Finn Juhl’s house, just north of Copenhagen, built for himself and his first wife, speaks eloquently of the confidence of its creator’s vision. Most significantly known for his furniture design, for which he was famously self-taught, Finn Juhl is among the most celebrated mid 20th century Danish designers; his progressive, organic forms now requisite in the modern vocabulary of understated style.
Throughout the house, each object and piece of furniture is found grounded in a sense of satisfactory repose, resting in its place. The rooms are seemingly built around these items, and the building, in its turn, around the rooms.
The paintings in the home allude to art’s influence on Juhl. Colours and forms coexist as a flowing composition where division is absent, yet even a bright orange door, vivid jade chair, or vibrant pink rug doesn’t shout above the neutral white and wooden bones of the interior. Rather, every element of the house engages in quiet, intelligent conversation with the others, never interrupting or disrupting, always holding its own. Juhl’s hedonistic brand of utilitarianism finds joy in every object, however functional or decorative, from a simple soup bowl to a polished wooden sculpture, establishing a democracy of objects built on a deep passion for form and design.