity, graphic, packaging,
furniture, and lighting designer. Henrik
Pedersen designs for clients all over the world,
and has conceived some of BoConcept’s most-
popular products, including the Adelaide
collection, Monza table, and the iconic Imola
chair.
Henrik’s designs offer a warm minimalism; a
luxury that calls to you without the needless
lexicon of ornamentation and glitz. His
design language is a blend of comfort, natural
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
curves, clean lines, and honest materials –
honesty being one of his mantras.
“It’s where I always start. If you take on a
brief that you truly hate, there are likely to
be two outcomes: you will either fail utterly.
Or you will succeed because you have no
inhibiting emotion. But neither is fun,
because then it’s just a job – the passion has
gone.” One look at Henrik’s resume tells
you that design passion is a quality he has in
spades.
A LIFE IN DESIGN
Henrik trained as a Fashion Designer,
graduating in 1989. During those studies,
he identified his deeper affinity for graphic
design. He merged the two, landing a job
producing graphics for a fashion label. And
would later move back to Aarhus to start a
graphic, identity and packaging design studio
with his wife. “I didn’t get into design. Design
got into me! [laughs] I’ve never met a fashion
designer who didn’t care about cars, graphics
and interiors – and vice versa. I see them all
as one big interconnected element.”
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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01.

01 I Imola chair As shown, light grey Lux Felt fabric 2310/brushed

steel. H43½/21½xW37½xD39”. [Imola - 8510] 02 I Imola chair
with swivel function As shown, camel Sienna leather 5111/
brushed steel. H43½xW37½xD39”. [Imola - L002] Curious floor
02. lamp As shown, black metal. H53½xØ4”. [Curious]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
Henrik still runs his graphic design studio
today. But it was in 2007 when his vision
broadened to include furniture; almost two
decades after graduating and just one year
before he would design the Imola chair.
“At this point we owned furniture that we
before admired but could not afford. And
living with those pieces inevitably sparked my
desire to tackle interiors.” Henrik decided
to create a collection of ten lamps and
speculatively booked a stand at a furniture
fair in Copenhagen. “I had no idea about
price or whether they would even sell. But I
just wanted to see what happened. Luckily, I
sold all ten designs to one manufacturer and
was nominated for a design award. I then
started my studio and attended another fair
with a new collection of furniture and lamps.
I acquired three clients there that I still work
with today; one of which being BoConcept.”
After a few minutes with Henrik, you’re
aware that the no-stress-can-do attitude that
fueled his segue into furniture design is
intrinsic to his life and work. “I’m on the back
of a horse, and I have absolutely no control
[laughs].” He talks about the importance of
not over-thinking the design process and even
separates himself from his creativity. “My
process is to just start. I simply sit down at my
desk, pencil in hand, and the little guy inside
me says, don’t worry, I’ll figure this out.” It’s
clear that Henrik is applying liberal duabs of
humility over the prep and theory that must
underpin such a successful career. Later, he
peels some of it away.
“Mind, pencil and paper, and then a
computer. That’s my approach. The computer
is the acid test because everything can
be made to look amazing on paper. The
computer is where the design asks, “You drew
me there, but do I really work?”, and that’s a
key stage in the process.”
“Compromise is invariably involved. Not that
compromise or resistance is a bad thing. It
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
helps you find the best solution. You can
often encounter ten, twenty, or a hundred
obstacles to making a functional product
at a decent price. I must always consider
functionality, price, the target in the market,
trends, my feelings (which I guess is a big part
of what the client is paying for), plus input
from engineers and craftsman. Which is why
I say that design is the opposite of art. An
artist is about expressing him or herself – no
compromise. A designer is a facilitator – a
midwife to a concept, you could say.”
When asked about inspiration you get
the same no-frills response that is by now
expected and satisfying in equal measure.
“It’s never a landscape or the colour of snow.
It’s generally everyday objects: the side of a
mouse mat, the fabric of a cushion. I used to
write down those moments of inspiration, but
now I just leave them and trust that my mind
will recall it when required.”
DESTINED TO BE MADE
Delving into the process of designing Imola,
reveals an unknown fact: “It actually wasn’t
to brief. [laughs] BoConcept wanted a
completely different product, a very classic
living chair, which I showed them. But I took
the liberty to show Imola as well, and they
instantly wanted it instead. We all loved the
design but I don’t think anyone could have
predicted its success.” The chair has gone on
to become both a high selling product and
an icon piece for the brand. This year we
mark 10 years of the design, producing hand-
crafted 1:16 miniature models and celebrating
the icon with a special winter anniversary
campaign.
Imola was inspired by one of the two swirling
halves of a tennis ball. Each of the form’s
distinctive sides appears to have been born
from a single slice. Details that juxtapose the
design’s enveloping curves with the sharp
edges of the resulting side panels. The mix
gives Imola tension and elevates your sense
of visual comfort, while its low-profile base
frame conjures the illusion of levitation. Just
a few of the reasons for its success.
“I think the success of a living chair is in
the eye of the beholder. If you want an icon
chair that isn’t so much for sitting, but rather
a showpiece, then you will choose it for its
looks. I sit in some chairs, and you can tell
that comfort wasn’t high on the designer’s
list of priorities. In my opinion, a good living
chair needs to be comfortable. I want it to be
a place of relaxation.”
Imola comes with a swivel base option in
steel. And its base frame option is available
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in both steel and on-trend brass. Henrik also
designed two matching footstools. All are
available in our full range of over a hundred
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luxury fabrics and leathers. But what is
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Henrik’s preference? “I like a very natural
look. So, I would choose the brand’s new pure
aniline leather. It’s very close to completely
raw leather. I need to see the patina in all the
right places.”
When asked about the life impact of
designing such an iconic piece only a year
into his furniture and lighting career, Henrik
laughs. “There was no impact. I don’t do
this for money and fame. I need to pay the
bills, but my passion is creating products
that can be manufactured for the right price
and used by clients around the world. I don’t
look back. I just want to continue creating
good products.” Hearing those words from
the mouths of others would have aroused
skepticism. In Henrik Pedersen’s case, you
can’t help but believe them to be true.
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01.

TO CRAFT AN ICON
Today, there are only four craftsmen in the world who are qualified to make the Imola chair. All work
from the same factory in Europe, with two more craftsmen in training. That education, lasting a year,
is only offered to highly skilled upholsterers, and for good reason.

Imola is a handmade-to-order product of exceptional quality. Stretching and positioning such taut
upholstery over Imola’s sculptural form is no easy feat. It is physically demanding work that requires
years of expertise and a meticulous eye for detail. Each chair uses approximately four and a half
square yards of fabric or leather, and over sixty five yards of thread.

Like all passionate artisans, every Imola craftsman is driven by the beauty and satisfaction found in
his creation: one handcrafted Danish icon, ready to adorn a home somewhere in the world.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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01 I Imola chair As shown, black Velvet fabric 3036/matte black

structure lacquered. H43½/21½xW37½xD39”. [Imola - 8510]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
01.
 S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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A M S T E R D A M S O FA . D E S I G N E D B Y H E N R I K P E D E R S E N
02.

01 I Amsterdam lounging module for sofa, medium armrest left As shown, dusty green Velvet fabric 3032/matte dark grey metal
finish. H24¾xW86¾xD42¼”. [Amsterdam - 8100] Amsterdam 2.5 seating module, armrest right As shown, dusty green Velvet
fabric 3032/matte dark grey metal finish. H24¾xW71½xD42¼”. [Amsterdam - 2502] Madrid coffee table As shown, smoke-coloured
glass/matte black structure lacquered/black concrete. H14¼/17½xW21¾xL21¾”. [Madrid - AD22] Waza rug As shown, silver, 100%
viscose. W67xL94½”. [Waza] Kuta floor lamp As shown, black. H78¾xØ15¾”. [Kuta] 02 I Amsterdam lounging module for sofa,
medium armrest left As shown, dusty green Velvet fabric 3032/matte dark grey metal finish. H24¾xW86¾xD42¼”. [Amsterdam - 8100]
Waza rug As shown, silver, 100% viscose. W67xL94½”. [Waza]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Osaka sofa with resting unit, tufted seat As shown, forest green Napoli fabric 2256/brushed brass finish. H30½xW78xD55¾”. [Osaka
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M

- CV29] Lugo coffee table As shown, espresso oak veneer/brushed brass finish. H14¼xW19xL19”. [Lugo - AM05] Totoki rug As
shown, green, 100% viscose. W78¾xL118¼”. [Totoki]
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O S A K A S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D
PAGE I 21
Hampton corner sofa with adjustable back and storage on left side As shown, stone grey Napoli fabric 2255/matte dark grey metal finish. H35xW117½xD97”. [Hampton - AX00] Hampton

S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
pouf on wheels with storage left and right sides As shown, stone grey Napoli fabric 2255/black. H15¾xW42¼xD42¼”. [Hampton - 0210] Lucca wing recliner with swivel function As shown,
black Estoril leather 0950/walnut veneer/matte black structure lacquered. H43½/15¾xW27¾xD34¾”. [Lucca - 1425] Madrid coffee table As shown, rust ceramic/matte black structure lacquered/
black concrete. H14¼/17½xØ39”. [Madrid - AD19] Lugano base cabinet with drop-down doors As shown, walnut veneer. H11¼xW75¾xD19”. [Lugano - SN00] Bordeaux wall system As
shown, charcoal grey lacquered/matte black structure lacquered. H12½xW49¼xD12¾”. [Bordeaux - 6370] Shanghai rug As shown, latte, 100% viscose. W78¾xL118¼”. [Shanghai] Kip floor
lamp Product not available in Canada

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LUC C A C H A I R . DE SIGN E D BY A N DE R S NØRGA A R D
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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01.
H A M P T O N S O FA . D E S I G N E D B Y H E N R I K P E D E R S E N

01 I Hampton sofa with adjustable back, resting unit and storage both sides As shown, stone grey Napoli fabric 2255/matte
dark grey metal finish. H35xW117½xD66¾”. [Hampton - BH00] Hampton cushion As shown, stone grey Napoli fabric 2255.
H20½xW26½xD6½”. [Hampton - 9530] Bilbao coffee table As shown, smoke-coloured glass/grey concrete. H14¼xW32¾xL32¾”.
[Bilbao - AD13] Bilbao coffee table As shown, smoke-coloured glass/grey concrete. H18¼xW21¾xL21¾”. [Bilbao - AD12] Bordeaux
console table As shown, charcoal grey lacquered/matte black structure lacquered. H23¾xW12¾xL49¼”. [Bordeaux - 6310] Ring mirror
As shown, black, glass/medium density fiberboard. D1¼xØ27¾”. [Ring] 02 l Hampton sofa with adjustable back and lounging unit
right side, storage and armrest left side As shown, stone grey Napoli fabric 2255/matte dark grey metal finish. H35xW97¼xD42¼”.
[Hampton - 2712] Ottawa side table As shown, matte black structure lacquered. H21¾xW21¾xL12”. [Ottawa - 1660] Meinus rug As
shown, grey, 100% viscose. Ø59¼”. [Meinus] Kip floor lamp Product not available in Canada Magic light 3 Concrete art As shown,
grey/brown/off white, concrete. H44¼xW28½xD1”. [Magic light 3]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
02.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Anders Nørgaard
“My design is characterized by beautiful lines, minimal styling and
perfect proportions. However, functionality is always key. I don’t do noisy
design. I want to give the client a cleaner canvas on which to paint their
personality.”
W AV E S O F C R E AT I V I T Y
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The fact that Anders Nørgaard’s studio is
DE S IGN E R P ORT R A I T
located on the Port of Aarhus seems fitting.
The second capital of Denmark, owes a lot
to the body of water seen from Anders’
office. Seaborne trade has fueled the city’s
growth for centuries, while Aarhus’ success
and the business, academic, and cultural
opportunities it affords, has been central to
the 59-year-old’s life and career.
Just five minutes north from Studio Nørgaard
is the Aarhus School of Architecture, where
Anders studied Architecture and Furniture
Design. His wife sits in an office 1 mile to
the west, as Program Director for Aarhus
Musikhuset, the biggest concert hall in
Scandinavia. And Anders designed and
built his villa in Risskov, the affluent Aarhus
suburb, which also overlooks the bay.
“We have a student population of 40,000
and I’m inspired by the youthful energy that
pervades the city. My wife’s work allows me
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
to attend a lot of local cultural events, which
I love.” As well as art exhibitions, music, and
theatre, the designer also draws inspiration
from furniture fairs, magazines, cooking, and
another pastime, which pulls him back to the
sea.
“I recently caught a 200lbs tuna near Malaga,”
he says through a broad smile. It’s the same
stretch of the Mediterranean seen from his
summerhouse. Seascapes seem to be an ever-
present feature in Anders’ life – reflecting
a career that is in constant motion; always
evolving. Soon, the architect and award-
winning designer will add ‘farming’ to his list
of accomplishments. His summerhouse sits
on 3 acres of farmland – fertile soil that will,
in two years, yield its first crop of Spanish
mangoes. “We live in the only location in the
region with the ideal climate and conditions
for mango production, so why not? [laughs]”
Back to the cold of Aarhus, Anders speaks

