{"title":"WOOD","description":"\u003cdiv class=\"black-text-01\" style=\"margin-top:0px;\"\u003e\n  \u003ch3 style=\"line-height:1.6; margin:0; text-transform:none;\"\u003e\n    \u003cstrong\u003eNordic Wooden Objects\u003c\/strong\u003e\u003cbr\u003e\n    From the 1930s onward\u003cbr\u003e\n    Ships worldwide from Tokyo\n  \u003c\/h3\u003e\n\u003c\/div\u003e","products":[{"product_id":"ehtr047","title":"\"Play Furniture\" CHILDREN STOOL TH506","description":"\u003cdiv class=\"black-text-01\"\u003e\nErik Höglund began designing wooden products at the glass manufacturer Boda in the late 1950s, and a collection using pine wood was released in 1960.\u003cbr\u003e\nThese wooden products were manufactured by skilled local wood craftsmen and sold under the brand \"Kopparfly,\" named after the village where Höglund lived at the time.\n\u003cbr\u003eLater, the wooden products gained high popularity, and with increasing demand, \"Boda Trä\" was established within the Boda premises.\u003cbr\u003e\nSimilar to his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003e\nThis is a children's stool made of beech wood, manufactured at \"Boda Trä.\"\n\u003cbr\u003eIt is one of the \"Play Furniture\" series of children's furniture, released at the NK department store in Stockholm in 1962.\u003cbr\u003e\n*While there are minor scratches, it is in good condition with no noticeable damage.\u003cbr\u003e\n*Our store issues certificates of authenticity based on our accumulated experience.\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR047","offer_id":48830340202736,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR047_1.jpg?v=1771146362"},{"product_id":"ehtr046","title":"\"Play Furniture\" CHILDREN STOOL TH506","description":"\u003cdiv class=\"black-text-01\"\u003eErik Höglund began designing wooden products in the late 1950s at the glass manufacturer Boda, and a collection using pine wood was released in 1960.\u003cbr\u003eThese wooden products were manufactured by skilled local wood craftsmen and sold under the brand name \"Kopparfly,\" named after the village where Höglund lived at the time. \u003cbr\u003eLater, the wooden products gained great popularity, and with the increasing demand, \"Boda Trä\" was established on the Boda premises. \u003cbr\u003eSimilar to his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003eThis is a children's stool made of beech wood, manufactured by \"Boda Trä.\"\u003cbr\u003eIt is part of the \"Play Furniture\" series of children's furniture, which was unveiled at the NK department store in Stockholm in 1962.\u003cbr\u003e*Although there are minor scratches, it is in good condition with no noticeable damage.\u003cbr\u003e*Our store issues a certificate of authenticity based on our accumulated experience.\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR046","offer_id":48830340890864,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR046_1.jpg?v=1771146620"},{"product_id":"ehtr069","title":"TRAY TH92","description":"\u003cdiv class=\"black-text-01\"\u003eErik Höglund began designing wooden products for the glass manufacturer Boda in the late 1950s, and a collection made from pine wood was introduced in 1960.\u003cbr\u003e\nThese wooden products were manufactured by skilled local carpenters and sold under the brand name \"Kopparfly,\" named after the village where Höglund lived at the time.\u003cbr\u003e\nLater, the wooden products gained great popularity, and with the increasing demand, \"Boda Trä\" was established on the premises of Boda.\u003cbr\u003e\nSimilar to his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003e\nThis is an oak tray manufactured by \"Boda Trä.\"\u003cbr\u003e\n*In good condition with no noticeable damage.\u003cbr\u003e\n*We issue certificates of authenticity based on our accumulated experience.\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR069","offer_id":48830343807216,"sku":null,"price":30250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR069_1.jpg?v=1771146753"},{"product_id":"ehtr070","title":"CANDLESTICK TH29","description":"\u003cdiv class=\"black-text-01\"\u003eErik Höglund began designing woodwork products at the glass manufacturer Boda in the late 1950s, and a collection using pine wood was announced in 1960.\u003cbr\u003e\nThese woodwork products were manufactured by skilled local woodworkers and sold under the brand name \"Kopparfly,\" named after the village where Höglund lived at the time.\u003cbr\u003e\nThe woodwork products subsequently gained high popularity, and with the increase in demand, \"Boda Trä\" was established on the Boda premises.