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The smooth silhouette of the cream-colored Vilhelm sofa was designed by Danish designer Flemming Lassen in 1935. The clean tubular lines of the Linen Chandelier were designed by Norm Architects. The surrounding walls are painted warm browns and intermediate beiges. So far, so has Copenhagen. However, this immersive scene – a balance of timeless touches of traditional modernism with soft modern minimalism and an organic color palette – is not in Denmark. Instead, it now greets visitors to Audo Copenhagen’s new Tokyo showroom.
The Danish company enters a new chapter this week with its debut in Japan. Audo’s new Tokyo branch is its second international branch after the TriBeCa showroom in New York, and spans the third floor of the Axis Building in Roppongi.
Otto Copenhagen lands in Tokyo
Formed last year by the merger of two torchbearers of Danish modernism, Menu and By Lassen, Audo Copenhagen is a brand rooted in balancing century-old design traditions with a fresh, modern perspective. This harmony is reflected in the new Tokyo space. Here, a series of serene scenes provide sensory immersion in Otto’s aesthetic, which is reflected in the design of furniture, lighting and interior accessories.
The timeless elegance of the angular wood and leather lines of the Ib Kofod-Larsen designed Seal lounge chair sits alongside the smooth curves and quilted backrest of the iconic Radiohus sofa, originally designed by Vilhelm Lauritzen in 1936 for the Danish Radio. There’s a Rope Nearby Creations by Audo’s long-time creative partner Norm Architects range from the soft, minimalist Eave Modular Sofa (whose flexible structure may be popular among Japan’s relatively small homes) to the clean marble lines of its series of sculptural bases.
Norm’s Hashira collection embodies Japanese connections – a series of tubular lamps wrapped in linen that softly echo the play of light and shadow found in traditional Japanese home materials.
An ivory gravel rug by Nina Bruun and earth-toned walls wrapped in St. Leo paint, along with scattered plants and scented candles (Wet Ink, Midnight Soak, Chapter) further evoke natural textures.Center stage – embodying Audo’s concept of community – is also a coffee counter, illuminated by a row of TR bulb chandeliers.
“Good time to enter Japan”
Joachim Kornbek Engell-Hansen, Audo’s brand and design director and grandson of Menu’s founder, explains the concept in a sunny corner of the showroom, sitting around the warm solid lines of a round wooden table designed by Danielle Siggerud. “Now feels like a good time to enter Japan,” he told Wallpaper*. “Switching from Menu to Audo and adding products like Brdr. Petersen – very Danish handcraft – we felt the collection was ready to be brought to Japan.
The new space in Tokyo bridges these two worlds, evoking the taste of Audo House – its community-focused hybrid headquarters in Copenhagen designed by Norm Architects and featuring a concept store, restaurant and 10 overnight rooms.
He added: “We knew we couldn’t achieve the same scale here as in Copenhagen, but we wanted the space to feel like a small part of the whole concept. There used to be a more open space here, but we created these walls so that We can show these different landscapes – so it feels like you’re in Odo. We’re not just selling products – we want to create a universe through these different experiences.”
Sitting next to him is Frederik Werner, designer and partner at Norm Architects and close collaborator for about 15 years, who emphasizes the deep aesthetic affinity between Japan and Denmark as an organic basis for the brand’s expansion. “What I find really interesting here is the deep respect for materials,” says Werner, who often works in Japan, where Norm Architects often collaborates with architect Keiji Ashizawa on projects ranging from the Karimoku Case to the Yoyogi Trunk (hotel).
“The design is honest, nothing fancy or fake. There is an attention to detail and a common design language between Denmark and Japan. We can have the same expectations for the outcome or quality of a project. Somehow these two cultures can work together without Seam fusion. Some of the largest collectors of Danish classics in the world also come from Japan.
Speaking about the new space, he added: “For many years we have had furniture showrooms with podiums filled with furniture, almost like lifeless spaces. It’s very important to evolve all the senses when you enter a space. “
For Audo, the idea of community and collaboration is key. In addition to leveraging Louis Poulsen’s previous business platform in the field in Japan (a sister brand owned by Design Holding), Audo will also establish partnerships with “local ambassadors”, as is the case in New York Also working with designer Colin King.
“We don’t have an in-house creative team, so we rely heavily on collaboration,” says Kornbek Engell-Hansen. He planned to visit Kyoto craftsmen with Werner the next day as part of his first trip to Japan. “There is a spirit of collaboration. This Tokyo showroom may be a small part of Audo, but aesthetically it has the same style and vibe.
audocph.com
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