of his small close-knit team, which he says
is another big source of inspiration. “I work
with three female designers. As a man, it’s
hard to impart femininity into my designs,
which I believe is integral to modern
furniture. It’s important that my team’s
perspectives combine with mine to create
better products. It’s not a one-man show.”
The discussion moves to his early years. “My
father was a chief technician for innovation
at IBM, and my mother was a respected
pre-computer graphic designer. Their circle
of friends included architects and furniture
designers. Prototypes of school furniture
would arrive at our house for me to test. And
I was also lucky enough to get advice from
some of the greats, including Hans Wegner.
So, I’ve been surrounded by design my whole
life.”
“My design is characterized by beautiful lines,
minimal styling, and perfect proportions.
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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However, functionality is always key. I don’t mentor to a handful of young designers from
do noisy design. I want to give the client Denmark and across Europe. When asked
a cleaner canvas on which to paint their what his one piece of advice would be, he
personality.” pauses.
On Danish design, Anders believes its lasting “Be yourself but respect the craftsmanship.
success is down to historical context and the You have your vision, but always listen to
protection of the craft. “Unlike other nations, the craftsmen. Because, to create a great
our cabinetmaking industry wasn’t halted product, design and craftsmanship must work
by World War II. Danish Functionalism, hand in hand and be optimized for modern
which began in the early 1920s, was able to production.”
evolve throughout. That craftsmanship is
still taught in furniture schools around the
country. Today, many pieces are made on
machines. But a lot of those operators can
just as ably craft furniture by hand, and still
do. We are also not so swayed by trends here
in Denmark. We are trend led, but we tend to
reinterpret them to fit our aesthetic.”
Between drafting the plans for his latest and
smallest home (a result of his sons moving
out) and his furniture design, Anders is also a
 S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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C E N O VA S O F A . D E S I G N E D B Y A N D E R S N Ø R G A A R D

Cenova sofa with resting unit As shown, dusty green Velvet fabric 3032/chrome. H35xW113xD61½”. [Cenova - GK52] Valencia side
table As shown, grey bonded leather/black-stained oak veneer. H18¼xW16¾xL16¾”. [Valencia - 1980] Valencia side table As shown,
grey bonded leather/black-stained oak veneer. H15xW16¾”. [Valencia - 1990] Shanghai rug As shown, Steel, 100% viscose. Ø59¼”.
[Shanghai] Crane floor lamp As shown, black metal with black fabric shade. H80xØ19¾”. [Crane]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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01.
O S A K A S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

02. 03.

01 l Osaka sofa, tufted seat As shown, forest green Napoli fabric 2256/aluminum. H30½xW95½xD34½”. [Osaka - AD29] Basel side table
As shown, walnut veneer/matte black structure lacquered. H18¼xØ20¼”. [Basel - 2180] 02 l Fermo media unit with drop-down door and
drawer As shown, charcoal grey lacquered/anthracite grey burnished steel. H18xW60xD19¾”. [Fermo - HA07] Athena chair with reclining
back function and swivel base As shown, mole Estoril leather 0959/brushed steel. H45/16¾xW27¾xD29¼”. [Athena - 1370] 03 l Chiva
functional coffee table with storage As shown, walnut veneer/charcoal grey glass/brushed steel. H16/19¾xW34¾/43xL22/30¼”. [Chiva
- AD10] 04 l Osaka sofa, tufted seat As shown, dark green Velvet fabric 3038/brushed brass finish. H30½xW95½xD34½”. [Osaka - AD29]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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01 l Carlton sofa As shown, dark blue Napoli fabric 2257/matte black structure lacquered. H30¾xW94½xD36¾”. [Carlton - AD42]

S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
Carlton ottoman As shown, dark blue Napoli fabric 2257/matte black structure lacquered. H17xW36¾xD27¾”. [Carlton - AA42]
Lugo coffee table As shown, espresso oak veneer/matte black structure lacquered. H14¼xW19xL19”. [Lugo - AM05] Waza rug
As shown, blue, 100% viscose. W67xL94½”. [Waza] Ring mirror As shown, black, glass/medium density fiberboard. D1¼xØ19¾”.
[Ring] 02 l Carlton sofa As shown, dark blue Napoli fabric 2257/matte black structure lacquered. H30¾xW94½xD36¾”. [Carlton - AD42]
Adelaide lounge chair As shown, forest green Napoli fabric 2256/espresso oak veneer. H28¾/15¼xW23¾xD24¼”. [Adelaide - D085]
Alba side table As shown, anthracite grey glass/anthracite grey burnished steel. H24xW15xL19¾”. [Alba - 2120] Stockholm table
lamp As shown, smoke coloured glass, black marble base. H20½xØ11¼”. [Stockholm - Stockholm]

02.

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S O FA E V O L U T I O N B Y
KARIM RASHID

Karim Rashid is one of the world’s most prolific designers. For the Ottawa sofa, he speaks of
employing ‘sensual minimalism’ – a design language that is “soft, comfortable, human with character,
yet reductive.”
O T T A WA S O FA . D E S I G N E D B Y K A R I M R A S H I D

The Ottawa sofa system is an innovative take on home seating and flexible living. Choose one or more
of its ten organically-shaped modules. Rearrange them to suit your changing needs. Each is distinct.
All give you varied ways to sit and interact. The design has captured the industry’s imagination,
garnering the prestigious Good Design Award and iF Design Award.

Ottawa sofa As shown, blue Velvet fabric 3031/black lacquered. W82¾xD33½”. [Ottawa - 2501] Ottawa triangular pouf with tray
matte black structure As shown, blue Velvet fabric 3031/black lacquered. H16¾xW36½xD43½”. [Ottawa - 0210] Ottawa side table
As shown, matte black structure lacquered. H21¾xW21¾xL12”. [Ottawa - 1660] Litore rug As shown, blue, 50% wool/50% viscose.
W67xL94½”. [Litore] Ball floor lamp Product not available in Canada Tone mirror As shown, clear, glass/medium density fiberboard.
D1xØ39½”. [Tone]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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COMFORT IN MOTION BY
FRANS SCHROFER

Frans Schrofer is an award-winning Dutch designer whose work contributes to over three generations
of celebrated creativity. His early studies in electro-mechanics and mechanical engineering reflect a

PA R M A S O FA . D E S I G N E D B Y F R A N S S C H R O F E R
lifelong fascination with cars. His furniture blends that technical knowledge with the fluidity of his
parents’ renowned artwork.

The magic of that balance is embodied in the new Parma recliner sofa. Take a seat in this bold design,
characterized by muscular lines, folded stitch details, and sleek sculptural legs. Then find your ideal
seating position at the touch of elegantly concealed switches. It’s comfort in effortless motion.

Parma reclining sofa As shown, blue Verona fabric 3072/brushed steel. H27¾/31½xW80½xD41½/63”. [Parma - AB00] Lugo coffee
table As shown, ash ceramic/matte black structure lacquered. H10¼xW23¾xL40½”. [Lugo - AM02] Lugo coffee table As shown,
ash ceramic/matte black structure lacquered. H21xW19xL19”. [Lugo - AM06] Como wall system As shown, charcoal grey lacquered.
H40½xW40½xD8½”. [Como - 1110] Waza rug As shown, blue, 100% viscose. W78¾xL118¼”. [Waza] Lean on Me table lamp
Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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M I A M I S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

Miami seat with back As shown, tobacco Estoril leather 0951/brushed steel. H26½xW37½xD37½”. [Miami - 1250] Miami corner unit left side As shown, tobacco Estoril leather 0951/brushed
steel. H26½xW37½xD37½”. [Miami - 6002] Miami footstool As shown, sand Verona fabric 3073/brushed steel. H15¾xW37½xD37½”. [Miami - 0300] Miami seat with back As shown, tobacco
Estoril leather 0951/brushed steel. H26½xW28xD37½”. [Miami - 1000] Miami cushion As shown, sand Verona fabric 3073. H15¾xW23¾xD5¼”. [Miami - 9500] Madrid coffee table As shown,
clear glass/matte white structure lacquered/white concrete. H14¼/17½xØ39”. [Madrid - AD18] Madrid coffee table As shown, clear glass/matte white structure lacquered/white concrete.
H14¼/17½xØ31½”. [Madrid - AD20] Shanghai rug As shown, latte, 100% viscose. W78¾xL118¼”. [Shanghai] Curious floor lamp As shown, black metal. H53½xØ4”. [Curious] Tone mirror As
shown, clear, glass/medium density fiberboard. D1xØ39½”. [Tone]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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M A DR I D TA BL E . DE SIGN E D BY MORT E N GE ORG S E N
03.

01 l Miami sofa As shown, tobacco Estoril leather 0951/brushed steel. H26½xW112¼xD37½”. [Miami - AD00] Miami cushion As
shown, sand Verona fabric 3073. H15¾xW23¾xD5¼”. [Miami - 9500] 02 l Miami corner unit left side As shown, tobacco Estoril
leather 0951/brushed steel. H26½xW37½xD37½”. [Miami - 6002] Miami seat with back As shown, tobacco Estoril leather 0951/
brushed steel. H26½xW37½xD37½”. [Miami - 1250] Miami seat with back As shown, tobacco Estoril leather 0951/brushed steel.
H26½xW28xD37½”. [Miami - 1000] Miami footstool As shown, sand Verona fabric 3073/brushed steel. H15¾xW37½xD37½”. [Miami
- 0300] Miami cushion As shown, sand Verona fabric 3073. H15¾xW23¾xD5¼”. [Miami - 9500] Madrid coffee table As shown, clear
glass/matte white structure lacquered/white concrete. H14¼/17½xØ39”. [Madrid - AD18] Madrid coffee table As shown, clear glass/
matte white structure lacquered/white concrete. H14¼/17½xØ31½”. [Madrid - AD20] Shanghai rug As shown, latte, 100% viscose.
W78¾xL118¼”. [Shanghai] Curious floor lamp As shown, black metal. H53½xØ4”. [Curious] 03 l Madrid coffee table As shown,
clear glass/matte white structure lacquered/white concrete. H14¼/17½xØ39”. [Madrid - AD18] Shanghai rug As shown, latte, 100%
viscose. W67xL94½”. [Shanghai] Tone mirror As shown, dark grey, glass/medium density fiberboard. D1xØ39½”. [Tone]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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Lucca recliner with swivel function As shown, beige Lucca wing recliner with swivel function As shown, light Lucca wing recliner with swivel function As shown, black
Mojave fabric 0300/matte white structure lacquered. grey Salto leather 0967/oak veneer/matte white structure Estoril leather 0950/walnut veneer/matte black structure
H43½/15¾xW27¾xD34¾”. [Lucca - 1445] lacquered. H43½/15¾xW27¾xD34¾”. [Lucca - 1425] lacquered. H43½/15¾xW27¾xD34¾”. [Lucca - 1425]

THE RECLINER FOR

E V E RY TA S T E
LUC C A C H A I R . DE SIGN E D BY A N DE R S NØRGA A R D

Lucca’s flexibility goes way beyond the arc of its effortlessly smooth motion. Our new comfort
recliner, designed by Anders Nørgaard, offers flexible design options to suit your style and home.

Lucca’s back design, with broad head-support, gives the form masculinity. While its slender and subtly
tapered alternative delivers an understated expression. Add warm notes with oak side panels or don’t.
Then finish your Lucca with a choice of three swivel base finishes, in grey, black, or white.

Lucca recliner with swivel function As shown, beige Bristol fabric 3063/oak veneer/matte white structure lacquered.
H43½/15¾xW27¾xD34¾”. [Lucca - 1430] Kip floor lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Margrethe Odgaard
What is influencing next year’s colours and interior design trends? Is it
even relevant to talk about trends when they are inherently transient and
neither sustainable nor good for your budget? Danish textile designer
Margrethe Odgaard is in no doubt. Trends are inescapable and an
expression of the age we live in. Right now, home furnishing trends
revolve around intimacy, warm textiles, muted colours, and soft furniture
as a result of changeable times and a major global world order.
Meet her here.
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CURRENT TRENDS
WRITTEN BY: MAJA HAHNE REGILD / PHOTOGRAPHER: ANDREAS OMVIK,
KRISTINE AUTZEN

Trends have always been around as a deeply- our food, and the clothes we will be wearing
T R E N D S 2019

rooted human need for renewal and change. tomorrow.