\u003cbr\u003e\nSimilar to his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003e\nThis is a large pine candle holder manufactured by \"Kopparfly.\"\u003cbr\u003e\nIt is one of the first collections designed in 1960.\u003cbr\u003e\n* There is one crack at the top and one at the bottom due to drying.\u003cbr\u003e\n* Our store issues certificates of authenticity based on our accumulated experience.\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR070","offer_id":48830349443312,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR070_1.jpg?v=1771147220"},{"product_id":"ehtr079","title":"TRAY ON FOOT TH98","description":"\u003cdiv class=\"black-text-01\"\u003eErik Höglund began designing wooden products in the late 1950s at the glass manufacturer Boda, and a collection using pine wood was announced in 1960.\u003cbr\u003e\nThese wooden products were manufactured by skilled local woodworkers and sold under the brand name \"Kopparfly,\" named after the village where Höglund lived at the time.\u003cbr\u003e\nSubsequently, the wooden products became very popular, and with increasing demand, \"Boda Trä\" was established on the Boda premises.\u003cbr\u003e\nLike his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003e\nThis is a pine wood footed tray manufactured by \"Boda Trä.\"\u003cbr\u003e\nDesigned in 1964.\u003cbr\u003e\n*There are traces of red paint or something similar, but it is in good condition with no noticeable damage.\u003cbr\u003e\n*Our shop issues a certificate of authenticity based on our accumulated experience.\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR079","offer_id":48830350426352,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR079_1.jpg?v=1771147377"},{"product_id":"ehtr060","title":"MIRROR S12","description":"\u003cdiv class=\"black-text-01\"\u003eErik Höglund began designing woodwork products for the glass manufacturer Boda in the late 1950s, and in 1960, a collection made from pine was released.\u003cbr\u003e\nThese wooden products were manufactured by skilled local carpenters and sold under the brand name 'Kopparfly', named after the village where Höglund lived at the time.\u003cbr\u003e\nSubsequently, the wooden products gained high popularity, and with increasing demand, 'Boda Trä' was established within Boda's premises.\u003cbr\u003e\nSimilar to his glass works, the rustic and primitive forms demonstrate his consistent design philosophy.\u003cbr\u003e\u003cbr\u003e\nThis is a pine mirror manufactured by 'Kopparfly'.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003cbr\u003e\n*We issue certificates of authenticity based on our accumulated experience.\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eERIK HÖGLUND｜1932–1998｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eErik Höglund was one of Sweden’s most influential artists and designers. After studying sculpture at Konstfack in Stockholm, he began his career as a designer at Boda Glassworks in 1953, where he worked intensively for nearly two decades.\u003c\/p\u003e\n\n  \u003cp\u003eDrawing inspiration from various traditions and vernacular cultures, Höglund pursued forms that conveyed a strong sense of the human hand. Bubbles, distortions, and irregularities—often regarded as flaws in glassmaking—were instead embraced as integral elements of expression. Through this approach he transformed primitive qualities into modern design, opening new possibilities in glass art. His unconventional style initially provoked both praise and criticism, but through unwavering dedication and tireless work he gradually earned widespread recognition.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1957 he received the Lunning Prize, the most prestigious award in Nordic design at the time, becoming the youngest recipient at the age of twenty-five. The prize had previously been awarded to designers such as Hans J. Wegner, Tapio Wirkkala, Kaj Franck and Timo Sarpaneva. In the same year he also received a Silver Medal at the Milan Triennale, firmly establishing his international reputation and marking a turning point in his career.\u003c\/p\u003e\n\n  \u003cp\u003eHis creative activities extended beyond glass. From the early 1960s he produced works combining wrought iron and glass as well as objects in wood. In 1968 he founded the design company “Backström \u0026amp; Höglund AB” together with Monica Backström, who was also a designer at Boda Glassworks and his partner at the time. The company designed furniture, household products and various other objects.\u003c\/p\u003e\n\n  \u003cp\u003eThroughout his life Höglund also created paintings and bronze works, and undertook commissions such as church wall decorations, furnishings, interior design and public monuments.