In both interior design and fashion, there
have been changing fads in the look, colour
intensity, and design of textiles. Perhaps
as an expression of hope for the future, or
a snapshot of the current time. Margrethe
Odgaard has been preoccupied with the
effects colours and materials have on people
since she left the Danish Design School in
2005. She is one of the first of her generation
in Denmark to go against the flow in how she
uses colours and materials. She sees trends
as an expression of reactions in time and the
basic cultural mood we find ourselves in,
which guide our choices in interior design,
MUTED COLOURS AND TRUE BROWN
Trends are therefore not only about what is
hot right now, but are based on something
that runs much deeper. In our current age
and in ourselves. If we are looking for a new
colour for our wall, or shape for the new sofa,
she believes we are searching and longing for
the reflection of our emotions. If we want to
understand why a colour becomes a trend, we
need to dig down and see what feelings are
in play at the present time – such as anxiety,
feelings of isolation, enthusiasm, or optimism.

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“Right now, for example, we are seeing that
the spicy and muddy colours – in other words,
the ‘coloured browns’ – are popular. Friendly
colours which make us feel comfortable in a
world where so many feel insecure. You can
also read it as a reaction to the virtual world,
which has taken over our lives at several
levels. If you just think back 5-10 years,
materials and colours were facing a strong
headwind. Our society was characterized by
progress up through the 2000s. Computers,
tablets, and web-based media made inroads,
in private and professional life, at a pace our
bodies found difficult to keep up with. Our
buildings were intended to radiate power
and wealth. They had to be bigger, and were
often characterized by the hard, sterile, shiny
surfaces typical of modern architecture. I
believe we have reached a saturation point.
To put it bluntly, we feel unstimulated as
sensual individuals, and the explosive use of
colours and materials seen in recent years is
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
a reaction to this. The body has been pushed
out to the periphery for a time, but we have
now discovered that we cannot live without
these things,” says Margrethe.
On the colour front, she therefore predicts
that we will see even more browns and muddy
colours in the near future, as an expression of
a purely physical need for care, identification,
and intimacy, where we as individuals
are ‘embraced’ by the physical surfaces,
materials, and colours of the surroundings.
Rounded shapes in various forms have
become permissible again in furniture over
the last few years, after a long period with
sharp edges. And the trend will not only
be reflected in interior design and fashion.
Margrethe believes it is for the same reason
that local values are being cultivated again
after having been ‘out’ for many years. People
want to make their own bread or chocolate
covered marshmallows again, so they know
what is in them, and to send their children to
the scouts. All these things are an expression
of returning to our roots and the peasant
culture.
SIGNIFICANCE OF TEXTILES
Margrethe divides her working time equally
between commercial and artistic projects.
Each is dependent on the other. For
example, after spending months creating
her own colour index, she can draw on this
experience when developing colours for
others. Her training as a textile designer is
a great personal passion, and over the years,
she has illustrated what textiles do to us as
sensual individuals in several design academy
projects.
“Just as the use of colours expresses our time,
from a trend perspective, many of the same
cultural values apply to our relationship to
textiles. Right now, warm colours are gaining
ground in response to an unsettling world,
and the same applies to the use of textiles.
Any surface can be seen as the transition
from material to person as a sensual creature.
Textiles offer a surface which is warm to some
degree, in contrast to surfaces such as steel,
glass, metal, concrete, and brick, which are
hard and cold. Textiles are also the first thing
our body encounters in the world, because
we wear clothes. At a subconscious level,
textiles have an inherent care and intimacy
by nature. People are not conscious of it,
but nevertheless recognize it as something
comforting. A space can be beautiful, but if
there are no textiles, it can seem threatening.
There is also the issue of acoustics. Textiles
help improve these by absorbing sound, and
thereby serve as a constructive element in the
room,” says Margrethe.
Put briefly, she sees textiles as the closest we
can get to caring, in a material. If a child is
crying, we wrap it in textiles in an embrace. It
is a primordial inherited emotion in humans
over generations, that textiles help to make
us feel secure alongside materials such as clay
is important to orient ourselves toward all the
senses, and not just the visual. Ask yourself
these questions: How are the acoustics? Is it a
pleasant place to be? Is there contrast in the
surfaces and does the room design alternate
between sharp and soft? Something sensual
also arises in contrasts. The philosophical
Feng Shui interior design and architecture
movement is relevant to look at when it
comes to harmonious and inviting interior
design, as it takes a holistic approach. It is not
simply a matter of buying a can of paint. Buy
some quality paint because aesthetics are far
broader than that. It’s not about just buying
a designer chair and feeling that the job is
done. Take into account the entire sensory
spectrum,” says Margrethe.
AESTHETIC SUSTAINABILITY
Margrethe also sees an increasing trend
currently in the need for quality based on a
‘less is more’ principle. But where the concept
previously focused primarily on minimalism,
it is now all about getting the most out of
can survive changing fads – whether brown or
lime green is in fashion.
“A constant search for replacement and
renewal is deeply rooted in us. Why this is the
case is a study in itself. But you can do a lot
yourself by focusing on quality and genuine
art, and steering clear of fashion fads, which
are typically also expensive. Danish design is
renowned for quality around the world and
is something we have excelled at for decades.
At an aesthetic level, we must go beyond ‘style
and trend’. Design needs to be able to do
more in my view. It is only when we buy our
dream sofa and keep it for the rest of our lives
that you can talk about true sustainability.”

PAGE
and wood. If we make greater use of textiles what you have. If we spend financial resources
in interior design, Margrethe believes this will on material products they should ideally,
help create a sensation of warmth, security, from a design point of view, be made of the

I
care, and intimacy. They embrace and enfold best materials and have a wealth of detail in

us. Even just pillows on a sofa help code the
room as being a pleasant place you want to
spend time in.
“I recently stayed at a stunning holiday home
filled with incredible marble. But the house
was furnished without textiles, and I felt
restless as a result, because my body didn’t
know what it should do. Transferred to an
urban context, where concrete, glass, roofing
felt, and bricks dominate the landscape,
textiles are therefore the key to feeling
comfortable, as they stimulate the senses in
a tactile manner. It therefore matters what
furnishings you use, whether at the workplace
or at home,” says Margrethe.
ABC OF AESTHETICS
To understand our relationship with colours
and materials, in interiors and furniture,
Margrethe believes we must take a step
back and understand the full meaning of
aesthetics.
It comes from the Greek word ‘aisthetikos,’
which means sensory perception – seeing,
smelling, hearing, feeling, and tasting.
“Aesthetics is often only connected with
something visual, but in order for a room to
really work, it has to speak to all your senses
– not just your eyes. In an Instagram world, it
47
the structures, surfaces, and hues that make
them stand apart.
“I’m personally convinced that if we surround
ourselves with quality architecture, design,
and surfaces, made by designers with
attention to detail, love and care, we will
be able to sense this as consumers. The
probability that we will go out and recreate
this care ourselves is very high. Just as a smile
is contagious, our surroundings also rub off
on us. We will simply want to give more of
ourselves, because we sense that other people
get a boost. I believe we can make a difference
by communicating through quality surfaces
and materials. Design should therefore be
seen as something the designer gives rather
than takes, by cultivating generosity,” she
says.
ANTI-TREND IN 2018/19
So, from a trend perspective, Margrethe is
convinced that the clearest trend in 2018 is
a kind of anti-trend – a quest for intimacy.
Instead of buying mindlessly, there is more
of a caring attitude towards the world,
where you only buy what you really want.
Furniture items that have a clear function and
stimulate the senses through their colours You can also read Margrethe Odgaard’s
and materials, can handle repeated use and interior design tips on BoConcept’s website.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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HANDMADE TO ANY SIZE

Our luxe, hand-woven rugs come in a range of sizes and looks. But if you need a rug in a bespoke
size, we can help. We can tailor selected designs from our collection to your exact size requirements.
Simply come into the store for a quote.

01 l Nivel rug As shown, bordeaux, 100% wool. Ø59¼”. [Nivel] Dimas rug As shown, black, 100% leather, variation is natural. Ø59¼”.
[Dimas] Radius rug As shown, petrol, 60% wool/40% viscose. Ø59¼”. [Radius] Shanghai rug As shown, mustard, 100% viscose.
Ø90¾”. [Shanghai] Shanghai rug As shown, Steel, 100% viscose. Ø59¼”. [Shanghai] 02 l Beijing rug As shown, Steel, 100% polyester.
W78¾xL118¼”. [Beijing] Cosenza rug As shown, ocean, 100% wool. W67xL94½”. [Cosenza] Elpida rug As shown, ochre, 10%
wool/90% viscose. W67xL94½”. [Elpida] Shanghai rug As shown, latte, 100% viscose. W78¾xL118¼”. [Shanghai] Connection rug
As shown, chocolate coloured, 50% New Zealand wool/50% viscose. W67xL94½”. [Connection]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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C A R M O S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

Extend Carmo’s seat depth, by up to 8 inches, at the touch of an elegantly concealed switch.

01 l Carmo motion sofa with resting unit As shown, light grey Lux Felt fabric 2310/black lacquered. H27¾xW101xD68¼”. [Carmo
- CJ00] Carmo ottoman As shown, light grey Lux Felt fabric 2310/black lacquered. H16¾xW37¼xD37¼”. [Carmo - 0300] Adelaide
living chair As shown, yellow Leeds fabric 3026/oak. H34¾/17¾xW34xD33¼”. [Adelaide - 1410] Adelaide footstool As shown, yellow
Leeds fabric 3026/oak. H14¾xW22½xD16¾”. [Adelaide - 1390] Bornholm coffee table As shown, white marble laminate/oak veneer.
H15½xØ23¼”. [Bornholm - 1610] Elpida rug As shown, ochre, 10% wool/90% viscose. W67xL94½”. [Elpida] Cone floor lamp As
shown, oak with black metal shades and base. H68¼”. [Cone] 02 l Carmo motion sofa with resting unit As shown, light grey Lux
Felt fabric 2310/black lacquered. H27¾xW101xD68¼”. [Carmo - CJ00] Copenhagen wall system As shown, matte white lacquered/
oak veneer. H89½xW102xD15½”. [Copenhagen - CY00] Pebble shape mirror As shown, clear, glass/medium density fiberboard.
H19¾xW15¾xD1”. [Pebble shape]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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I N D I V I 2 S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

Indivi 2 corner sofa with lounging unit As shown, light grey Mojave fabric 0301/brushed steel. H30xW106¾xD79¼”. [Indivi 2 - NI33] Veneto chair with swivel function As shown, camel
Estoril leather 0957/aluminum. H29½xW30¼xD30¼”. [Veneto - 790012] Lugo coffee table As shown, oak veneer/matte white structure lacquered. H21xW19xL19”. [Lugo - AM06] Lugo coffee
table As shown, oak veneer/matte white structure lacquered. H14¼xW19xL56¾”. [Lugo - AM07] Bordeaux wall system As shown, matte white lacquered/matte white structure lacquered.
H63¼xW25¾xD14¾”. [Bordeaux - 6450] Shanghai rug As shown, latte, 100% viscose. W67xL94½”. [Shanghai] Outrigger floor lamp As shown, oak with white powder coated metal shade and
legs. H71xØ11½”. [Outrigger] Autumn Feeling oil painting As shown, cream/brown/orange, canvas. H47¼xW39½xD1¾”. [Autumn feeling]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Carlton sofa with lounging unit As shown, golden beige Napoli fabric 2252/matte black structure lacquered. H30¾xW110¼xD82½”.
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M

[Carlton - AQ42] Madrid coffee table As shown, ash ceramic/matte black structure lacquered. H16xØ39”. [Madrid - AD25] Trento
chair with swivel function As shown, tobacco Estoril leather 0951/matte black structure lacquered. H37¾/15¾xW30¾xD35½”. [Trento
- 1270] Bordeaux wall system As shown, charcoal grey lacquered/matte black structure lacquered. H63¼xW25¾xD14¾”. [Bordeaux
- 6450] Waza rug, size made to order Per m2 (per 10,76 square feet) As shown, silver, 100% viscose. [Waza] Curious floor lamp As
shown, black metal. H53½xØ4”. [Curious]
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T R E N TO C H A I R . DE SIGN E D BY A N DE R S NØRGA A R D
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LUGA NO SI DE BO A R D . DE SIGN E D BY MORT E N GE ORG S E N

01 l Lugano sideboard As shown, walnut veneer/anthracite grey burnished steel. H29xW90¾xD19”. [Lugano - SR00] Como bookcase
As shown, anthracite grey burnished steel. H15¼xW15¼xD14”. [Como - 7010] 02 l Fargo sofa As shown, camel Estoril leather 0957/
brushed steel. H33¼xW98½xD39”. [Fargo - DF17] Madrid coffee table As shown, clear glass/matte black structure lacquered/
black concrete. H14¼/17½xØ31½”. [Madrid - AD20] Basel side table As shown, walnut veneer/matte black structure lacquered.
H18¼xØ20¼”. [Basel - 2180] Ball floor lamp Product not available in Canada

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I N D I V I 2 S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

02.

01 l Indivi 2 sofa As shown, brown Sienna leather 5110/brushed steel. H30xW95¾xD36”. [Indivi 2 - EF10] Lugo coffee table As shown,
ash ceramic/matte black structure lacquered. H14¼xW36¼xL36¼”. [Lugo - AM01] Main floor lamp As shown, antique brass with black
fabric shade. H63xØ24½”. [Main - Main] 02 l Ankara rug As shown, blue, 80% wool/20% viscose. Ø59¼”. [Ankara] 03 l Lugano wall
mounted cabinet As shown, walnut veneer. H60½xW15¼xD14”. [Lugano - 2600] Adelaide living chair As shown, dusty green Velvet
fabric 3032/matte black structure lacquered. H34¾/17¾xW34xD33¼”. [Adelaide - 1400]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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BO STON C H A I R . DE SIGN E D BY H E N R I K PE DE R S E N

Mezzo corner sofa with lounging unit As shown, light taupe Estoril leather 5022/chrome. H34¼xW113xD92¾”. [Mezzo - FZ52]
Boston chair with swivel function. Also available with tilt function As shown, black Sienna leather 5112/brushed steel.
H45¾xW31¼xD36¼”. [Boston - L043] Barcelona functional coffee table with storage As shown, walnut veneer/charcoal grey glass.
H14/19½xW31½/37¼xL43½/49”. [Barcelona - 3750] Alba side table As shown, anthracite grey glass/anthracite grey burnished steel.
H24xW15xL19¾”. [Alba - 2120] Waza rug As shown, silver, 100% viscose. W78¾xL118¼”. [Waza] Duo floor lamp As shown, black
metal. H59¼xØ8½”. [Duo] Bouquet canvas print As shown, blue/yellow, medium density fiberboard/canvas. H63xW43½”. [Bouquet]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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J A PA N E S E I L L U S I O N B Y
O K I S AT O

Oki Sato is the founder and Chief Designer of award-winning design studio, nendo. The Canadian-
born Japan-based designer fuses Japanese minimalism with surprise and illusion. This subtle yet often
astonishing blend has garnered his work huge attention and pushed him into the realms of art, with a
host of exhibitions in some of the world’s most prestigious museums. F U SION DAY BE D . DE SIGN E D BY N E N D O

The fusion chair typifies that playful aesthetic. Based on origami, the Japanese art of paper folding,
fusion’s voluptuous cushions and deep crevices invite you closer – daring you to try the impossible
and unfold its form.

01 l fusion day bed As shown, blue Velvet fabric 3031/oak. H18¼/22¼xW79½xD43¾”. [fusion - FU02] Cushion As shown, camel
Sienna leather 5111. H6¾xW23¼xD11¼”. [fusion - 0170] fusion chair As shown, dark blue Lux Felt fabric 2319/oak veneer.
H29¼xW38¼xD30¾”. [fusion - L042] 02 l fusion chair As shown, dark blue Lux Felt fabric 2319/oak veneer. H29¼xW38¼xD30¾”.
[fusion - L042] fusion footstool As shown, dark blue Lux Felt fabric 2319/oak. H14xW26¾xD14¼”. [fusion - F011]

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01.
X T R A F O O T STO OL . DE SIGN E D BY A N DE R S NØRGA A R D

Impromptu houseguest? Xtra goes from a pouf to a single bed in minutes.

01 l Xtra tufted footstool with sleeping function As shown, camel Estoril leather 0957. H16¾xW27¾/78¾xD27¾”. [Xtra - XT02] Xtra
footstool with sleeping function As shown, blue Velvet quilt 3001. H16¾xW27¾/78¾xD27¾”. [Xtra - 603031] Beijing rug As shown,
Steel, 100% polyester. W78¾xL118¼”. [Beijing] 02 l Osaka sofa, regular seat As shown, cognac Chester leather 5091/aluminum.
H30½xW80xD34½”. [Osaka - GC29] Bordeaux console table As shown, charcoal grey lacquered/matte black structure lacquered.
H37¾xW11¼xL32/49¼”. [Bordeaux - 6340] Macka rug As shown, black, 60% wool, 40% flax. W78¾xL118¼”. [Macka] Kuta floor
lamp As shown, black. H78¾xØ15¾”. [Kuta]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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Athena chair with reclining back function and swivel Athena chair with reclining back function and swivel Athena chair with reclining back function and swivel
base As shown, light grey Salto leather 0967/brushed steel. base As shown, light grey Lux Felt fabric 2310/oak. base As shown, tobacco Estoril leather 0951/walnut.
H45/16¾xW27¾xD29¼”. [Athena - 1370] H45/16¾xW27¾xD29¼”. [Athena - 1360] H45/16¾xW27¾xD29¼”. [Athena - 1360]

Y O U R P R I VAT E H I D E A W AY
Playful. Expressive. Voluptuous. Athena is for you if you desire an alternative to the traditional
AT H E NA C H A I R . DE SIGN E D BY F R A N S S C H ROF E R

masculine recliner. It’s also a relaxing antidote to the stresses of everyday life – a quality voiced by its
soft and flowing lines.

Frans Schrofer designed Athena to never dominate a space, but rather to converse with its
surroundings. Its enveloping form evokes a deep comfort that is both visual and tactile. The look
is finished with a flawlessly engineered swivel base, available in a range of finishes, and an optional
footstool.

Athena chair with reclining back function and swivel base As shown, mole Estoril leather 0959/brushed steel. H45/16¾xW27¾xD29¼”.
[Athena - 1370] Athena footstool As shown, mole Estoril leather 0959/brushed steel. H17xW21xD18¼”. [Athena - 1340] Monika rug
As shown, beige, 100% polyester. W67xL94½”. [Monika] Duo floor lamp As shown, black metal. H59¼xØ8½”. [Duo]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
Interior design in 2018 should be personal, engaging and reflect who you
are. Thankfully, BoConcept has developed an Interior Design service
where specially trained Design Consultants make home visits, guiding
customers to find their own style. Meet Design Consultant, Mia Petersson.

MIA PETERSSON,
D E S I G N C O N S U LT A N T

Mia Petersson has been working with points. Sometimes it doesn’t take much. through a combination of personal mood

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interior design for over ten years, and she Other times it’s a complete shake-up,” she boards, drawings and close dialogue, we find
is now a Design Consultant for BoConcept continues. a mutual solution. I use our catalogue and
with customers throughout Zealand. In her 3D drawing program to adapt the style and

I
A MATTER OF TRUST

opinion, interior design means creating a
personal style based on things that matter
at an individual level. Therefore, according
to Mia, it is most important to start with the
things you love. As a Design Consultant for
BoConcept, Mia has been visiting customers
since 2015. She helps them find the core of
their own personal interior design style, be
that through minor tweaks using just a few
new items, or a full makeover.
“My primary focus is finding out what matters
to my customers. My point of departure
is always the furniture that the customer
wants to keep, and then I look at how we
can integrate it with BoConcept’s furniture
universe,” Mia explains. She is particularly
enthusiastic about the brand’s range because
it is so flexible and adapts easily to individual
wishes and needs.
“There are endless possibilities in terms
of what we can create. The flexibility of
the furniture makes it a playground full
of opportunities, limited only by the
imagination. I have customers who haven’t
changed their home interior for 30 years,
and others who follow the latest trends. This
is what makes my job even more interesting,
because people have such different starting
71
atmosphere and, as our product range offers
For Mia, help with interior design is a matter almost infinite variations, there’s plenty
of trust, above all. That’s why she always of scope to arrive at personal aesthetics by
makes a point of familiarizing herself with playing around with the array of colours,
her customers’ situations, both in terms of textiles, etc.”
the interior design and the varying levels of “The greatest pleasure for me personally is
personal and financial investment involved. that, in interacting with our customers, I can
create their own personal oasis, where they
“In my line of work, no job is too big or can find relaxation and contentment for many
small. Above all, I’m here to help find the years to come. To know that I’ve been allowed
right solution. I do that by immersing myself to participate in realizing their dream home
in who and what I am dealing with, because is a truly unique feeling and my strongest
my starting point is always the human motivation of all,” Mia Petersson concludes.
touch. That’s why I’m also very honest in my
approach and will always say what I think is
needed to find the right solution. I hope the
end result is a happy and trusting customer
– who’s also been presented with something
new and exciting,” she says.
TOOLS OF HER TRADE
For this reason, Mia Petersson’s approach to
the people she meets is personal and hands-
on. Each project is backed by a personal
commitment and frank dialogue, especially
when big decisions arise.
“I’ll start off with a visit to the customer’s
home to explore what is needed. I’m good at
decoding rooms and people. And together,

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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S M A L L S PA C E .
ENDLESS STYLE.

Whether it’s a compact city apartment or a small country eco-home, a shrinkage in space needn’t
demand a reduction in style. Our flexible furniture for compact living makes the best use of every
square foot. And all pieces feature the same high-quality materials and finishes of our large-space
designs – no compromise required.

M I A M I S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D
Miami, our new modular sofa, uses minimal lines and an elevated stance for lightness and the illusion
of space. Reconfigure its modules to adapt to your multipurpose room. When dinner’s over, wow
your guests by converting your Rubi dining table into a Rubi coffee table. Then stack and store your
timeless Florence dining chairs.

01 l Miami corner unit left side As shown, grey Verona fabric 3075/brushed steel. H26½xW37½xD37½”. [Miami - 6002] Miami seat with back As shown, grey Verona fabric 3075/brushed steel.
H26½xW37½xD37½”. [Miami - 1250] Miami footstool As shown, black Estoril leather 0950/brushed steel. H15¾xW37½xD37½”. [Miami - 0300] Miami cushion As shown, grey Verona fabric 3075.
H15¾xW23¾xD5¼”. [Miami - 9500] Veneto chair with swivel function As shown, camel Estoril leather 0957/aluminum. H29½xW30¼xD30¼”. [Veneto - 790012] Rubi adjustable table (height
and size can be adjusted) As shown, espresso oak veneer/matte black structure lacquered. H15¾-30¼xW47¼xL27¾/55¼”. [Rubi - 3200] Waza rug, size made to order Per m2 (per 10,76 square
feet) As shown, silver, 100% viscose. [Waza] Kip floor lamp Product not available in Canada Venice Street glass art As shown, mixed colours, glass/wood/foil. H47¼xW35½xD1¾”. [Venice
Street] 02 l Rubi adjustable table (height and size can be adjusted) As shown, espresso oak veneer/matte black structure lacquered. H15¾-30¼xW47¼xL27¾/55¼”. [Rubi - 3200] Florence
chair As shown, walnut veneer/anthracite grey burnished steel. H32¾/18xW19¾xD22¼”. [Florence - D088] Waza rug, size made to order Per m2 (per 10,76 square feet) As shown, silver, 100%
viscose. [Waza] Kip floor lamp Product not available in Canada Tone mirror As shown, rose, glass/medium density fiberboard. D1xØ39½”. [Tone]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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COMFORTING PROPORTIONS
Melting away the day’s stress is no big task amid the small yet pleasing proportions of the Osaka sofa.
And now enjoy our new chaise lounge model, for added relaxation and new ways to interact with your
space.

Working with soft tones lightens the look and releases visual space from a modest room, while vibrant
velvet accents and rich caramel leather adds personality.

O S A K A S O FA . D E S I G N E D B Y A N D E R S N Ø R G A A R D

01 l Osaka sofa with resting unit, tufted seat As shown, dusty rose Leeds fabric 3024/aluminum. H30½xW78xD55¾”. [Osaka - CV29] Bornholm coffee table As shown, matte white lacquered.
H15½xØ23¼”. [Bornholm - 1610] Jersey side table (for in- and outdoor use) As shown, matte white structure lacquered. H23¼xØ17½”. [Jersey - 2130] Lugano entertainment unit with drop-
down door As shown, matte white lacquered/oak veneer/titanium grey burnished steel. H16½xW60½xD19”. [Lugano - SX00] Shanghai rug As shown, mustard, 100% viscose. Ø90¾”. [Shanghai]
Ball floor lamp Product not available in Canada Autumn Feeling oil painting As shown, cream/brown/orange, canvas. H47¼xW39½xD1¾”. [Autumn feeling] Pebble shape mirror As shown,
clear, glass/medium density fiberboard. H19¾xW15¾xD1”. [Pebble shape] 02 l Osaka sofa with resting unit, tufted seat As shown, dusty rose Leeds fabric 3024/aluminum. H30½xW78xD55¾”.
[Osaka - CV29] Ogi chair with swivel function As shown, camel Sienna leather 5111/brushed steel. H32½/17¾xW29¾xD29¾”. [Ogi - L025] Bornholm coffee table As shown, matte white
lacquered. H15½xØ23¼”. [Bornholm - 1610] Lugano entertainment unit with drop-down door As shown, matte white lacquered/oak veneer/titanium grey burnished steel. H16½xW60½xD19”.
[Lugano - SX00] Shanghai rug As shown, mustard, 100% viscose. Ø90¾”. [Shanghai] Ball floor lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A D A P TA B L E D E S I G N
O S A K A S O FA B E D . D E S I G N E D B Y A N D E R S N Ø R G A A R D

Multipurpose rooms need multipurpose furniture – like the Billund dining table that transforms
into a two-seater console table. Wake in the comfort of the Osaka sofa bed, and store bedding in its
optional concealed-storage footstool.

01 l Osaka sofa with sleeper function, tufted seat As shown, black Bristol fabric 3061/aluminum. H31¼xW75xD38/84”. Mattress size: W56¾xL76½”. [Osaka - SL29] Osaka footstool,
tufted seat As shown, black Bristol fabric 3061/aluminum. H19½xW32xD32”. [Osaka - SP29] Cartagena nesting tables As shown, white lacquered/matte white structure lacquered.
H19½/17¼/15xØ19¾/17¾/15¾”. [Cartagena - U001] Billund table As shown, matte white lacquered/oak veneer/matte white structure lacquered. H29½xD25¼xL43½xØ43½”. [Billund - 4300]
Florence chair As shown, oak veneer/chrome. H32¾/18xW19¾xD22¼”. [Florence - D088] Oslo folding chair As shown, black leather look/oak. H33/18¼xW21xD21”. [Oslo - 1840] Tone mirror
As shown, clear, glass/medium density fiberboard. D1xØ39½”. [Tone] Shanghai rug As shown, Steel, 100% viscose. Ø59¼”. [Shanghai] 02 l Billund table As shown, matte white lacquered/oak
veneer/matte white structure lacquered. H29½xD25¼xL43½xØ43½”. [Billund - 4300] Aarhus chair As shown, light grey Lux Felt fabric 2310/oak veneer. H32¾/18½xW19¾xD21½”. [Aarhus - 0100]
Adana rug As shown, mustard, 100% wool. W67xL94½”. [Adana] Handle Me pendant Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Adelaide living chair As shown, dusty rose Leeds fabric 3024/oak. H34¾/17¾xW34xD33¼”. [Adelaide - 1410] Imola chair with swivel
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M

function As shown, camel Sienna leather 5111/brushed steel. H43½xW37½xD39”. [Imola - L002] Lucca recliner with swivel function
As shown, beige Bristol fabric 3063/oak veneer/matte white structure lacquered. H43½/15¾xW27¾xD34¾”. [Lucca - 1430] Reno living
chair As shown, golden beige Napoli fabric 2252/matte black structure lacquered. H43½/17½xW32¾xD38”. [Reno - 1415] Athena
chair with reclining back function and swivel base As shown, mole Estoril leather 0959/brushed steel. H45/16¾xW27¾xD29¼”.
[Athena - 1370] Veneto chair with swivel function As shown, camel Estoril leather 0957/aluminum. H29½xW30¼xD30¼”. [Veneto
- 790012] Boston chair with swivel and tilt function As shown, light beige Lux Felt fabric 2312/brushed steel. H44½xW31¼xD36¼”.
[Boston - L044]
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PAGE I 79
 Our quality department works closely with the
Technological Institute of Denmark, allowing them
complete freedom for independent testing.

Lux Felt, our high-performance mélange fabric,

developed exclusively for BoConcept, achieves the
Woolmark trademark. It means you are choosing a
rigorously tested fabric with high wool fiber content.
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All ceramic table tops are produced by the same

Spanish manufacturer. Their 40 years of expertise
ensures surfaces that are stunning, virtually scratch-
proof, and heat resistant up to 400⁰ F.

Our high-quality European hinges and drawer

runners are tested to a total 300,000 cycles – the
equivalent of 50 and 25 years of use, respectively.

QUALITY BY TRADITION
BoConcept was built on the Danish philosophy of craftsmanship and uncompromising quality. A lot
has changed since our journey began in 1952. But our desire to give you the highest quality remains
the same.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Over 98% of all wooden furniture is manufactured
here in Denmark, in our company-owned factory. It
allows us to push industry standards, like applying
four separate coats of lacquer – giving your furniture
extra durability and an exceptional finish.

We fill our sofa cushions with quality seabird

feathers. The feathers are sorted and selected for
their light weight and ability to trap air – giving you
sublime comfort.

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One of the biggest selections on the market. 100+

luxury fabrics and leathers, from only the finest
tanneries and fabric designers, like Ratti S.p.A., the
Italian firm that supplies some the biggest names in
luxury fashion. All are available to try in your local
store, in large 1.5 square yard swatches.

We believe great design should fit and improve

the way you live. So, over 80% of our collection,
excluding accessories, can be adapted for size,
colour, material, or components.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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O T T A WA C H A I R A N D T A B L E . D E S I G N E D B Y K A R I M R A S H I D

Ottawa table with supplementary tabletop As shown, espresso oak veneer/matte black structure lacquered. H29½xW39½xL94½/128¾”.
[Ottawa - OV03] Ottawa chair As shown, orange Velvet fabric 3035/matte black structure lacquered. H34¾/18½xW20xD22½”. [Ottawa -
D034] Bordeaux console table As shown, espresso oak veneer/matte black structure lacquered. H23¾xW12¾xL49¼”. [Bordeaux - 6310]
Mix table lamp Product not available in Canada Ball pendant Product not available in Canada Ball pendant As shown, matte antique
brass coloured metal. Ø7¼”. [Ball - Ball]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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M I L A NO TA BL E . DE SIGN E D BY MORT E N GE ORG S E N

Milano table with supplementary tabletop As shown, ash ceramic/matte white lacquered/titanium grey burnished steel.
H29½xW39½xL72¼/103¾”. [Milano - T013] Adelaide chair with swivel function As shown, camel Estoril leather 0957/white/polished
aluminum. H33/18¼xW17¾xD23”. [Adelaide - D022] Lugano sideboard As shown, walnut veneer/anthracite grey burnished steel.
H29xW90¾xD19”. [Lugano - QB00] White forest metal print As shown, white, metal. H47¼xW35½”. [White Forest]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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M A DR I D TA BL E . DE SIGN E D BY MORT E N GE ORG S E N

01.

01 l Sydney trolley As shown, matte white structure lacquered/oak veneer. H30½xW18xL34¾”. [Sydney - 2220] 02 l Madrid table
As shown, silk white glass/matte white structure lacquered/white concrete. H29¾xØ50”. [Madrid - T066] Adelaide chair with swivel
function As shown, grey Velvet quilt 3000/matte white structure lacquered. H33/18¼xW23¾xD23”. [Adelaide - D041] Ottawa sideboard
As shown, matte white lacquered/oak veneer/matte ash grey lacquered/chrome. H29½xW94½xD21½”. [Ottawa - S015] Nightrose
glass art As shown, black/blue/white, glass/wood/foil. H47¼xW35½xD1¾”. [Nightrose] Ball floor lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE C H A I R . DE SIGN E D BY H E N R I K PE DE R S E N

Vancouver table As shown, walnut veneer/anthracite grey burnished steel. H29¼xW43½xL94½”. [Vancouver - T054] Adelaide
chair with swivel function As shown, mocca Estoril leather 0954/matte black structure lacquered. H33/18¼xW23¾xD23”. [Adelaide
- D041] Florence chair with swivel function As shown, matte black lacquered beech veneer/matte black structure lacquered.
H32¾/17¼xW18¼xD22¼”. [Florence - D089] Pine cone pendant Product not available in Canada Bouquet canvas print As shown,
blue/yellow, medium density fiberboard/canvas. H63xW43½”. [Bouquet]

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GR A NA DA TA BL E . DE SIGN E D BY MORT E N GE ORG S E N

Granada table with supplementary tabletop As shown, espresso oak veneer/anthracite grey burnished steel. H29½xW51¼xL51¼/71¾”.
[Granada - 5500] Lausanne chair As shown, camel Estoril leather 0957/espresso oak. H34½/18½xW19¾xD24”. [Lausanne - D052]
Lugano sideboard As shown, espresso oak veneer/anthracite grey burnished steel. H29xW90¾xD19”. [Lugano - QB00] Sydney trolley
As shown, matte black structure lacquered/walnut veneer. H30½xW18xL34¾”. [Sydney - 2220] Shanghai rug As shown, mustard, 100%
viscose. Ø90¾”. [Shanghai] Pine cone pendant Product not available in Canada Shelter table lamp As shown, black metal with brass
arm. H16¾xØ14”. [Shelter] Ring mirror As shown, black, glass/medium density fiberboard. D1¼xØ19¾”. [Ring]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
Torino table As shown, matte black laminate/matte black structure lacquered. H29½xW31½xL71”. [Torino - T038] Ottawa chair As

S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
shown, black/matte black structure lacquered. H34/17¾xW19¾xD22¼”. [Ottawa - D033] London large bench with cushion As
shown, red Lux Felt fabric 2316/matte black structure lacquered. H19xW63xD14¾”. [London - B011] Bordeaux wall system As shown,
charcoal grey lacquered/matte black structure lacquered. H63xW15¾xD13”. [Bordeaux - 6380] Ball pendant Product not available in
Canada

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TOR I NO TA BL E . DE SIGN E D BY A R DE
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Lyon table with supplementary tabletop As shown, walnut veneer/matte black structure lacquered. H29½xW35½xL71¾/95½”.

S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
[Lyon - T067] Adelaide chair with swivel function As shown, dark grey Lux Felt fabric 2311/black/matte black structure lacquered.
H33/18¼xW23¾xD23”. [Adelaide - D090] Bordeaux wall system As shown, charcoal grey lacquered/matte black structure lacquered.
H63¼xW25¾xD14¾”. [Bordeaux - 6450] Five chandelier Product not available in Canada

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LYO N TA BL E . D E S I G N E D BY MO RT E N GE O RG S E N
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A A R H U S C H A I R . DE SIGN E D BY H E N R I K PE DE R S E N

Milano table with supplementary tabletop As shown, walnut veneer/anthracite grey burnished steel. H29½xW39½xL72¼/103¾”.
[Milano - T013] Aarhus chair As shown, black Salto leather 0960/walnut veneer. H32¾/18½xW19¾xD21½”. [Aarhus - 0100] Totoki
rug As shown, blue, 100% viscose. W67xL94½”. [Totoki] Pine cone pendant Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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MON Z A TA BL E . DE SIGN E D BY H E N R I K PE DE R S E N

Monza table As shown, clear glass/oak/titanium grey burnished steel. H29½xW35½xL71”. [Monza - T064] Aarhus chair As shown, light
grey Lux Felt fabric 2310/oak veneer. H32¾/18½xW19¾xD21½”. [Aarhus - 0100] Fermo sideboard As shown, matte white lacquered/
titanium grey burnished steel. H28¾xW89½xD19¾”. [Fermo - HA17] Waza rug As shown, silver, 100% viscose. W78¾xL118¼”. [Waza]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
E X P L O R E A L L A C C E S S O R I E S A T B O C O N C E P T. C O M

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M I L A NO TA BL E S . DE SIGN E D BY MORT E N GE ORG S E N

02.

01 l Milano table with supplementary tabletop As shown, white glass/matte white lacquered/titanium grey burnished steel.
H29½xW39½xL72¼/103¾”. [Milano - T013] Mariposa Deluxe chair As shown, stone Bahia leather 0937/titanium grey burnished steel.
H32½/18½xW19½xD24¼”. [Mariposa - D050] Como wall system As shown, matte white lacquered. H40½xW40½xD8½”. [Como
- 1110] 02 l Dax rug As shown, stone grey, 60% wool/40% viscose. W67xL94½”. [Dax] 03 l Milano table As shown, matte white
lacquered/oak. H29¼xW31½xL55¼”. [Milano - T042] Adelaide chair As shown, white/oak. H34/18½xW17¾xD22¾”. [Adelaide - D065]
Five chandelier Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
03.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE C H A I R S . DE SIGN E D BY H E N R I K PE DE R S E N

01.

01 l Torino table As shown, matte black laminate/matte black structure lacquered. H29½xW31½xL31½”. [Torino - T044] Adelaide
chair with swivel function As shown, rustic red/matte black structure lacquered. H33/17¾xW23¾xD23”. [Adelaide - D024] Ball
pendant Product not available in Canada 02 l Adelaide chair with swivel function As shown, light grey Lux Felt fabric 2310/white/
matte white structure lacquered. H33/18¼xW23¾xD23”. [Adelaide - D090] Como wall system As shown, matte white lacquered.
H40½xW40½xD8½”. [Como - 1110]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
02.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 01.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE C H A I R S . DE SIGN E D BY H E N R I K PE DE R S E N

02.

01 l New York table As shown, clear glass/matte white structure lacquered. H29¾xØ31½”. [New York - T059] Adelaide chair
with swivel function As shown, winter green/matte white structure lacquered. H33/17¾xW23¾xD23”. [Adelaide - D024] Adelaide
chair with swivel function As shown, winter green/matte white structure lacquered. H33/17¾xW17¾xD23”. [Adelaide - D025]
Ball pendant Product not available in Canada 02 l New York table As shown, silk white glass/matte white structure lacquered.
H29¾xØ39¼”. [New York - T058] Adelaide chair with swivel function As shown, white/polished aluminum. H33/17¾xW23¾xD23”.
[Adelaide - D024] Florence chair with swivel function As shown, white lacquered beech veneer/matte white structure lacquered.
H32¾/17¼xW18¼xD22¼”. [Florence - D089]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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F L OR E NC E C H A I R . DE SIGN E D BY A R DE

02.

01 l Torino table As shown, matte white lacquered/matte white structure lacquered. H29½xW31½xL47¼”. [Torino - T037] Florence
chair As shown, matte bronze green lacquered/anthracite grey burnished steel. H32¾/18xW19¾xD22¼”. [Florence - D088] Ball pendant
Product not available in Canada Monoplane art on paper As shown, black/white, medium density fiberboard/paper. H27¾xW19¾”.
[Monoplane] 02 l Florence chair As shown, walnut veneer/anthracite grey burnished steel. H32¾/18xW19¾xD22¼”. [Florence -
D088] Florence chair As shown, matte bronze green lacquered/anthracite grey burnished steel. H32¾/18xW19¾xD22¼”. [Florence
- D088] Florence chair As shown, matte mustard lacquered/anthracite grey burnished steel. H32¾/18xW19¾xD22¼”. [Florence -
D088] 03 l Billund table As shown, matte white lacquered/oak veneer/matte white structure lacquered. H29½xD25¼xL43½xØ43½”.
[Billund - 4300] Florence chair As shown, oak veneer/chrome. H32¾/18xW19¾xD22¼”. [Florence - D088] Outrigger floor lamp As
shown, oak with white powder coated metal shade and legs. H71xØ11½”. [Outrigger]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
03.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE BA R STO OL . DE SIGN E D BY H E N R I K PE DE R S E N

02.

01 l Adelaide barstool As shown, black/oak. H41¼/29¾xW21¼xD21”. [Adelaide - B014] 02 l Adelaide barstool As shown, black/
matte black structure lacquered. H41¼/29¾xW21xD20¾”. [Adelaide - B012]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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Adelaide barstool As shown, white/matte white structure lacquered. H41¾/30xW20¼xD21”. [Adelaide - B010] Adelaide barstool As shown, cognac Chester leather 5091/espresso oak.
H42¼/30½xW21¼xD21¼”. [Adelaide - B016] Adelaide barstool As shown, dark brown Salto leather 0962/oak. H38¼/26¾xW19¼xD20¾”. [Adelaide - B017] Adelaide barstool with gas cartridge
As shown, grey/matte black lacquered/brushed steel. H41-50¾xW17¾xD22¾”. [Adelaide - B007] Vig barstool As shown, white lacquered/walnut. H30½xØ16¾”. [Vig - 1810] Torup barstool
with gas cartridge As shown, white plastic/brushed steel. H23½-33¼xW15xD16¼”. [Torup - 1960] Adelaide barstool As shown, black/matte black structure lacquered. H37¼/25¾xW21xD20¾”.
[Adelaide - B013]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Mikkel Karstad
Mikkel Karstad has worked as a chef since he was seventeen, and his
resume includes close collaborations with world-renowned culinary greats,
like Gordon Ramsay of Britain and Danish star, chef Claus Meyer. He
also plays a key role in the Copenhagen food scene, being responsible for
prestigious food events, food styling, and inspiring new cookbooks that
are full of surprises, with his intuitive sense for food that appeals to all the
senses.
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M I K K E L K A R S TA D
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WRITTEN BY: MAJA HAHNE REGILD / PHOTOGRAPHER: MIKKEL RAHR MORTENSEN

What values mean most to you as a chef? as the first thing we do is look at the food.
T H E I N T E RV I E W

Simplicity, with an emphasis on quality
ingredients and great taste are always central
elements in my approach to food. I’m a great
believer in using local ingredients in season
and letting them speak for themselves. For
example, a vegetable like celery just has much
more taste in season, and should therefore
naturally be allowed to play a leading role
in a meal without too many embellishments.
It’s enough just to brush it with a little oil,
vinegar, and salt, bake it whole in the oven
until tender, cut it into large pieces and serve
with a good dressing and some roasted nuts.
Very simple and brimming with flavor.
How is food an aesthetic experience on par with,
say, design?
Of course, it is very important that the food
tastes good. But in my mind, the presentation
and appearance are almost as important,
We have to want to taste it, by being enticed
visually, as the sense of sight supports taste
in several ways. That is why arrangement is
almost always one of the first things I think
about when I see an ingredient I want to
work with. Of course, taste and the way it is
prepared are also key, but the presentation is
just as important in my eyes. So, aesthetics in
food is a vital factor and a major contributor
to the total experience. Food also almost
always tastes better if you eat it in a lovely
setting with people you like to be with.
What experience do you want people to have when
they taste your food?
A mixture of something familiar yet
surprising. I also love to arouse enthusiasm,
happiness and contentment in others. You
should not only be full but feel it in your
whole body. I might serve a well-known

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .

vegetable but cooked in a way that my guests
have never tried before, and suddenly it tastes
and seems completely different because it is
served with condiments they would not have
thought of using. I love it when I can sense
that people are thinking, “Wow, can celery
taste like that?! I am completely full and not
missing meat at all.” That’s when I know I’m
onto something.
We often see you cooking at prestigious
Copenhagen design, fashion, and lifestyle events.
Why is it that we typically experience your
culinary exploits on such occasions? Could you
just as easily have been doing something else
purely creative?
There’s definitely something that attracts me
to making food for events where a big effort
has been put into the setting, or the food
has to complement a beautiful magazine, a
new piece of furniture or another product. I
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
really like the creative part of it, but I don’t
know if I could do something else creative.
I’m not good at drawing or writing, and I’m
not a great handyman either. But I love to get
taste and aesthetics to harmonize in a meal,
so I have probably found essentially the right
calling.
What is your relationship with ingredients and
how do you use them throughout the year?
As I said, I’m a great believer in using local
ingredients when they are in season, to get
the best possible flavor and price. Of course,
the whole issue of sustainability and being
locally rooted also plays an important role.
I’m fascinated by how nature, weather, and
season combine to influence ingredients,
and how things like taste and structure in a
vegetable can change depending on when it
is picked. Just take a carrot. In early summer,
it is small, crisp and juicy and can simply be
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pulled up and eaten raw. If you leave it in the
ground until late autumn, its taste, structure,
sweetness, and size are completely changed
due to wind, weather, and season. I think
that’s quite amazing.
What ingredients can you never get enough of?
There is a time for everything, as they say.
In February and March, we eat so much
lumpfish roe that you almost end up growing
weary of it. And it is a special moment
when the first wild garlic, ground elder, and
dandelions emerge from the ground in early
spring. Soon afterwards, nettles, beech leaves,
sweet woodruff, wood sorrel and the first
asparagus begin to appear, which we consume
copiously up until midsummer. I am generally
enthusiastic about ingredients in season,
which peak at a particular time of the year.
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
How did Denmark – and Copenhagen in
particular – become an international culinary
destination? What are we doing differently?
For many years, people tended to guard their
recipes and secrets at the various restaurants,
because of the intense competition for diners.
But about fifteen years ago, a new generation
of chefs started talking and sharing ideas.
The wonderful and common interest there
was in raising the level together and exploring
Nordic cuisine and local ingredients has
helped take the Danish food scene to a very
high plane and make Denmark a place that
culinary tourists come to from all over the
world simply to eat some delicious food.
What culinary values is Denmark contributing as
a nation at an international level? Why is it of
interest to the rest of the world?
Locally rooted, organic food, biodynamics,
a short path from small producers to top
restaurants, and a positive dialogue between
producers and restaurants and between
restaurants and chefs in Denmark are some
of the things that make all the difference. The
seasons and their impact on the ingredients
we use is also something quite unique that
Scandinavia has to offer.
How important are organic products and
sustainability to you? Why are they so much in
focus at the moment? And how do you incorporate
them into your food?
Organic and biodynamic ingredients mean
a lot to me, but I actually look at locally
produced Danish ingredients and season first.
Sustainability is also very important to me,
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
in that we use everything from animals and trends and forms of food preparation. The
greens alike, and make sure there is no food way in which the new Noma looks at the
waste. We can do it by using the less attractive seasons is also very exciting, and I think we
cuts of meat and not only the expensive will see more restaurants take that path.
PAGE
ones. And by cutting down the quantities we There are also elements such as seaweed,
consume. In terms of vegetables, we must insects, grass and protein extracted from
make sure to vary them and limit waste. this which are simmering below the surface.
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Many people are already very conscious of I don’t think these will become the next big
these things, and we are seeing a wave, at the thing, but there will always be some who
moment, of people eating more vegetables, experiment with them.
and more becoming vegetarians and vegans.
What can make a meal experience more intense?
The room, the mood, the light and especially
the people you are sharing a meal with
are key factors, so it is important to create
a holistic experience. Some of the food
experiences that have deeply impacted me
are typically linked to a very special location
and some wonderful people, rather than just
the food. Of course, the food has been good
quality, but it is mostly other factors that
make me continue to remember it – whether
it be a warm raw seal liver on an ice floe
in Disko Bay, or a very simple fermented
pancake (injera) with a few vegetables and
lentils in a small nomad hut in Ethiopia. Of
course, I also remember a lot of meals at good
restaurants around the world and in Denmark
for the food, but there has often also been a
good atmosphere, and the company of some
people I care about.
If the current culinary wave right now is green,
what will the next trend be?
The green wave will continue for a long time, Read more about Mikkel Karstad’s favorite
and will expand to encompass new products, Copenhagen spots on BoConcept’s website.
 S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M
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M E Z ZO BE D . DE SIGN E D BY MORT E N GE ORG S E N
02.

01 l Mezzo storage bed with lift-up frame and slats, excl. mattress As shown, blue Velvet fabric 3031/aluminum. H48½xW75xL86¾”.
Mattress size: W71xL78¾”. [Mezzo - CRW8] London large bench with cushion As shown, grey Velvet fabric 3030/matte black structure
lacquered. H19xW63xD14¾”. [London - B011] Shanghai rug As shown, Steel, 100% viscose. Ø59¼”. [Shanghai] Kip wall lamp
Product not available in Canada Diamond side table As shown, dark grey, wood/mirror. H16¾xW14xL14”. [Diamond] 02 l Bordeaux
console table As shown, charcoal grey lacquered/matte black structure lacquered. H23¾xW12¾xL49¼”. [Bordeaux - 6310] Lean on
Me table lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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LUGA NO BE D . DE SIGN E D BY MORT E N GE ORG S E N

Lugano storage bed with lift-up frame and slats, excl. mattress As shown, walnut veneer/light grey Frisco fabric with
aquaclean 2063/charcoal grey lacquered. H51¼xW77¼xL83½”. Mattress size: W71xL78¾”. [Lugano - CIW8] Basel side table As
shown, walnut veneer/matte black structure lacquered. H18¼xØ20¼”. [Basel - 2180] Florence chair As shown, walnut veneer/chrome.
H32¾/18xW19¾xD22¼”. [Florence - D088] Cupertino desk As shown, espresso oak veneer/walnut veneer/matte black structure
lacquered. H29½xW19xL45½”. [Cupertino - T035] Waza rug, size made to order Per m2 (per 10,76 square feet) As shown, silver, 100%
viscose. [Waza] Kip floor lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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GE N T BE D . DE SIGN E D BY MORT E N GE ORG S E N

01 l Mezzo storage bed with lift-up frame and slats, excl. mattress As shown, light taupe Estoril leather 5022/aluminum.
H48½xW75xL86¾”. Mattress size: W71xL78¾”. [Mezzo - CRW8] Valencia side table As shown, grey bonded leather/black-stained
oak veneer. H18¼xW16¾xL16¾”. [Valencia - 1980] Valencia side table As shown, grey bonded leather/black-stained oak veneer.
H15xW16¾”. [Valencia - 1990] Berlin floor lamp As shown, charcoal grey with light grey chintz shade. H39½/63xØ7¼”. [Berlin]
Waiting for glass print As shown, dark grey, powder, glass. H39½xW39½”. [Waiting for] 02 l Gent bed, excl. mattress As shown,
taupe Napoli fabric 2251/aluminum. H47¼xW86¾xL88½”. Mattress size: W71xL78¾”. [Gent - CWW8] Wire stool As shown, black,
metal. H19¾xØ14”. [Wire] Neat rug As shown, dark grey, 100% polyester. W67xL94½”. [Neat] Quadro wall lamp As shown, black
with black fabric shade. H19¾xW8xD8”. [Quadro]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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02.

LUGA NO BE D . DE SIGN E D BY MORT E N GE ORG S E N

03.

01 l Lugano storage bed with lift-up frame and slats, excl. mattress As shown, matte white lacquered/olive green Matera Fabric 2280/charcoal grey lacquered. H51¼xW69½xL83½”. Mattress
size: W63xL78¾”. [Lugano - CIW6] Adelaide chair with swivel function As shown, grey Velvet quilt 3000/polished aluminum. H33/18¼xW23¾xD23”. [Adelaide - D041] Lugano nightstand As
shown, matte white lacquered. H17¾xW15¾xD13”. [Lugano - 1010] 02 l Lugano bed, excl. mattress As shown, matte white lacquered/light grey Lux Felt fabric 2310/titanium grey burnished steel.
H51¼xW77¼xL83½”. Mattress size: W71xL78¾”. [Lugano - CKW8] Lugano bench with storage As shown, matte white lacquered/light grey Lux Felt fabric 2310/titanium grey burnished steel.
H18½xW59½xD16¾”. [Lugano - CS00] Cupertino console table As shown, matte white lacquered/matte ash grey lacquered/matte white structure lacquered. H30xW14xL45½”. [Cupertino - T048]
Adelaide chair with swivel function As shown, grey Velvet quilt 3000/polished aluminum. H33/18¼xW23¾xD23”. [Adelaide - D041] Neat rug As shown, iron grey, 100% polyester. W78¾xL118¼”.
[Neat] Work table/wall lamp Product not available in Canada Tone mirror As shown, dark grey, glass/medium density fiberboard. D1xØ39½”. [Tone] 03 l Lugano nightstand As shown, matte
white lacquered. H17¾xW15¾xD13”. [Lugano - 1010]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Morten Georgsen
Today, Morten Georgsen sounds a little different. The voice, heard over
the phone, lacks some of its usual luster. He confesses that he is tired, “I
couldn’t sleep last night. I have a problem with an initial design and it’s
bothering me. I love what I do, but sometimes it feels like very hard work.”
Fortunately, he has ample amounts of sunlight for rejuvenation.
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Here in Denmark, dark clouds are and tables for BoConcept, Morten’s designs
DE S IGN E R P ORT R A I T

threatening an imminent downpour. Fifteen
hundred miles south in Valencia, Spain, it’s
79 degrees with glorious sunshine. Morten
moved there in 2004 to start his second
design company – ‘By Georgsen’ – and a new
life. “I was in my early forties and craved
a change of environment. I was so tired of
suburbia. I suggested to my wife that we
buy a holiday home here, to escape the dark
winters. She suggested we move permanently,
so we did. And we love it.”
Morten built a villa with studio, and has
assembled a team of eight local designers,
plus two specialist technicians based in
Vietnam. “It took them a fair amount of
time to grasp my design philosophy, but now
we’re completely aligned and I am very proud
of their work.” That philosophy is built on
Danish minimalism, with a focus on elegant
functionality. Primarily designing storage
have earned him a clutch of honors and the
position of juror for the prestigious iF design
Awards.
Life in Spain and all of Morten’s success, is a
world away from his youth, spent in a small
town in Western Jutland. His father was a
merchandiser and artist. And as ubiquitous
as design was in 60s Denmark, Morten admits
his family’s level of interest was uncommon
for their rugged location. “Every month, we
would all fight over the latest copy of ‘Bo
Bedre’ [Denmark’s first and longest running
interiors magazine]. And, as well as creating
art, my father would often make furniture.
So, design and creativity were a big part of
our lives.” The teenage Morten could never
have foreseen the pivotal role he would play at
BoConcept, a then steadily growing company,
based just 1.5 miles away from his home.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .

Nowadays, when referring to the brand
in conversation, or his many interviews,
Morten often uses the pronoun ‘we.’ It’s
understandable. He is the brand’s longest
running designer – a partnership that
began over twenty-five years ago, in 1993.
“BoConcept wasn’t as big as it is today, so, we
came up with ideas and just ran with them. I
would say that perhaps they weren’t so well
thought out as they are today [laughs]. But
looking back, the designs were innovative and
very successful.”
His inspiration, then and now, comes from
observing the world around him. Those
moments are then studiously documented.
“I’m pretty much all digital now. I record
lots of voice notes. I’ve also recently started
sketching and writing on my phone, which
I am very pleased about. I then transport
those files to my computer and sort through
them periodically. I might discard some, but
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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something will often catch my eye, inspiring
me to develop the idea further.”
To relax, Morten plays ‘padel’ a popular
racket sport that is similar to tennis, but
played on an enclosed squash-like court. He
is also an avid vinyl collector – a visual and
audio experience that is taking him on a new
design journey. “I will soon be moving into
audio. I’ve designed some speakers that are
going into production and want to expand on
that work.”
As we finish our conversation, Morten
apologizes for his tiredness, elaborating on
the cause of his insomnia. “I can’t help it.
I’m an old soccer fan. I hate losing. I always
want to find the best solution.” If history is
anything to go by, we can be sure he will.
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C OMO BO OK C A S E . DE SIGN E D BY MORT E N GE ORG S E N

01.

01 l Reno living chair As shown, golden beige Napoli fabric 2252/matte black structure lacquered. H43½/17½xW32¾xD38”. [Reno
- 1415] Reno footstool As shown, golden beige Napoli fabric 2252/matte black structure lacquered. H16¼xW21½xD16¼”. [Reno
- 1420] Como bookcase As shown, charcoal grey lacquered. H30¼xW45½xD14”. [Como - 5440] Meinus rug As shown, grey, 100%
viscose. Ø59¼”. [Meinus] Curious floor lamp As shown, black metal. H53½xØ4”. [Curious] 02 l fusion chair As shown, light
grey Lux Felt fabric 2310/oak veneer. H29¼xW38¼xD30¾”. [fusion - L042] Como bookcase As shown, charcoal grey lacquered.
H30¼xW45½xD14”. [Como - 5440] Totoki rug As shown, bordeaux red, 100% viscose. W67xL94½”. [Totoki]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N

Bordeaux wall system As shown, charcoal grey lacquered/matte black structure lacquered. H63xW15¾xD13”. [Bordeaux - 6380]
Lugano base cabinet with drop-down doors As shown, walnut veneer. H11¼xW60½xD19”. [Lugano - SY00]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 Lugano wall mounted cabinet with flip-up doors As shown, espresso oak veneer. H15¼xW75¾xD14”. [Lugano - AH00] Lugano wall mountable cabinet with flip-up door As shown, espresso
S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M

oak veneer. H15¼xW60½xD14”. [Lugano - PF00] Como bookcase As shown, matte ash grey lacquered. H10¼xW60½xD10¼”. [Como - 4050] Lugano base cabinet with drop-down doors As
shown, espresso oak veneer/smoke-coloured glass/aluminum/black lacquered. H11¼xW75¾xD19”. [Lugano - TA00] Lugano base cabinet with drop-down doors As shown, espresso oak veneer/
smoke-coloured glass/aluminum/black lacquered. H11¼xW60½xD19”. [Lugano - SZ00] fusion day bed As shown, blue Velvet fabric 3031/walnut. H18¼xW79½xD43¾”. [fusion - FU01] Ottawa
side table As shown, matte black structure lacquered. H21¾xW21¾xL12”. [Ottawa - 1660] Curious floor lamp As shown, black metal. H53½xØ4”. [Curious]
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WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N

Lugano base cabinet with drop-down doors As shown, walnut veneer. H11¼xW75¾xD19”. [Lugano - SN00] Bordeaux wall
system As shown, charcoal grey lacquered/matte black structure lacquered. H12½xW49¼xD12¾”. [Bordeaux - 6370] Adelaide living
chair As shown, dusty green Velvet fabric 3032/matte black structure lacquered. H34¾/17¾xW34xD33¼”. [Adelaide - 1400]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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C O P E N H A G E N WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N

Copenhagen wall system As shown, charcoal grey lacquered/matte ash grey lacquered/walnut veneer/smoke-coloured glass/aluminum.
H77xW102xD15½”. [Copenhagen - CS00] Lyon table with supplementary tabletop As shown, walnut veneer/matte black structure
lacquered. H29½xW35½xL71¾/95½”. [Lyon - T067] Adelaide chair with swivel function As shown, dark grey Lux Felt fabric 2311/
black/matte black structure lacquered. H33/18¼xW23¾xD23”. [Adelaide - D090] Ball pendant Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M

01.
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02.

C O P E N H A G E N WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N

03.
04.

01 l Copenhagen wall system As shown, walnut veneer. H89½xW76¾xD15½”. [Copenhagen - CZ00] Duo floor lamp As shown,
black metal. H59¼xØ8½”. [Duo] 02 l Copenhagen wall system As shown, matte white lacquered/oak veneer/matte ash grey lacquered.
H89½xW87¾xD15½”. [Copenhagen - DD00] Indivi 2 corner sofa with lounging unit As shown, light grey Mojave fabric 0301/brushed
steel. H30xW106¾xD79¼”. [Indivi 2 - NI33] Adelaide coffee table As shown, oak veneer/oak. H15½xW25¼xL53¼”. [Adelaide
- 1640] Northern rug As shown, grey, 100% wool. W78¾xL118¼”. [Northern] 03 l Como shelf As shown, anthracite grey burnished
steel. H2¾xW23¾xD8¼”. [Como - 7030] 04 l Adelaide lounge chair As shown, black Salto leather 0960/espresso oak veneer.
H28¾/15¼xW23¾xD24¼”. [Adelaide - D085] Copenhagen wall system As shown, charcoal grey lacquered. H26½xW88½xD15½”.
[Copenhagen - CE00] Lean on Me table lamp Product not available in Canada

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 01.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE C H A I R . DE SIGN E D BY H E N R I K PE DE R S E N

02.

01 l Adelaide living chair As shown, dusty rose Leeds fabric 3024/oak. H34¾/17¾xW34xD33¼”. [Adelaide - 1410] Adelaide
footstool As shown, dusty rose Leeds fabric 3024/oak. H14¾xW22½xD16¾”. [Adelaide - 1390] Como bookcase As shown, oak
veneer. H10¼xW60½xD10¼”. [Como - 4050] Meinus rug As shown, grey, 100% viscose. Ø59¼”. [Meinus] Diamond side table As
shown, rose, wood/mirror. H16¾xW14xL14”. [Diamond] 02 l Como bookcase As shown, oak veneer. H10¼xW60½xD10¼”. [Como
- 4050]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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01.

01 l Como bookcase As shown, matte white lacquered. H30¼xW30¼xD14”. [Como - 5430] 02 l Como bookcase As shown, matte
ash grey lacquered. H22¾xW45½xD10¼”. [Como - 5240] Lugano wall mounted cabinet with drop-down door As shown, matte
white lacquered. H15¼xW45½xD14”. [Lugano - AC00] Lugano wall mounted cabinet with drop-down door As shown, matte white
lacquered. H15¼xW30¼xD14”. [Lugano - AE00] Pine cone table lamp As shown, black metal with satin finished shade. H24½xØ12”.
[Pine cone]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
02.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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 S E E M O R E P O S S I B I L I T I E S A T B O C O N C E P T. C O M PAGE I 147 C O M O WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N
Como wall system As shown, matte white lacquered. H40½xW40½xD8½”. [Como - 1110]
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L U G A N O WA L L S Y S T E M . D E S I G N E D B Y M O R T E N G E O R G S E N

Lugano wall system with drawer and drop-down door As shown, matte white lacquered/grey speaker fabric/titanium grey burnished
steel. H67xW106xD19”. [Lugano - SG00] Lucca recliner with swivel function As shown, beige Bristol fabric 3063/oak veneer/matte
white structure lacquered. H43½/15¾xW27¾xD34¾”. [Lucca - 1430] Shanghai rug As shown, mustard, 100% viscose. Ø90¾”.
[Shanghai]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 René Hougaard
Before starting ARDE Design Studio, René Hougaard worked for a
prominent industrial design firm, built and sold his own furniture brand,
and worked for five years as Product Manager at BoConcept. A headline
on his website reads, ‘Look forward and up.’ They seem to be the only
trajectories ARDE explores.
150

THE ART OF LOOKING

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FORWARD

Pronunciation is a hot topic for most English by a well-travelled career. “I use the name
DE S IGN E R P ORT R A I T

expats learning Danish. The disparity
between English and Danish phonetics can
be confusing. It’s a point Danes are mindful
of. However, when saying a Danish name
within English speech, most will revert to the
word’s native form. It’s acceptable practice,
especially when in Denmark.
However, Furniture Designer ARDE flouts
this convention. When he mentions Jesper,
one of our product managers, he makes a
point of using the English J sound. Herning,
the city where BoConcept was founded, is
today pronounced ‘Her-ning’ and not the
Danish ‘Har-ning.’
It’s a rule the designer fails to break
throughout our conversation. It provides
a glimpse into his perspective – one that is
outward-looking, considerate, and informed
ARDE because, unlike my very Danish
real name, it’s easier to remember and is
universally understood. I design everything
else, so why not design my name?”
ARDE aka René Hougaard is an in-demand
Danish designer. He is invited around the
world to speak on design, as well as to meet
his international clients and customers – all
fans of his pared-down aesthetic with touches
of the unexpected. However, his well-used
passport has spawned more than just a
name change. It has aroused an altruistic
perception of the importance of design.
“I wish more designers had a more global
outlook. We should be framing the time in
which we live and simultaneously changing
our future.” Bold aspirations, but ambition
isn’t a quality ARDE lacks.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .

Between earning his Master’s degree in
Architecture and Furniture Design in 2003,
and starting ARDE design studio in 2014,
ARDE has worked for a prominent industrial
design firm, built and sold his own furniture
brand, and worked for five years as Product
Manager at BoConcept. A headline on his
website reads, ‘Look forward and up.’ They
seem to be the only trajectories ARDE
explores – a point illustrated by his decision
to delete nearly all historical info from his
website. “I’m not interested in the past.”
When asked about his inspiration, ARDE
not only omits historical references, but
underscores their irrelevance. “Basing your
design on old classics doesn’t help us. It
doesn’t move us forward.” The ‘us’ he refers
to isn’t the industry or his contemporaries.
It’s bigger than that. “Design should
improve the world.” He does however cite
B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
the importance of music, fashion, food, new
materials, and tech. But largest of all his
influences is undoubtedly art.
ARDE is quoted as saying, “Furniture is art in
form of functionality and beauty.” He often
visits museums of modern art and speaks
passionately about the medium’s ability
to provoke thought, while capturing the
cultural discourse. Then there are his press
photographs: ARDE holding a large sphere
and pyramid. It would seem his brand doesn’t
shy away from its artistic side. Which raises a
question: Does he encounter tension between
the artistry and technicality of his craft?
ARDE responds almost instantly.
“Yes.” He continues, “It’s a balance. I would
prefer to be more artistic. But I love the
technicalities of furniture design as well. Of
course, we must understand the context of
the design and its market; and we can do
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all kinds of strategic analysis. But if we, as
designers, don’t add the art – that touch of
magic – then the design won’t work. You
can’t articulate it, and no data can ensure
its presence in the final product. But when
a design has art, it strikes a chord with the
consumer and improves our world.”
In case you were wondering, ARDE is the
first two letters of ‘Architect’ and ‘Designer.’
Simple, elegant, and memorable – like his
designs.
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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C OPE N H AGE N OF F IC E S Y S T E M . DE SIGN E D BY MORT E N GE ORG S E N

02.

01 l Copenhagen office system As shown, charcoal grey lacquered/matte ash grey lacquered. H29½xW113xD56½”. [Copenhagen -
CH00] Como bookcase As shown, matte ash grey lacquered. H10¼xW60½xD10¼”. [Como - 4050] Ottawa chair As shown, camel
Estoril leather 0957/matte black structure lacquered. H34¾/18½xW20xD22½”. [Ottawa - D034] Curious table lamp As shown, black
metal. H23¾xØ4”. [Curious] 02 l Cupertino desk As shown, walnut veneer/matte ash grey lacquered/matte black structure lacquered.
H30xW29¾xL67”. [Cupertino - T047] Adelaide chair with swivel function As shown, black Salto leather 0960/matte black structure
lacquered. H33/18¼xW23¾xD23”. [Adelaide - D041] Dax rug As shown, stone grey, 60% wool/40% viscose. W67xL94½”. [Dax]
Shelter table lamp As shown, black metal with brass arm. H16¾xØ14”. [Shelter]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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C U PE RT I NO DE S K S . DE SIGN E D BY A R DE

01.

01 l Cupertino desk As shown, matte white lacquered/oak veneer/matte white structure lacquered. H29½xW23¾xL55¼”. [Cupertino -
T036] Cupertino loudspeakers (set) As shown, grey speaker fabric. H3¾xW11½xD5”. [Cupertino - 5620] Adelaide chair with swivel
function As shown, camel Sienna leather 5111/matte white structure lacquered. H33/18¼xW23¾xD23”. [Adelaide - D041] Bordeaux
console table As shown, matte white lacquered/matte black structure lacquered. H37¾xW12¾xL49¼”. [Bordeaux - 6300] Ball table
lamp Product not available in Canada 02 l Cupertino wall office As shown, matte white lacquered/oak veneer. H25xW39½xD25”.
[Cupertino - 5650] Cupertino loudspeakers (set) As shown, grey speaker fabric. H3¾xW11½xD5”. [Cupertino - 5620] Como wall
system As shown, matte white lacquered. H40½xW40½xD8½”. [Como - 1110] Adelaide chair with swivel function As shown, light
grey Lux Felt fabric 2310/white/matte white structure lacquered. H33/18¼xW23¾xD23”. [Adelaide - D090]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
02.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 01.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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L ON D ON BE NC H . DE SIGN E D BY MORT E N GE ORG S E N

02.

01 l London large bench with cushion and shelf As shown, yellow Leeds fabric 3026/matte black laminate/matte black structure
lacquered. H19xW63xD14¾”. [London - B009] Lotus pendant Product not available in Canada Ring mirror As shown, black, glass/
medium density fiberboard. D1¼xØ19¾”. [Ring] Ring mirror As shown, black, glass/medium density fiberboard. D1¼xØ27¾”. [Ring]
Ring mirror As shown, black, glass/medium density fiberboard. D1¼xØ14”. [Ring] 02 l London large bench with cushion and shelf
As shown, red Lux Felt fabric 2316/matte black laminate/matte black structure lacquered. H19xW63xD14¾”. [London - B009] Bordeaux
wall system As shown, charcoal grey lacquered/matte black structure lacquered. H63xW15¾xD13”. [Bordeaux - 6380]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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ROM E OU T D O OR . DE SIGN E D BY H E N R I K PE DE R S E N

Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey burnished steel. H28xW95¾xD39”. [Rome - L004] Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey
burnished steel. H28xW95¾xD39”. [Rome - L005] Rome cushions As shown, light grey outdoor fabric. W23¼xL23¼”. [Rome - 0380] Rome coffee table As shown, anthracite grey glass/anthracite
grey lacquered aluminum. H14¾xW23¾xL23¾”. [Rome - 0410] Sydney trolley As shown, matte black structure lacquered/walnut veneer. H30½xW18xL34¾”. [Sydney - 2220] Adelaide chair (for
in- and outdoor use) As shown, white/eucalyptus. H34/18½xW18xD22¾”. [Adelaide - D002] Adelaide table (for in- and outdoor use) As shown, white high pressure laminate with black inner
core/eucalyptus. H29¾xW35½xL78¾”. [Adelaide - 1300] Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey burnished steel. H28xW37½xD38¾”. [Rome - 0310]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 01.

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ROM E OU T D O OR . DE SIGN E D BY H E N R I K PE DE R S E N
03.

The Rome outdoor living system offers limitless possibilities through three minimal modules.

01 l Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey burnished steel. H28xW95¾xD39”. [Rome - L004] Rome cushions As shown, light grey outdoor fabric. W23¼xL23¼”.
[Rome - 0380] 02 l Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey burnished steel. H28xW118¼xD96½”. [Rome - L007] Rome outdoor sofa As shown, light grey outdoor
fabric/anthracite grey burnished steel. H28xW37½xD38¾”. [Rome - 0310] Rome coffee table As shown, anthracite grey glass/anthracite grey lacquered aluminum. H16¾xW31½xL31½”. [Rome
- 0400] Adelaide Lounge chair (for in- and outdoor use) As shown, white/eucalyptus. H28¾/15¼xW23¾xD24¼”. [Adelaide - L001] Jersey side table (for in- and outdoor use) As shown,
matte white structure lacquered. H23¼xØ17½”. [Jersey - 2130] 03 l Rome outdoor sofa As shown, light grey outdoor fabric/anthracite grey burnished steel. H28xW37½xD38¾”. [Rome - 0310]
Rome cushions As shown, light grey outdoor fabric. W23¼xL23¼”. [Rome - 0380] Rome coffee table As shown, anthracite grey glass/anthracite grey lacquered aluminum. H14¾xW23¾xL23¾”.
[Rome - 0410] Jersey side table (for in- and outdoor use) As shown, matte white structure lacquered. H23¼xØ17½”. [Jersey - 2130]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
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A DE L A I DE C H A I R A N D TA BL E . DE SIGN E D BY H E N R I K PE DE R S E N

02.

01 l Elba table (for in- and outdoor use) As shown, white high pressure laminate with black inner core/matte black structure lacquered.
H29¾xW36¼xL78¾”. [Elba - 1050] Elba chair (for in- and outdoor use) As shown, grey wicker/matte black structure lacquered.
H35¼/16¾xW22¼xD25”. [Elba - 0100] Seat cushion (for in- and outdoor use) As shown, stone grey canvas. H1xW16½/14xD17¾”.
[Elba - 0110] 02 l Elba table (for in- and outdoor use) As shown, white high pressure laminate with black inner core/matte black
structure lacquered. H29¼xØ26¾”. [Elba - 1150] Elba chair (for in- and outdoor use) As shown, grey wicker/matte black structure
lacquered. H35¼/16¾xW22¼xD25”. [Elba - 0100] 03 l Adelaide chair (for in- and outdoor use) As shown, white/eucalyptus.
H34/18½xW18xD22¾”. [Adelaide - D002] Adelaide table (for in- and outdoor use) As shown, white high pressure laminate with black
inner core/eucalyptus. H29¾xW35½xL78¾”. [Adelaide - 1300]

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
03.

B O C O N C E P T. F R O M D E N M A R K . T O T H E W O R L D .
 BOCONCEPT WAS FOUNDED IN DENMARK IN
1952 AND HAS NEARLY 300 STORES IN OVER 60
COUNTRIES WORLDWIDE.

F I N D Y O U R S A T B O C O N C E P T. C O M

#BOCONCEPT

Art direction and layout: BoConcept In-house. Copyright © BoConcept A/S 2018 I Furniture: Manufactured by BoConcept A/S,
Denmark, under the brand name, BoConcept® I BoConcept A/S accepts no liability for printing errors or changes to
products and/or prices I www.boconcept.com