\u003c\/p\u003e\n\n  \u003cp\u003eA glass factory artist appearing in the film “My Life as a Dog” by Swedish director Lasse Hallström is said to be modeled after Erik Höglund. In the film, the character reflects the period before Höglund gained widespread recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ERIK HÖGLUND","offers":[{"title":"NATURAL \/ EHTR060","offer_id":48830351311088,"sku":null,"price":99000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/EHTR060_1.jpg?v=1771147679"},{"product_id":"hkom144","title":"\"Oma\" SPOON","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Oma series was designed by Harri Koskinen in 2007 and introduced by Arabia.\u003cbr\u003eDeveloped as a tableware series composed of a variety of items combining materials such as porcelain, glass, wood, and aluminum,\u003cbr\u003eit followed the lineage of Kaj Franck’s KILTA \/ TEEMA while updating it for contemporary ways of living.\u003cbr\u003eAlthough it was a series that suggested the possibility of becoming a new standard in tableware, it was discontinued in 2011.\u003cbr\u003eIn 2023, the glass tumbler and large pitcher were reissued.\u003c\/p\u003e\n\u003cp\u003eThis is a small spoon, most likely made of beechwood.\u003cbr\u003eIt has a compact form composed of the gentle curves characteristic of the Oma series.\u003c\/p\u003e\n\u003cp\u003e* Deadstock. Natural variations between individual pieces are present.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\n  \u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\n  \u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\n  \u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\n  \u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\n  \u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\n  \u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\n  \u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\n  \u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\n  \u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\n  \u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"HARRI KOSKINEN","offers":[{"title":"BROWN \/ HKOM144","offer_id":49481070739696,"sku":null,"price":2200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKOM144_1.jpg?v=1774859034"},{"product_id":"srhp495","title":"HORS D'OEUVRE TRAYS(SMOKE) 3\/1367","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA product combining Saara Hopea’s glass bowl with a teak tray designed by Kaj Franck.\u003c\/p\u003e\n\u003cp\u003eIn 1953, Kaj Franck designed products incorporating teak elements for Arabia and Nuutajärvi. In 1955, he returned to the combination of glass and teak in works such as the marmalade jar 1368 and dessert bowl 1369. In that context, he designed a teak tray to accompany Saara Hopea’s glass bowl 1367, originally designed in 1952, and it was introduced that autumn as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eProduced from 1955 to 1965.\u003c\/p\u003e\n\u003cp\u003e* The glass bowl shows some wear, including surface scratches, but remains in good condition with no chips or other noticeable damage. There is a small chip to one corner of the teak tray.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"SMOKE \/ SRHP495","offer_id":49765354799344,"sku":null,"price":77000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP495_1.jpg?v=1779782732"},{"product_id":"srhp553","title":"HORS D'OEUVRE TRAYS(CLEAR) 2\/1367","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA product combining Saara Hopea’s glass bowl with a teak tray designed by Kaj Franck.\u003c\/p\u003e\n\u003cp\u003eIn 1953, Kaj Franck designed products incorporating teak elements for Arabia and Nuutajärvi. In 1955, he returned to the combination of glass and teak in works such as the marmalade jar 1368 and dessert bowl 1369. In that context, he designed a teak tray to accompany Saara Hopea’s glass bowl 1367, originally designed in 1952, and it was introduced that autumn as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eProduced from 1955 to 1965.\u003c\/p\u003e\n\u003cp\u003e*There is limescale on the underside of the glass bowl, and an area on the base that appears to be a polishing mark from the time of manufacture.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ SRHP553","offer_id":49765374296304,"sku":null,"price":49500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP553_1.jpg?v=1779783313"},{"product_id":"srhp494","title":"HORS D'OEUVRE TRAYS(GREY) 2\/1367","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA product combining Saara Hopea’s glass bowl with a teak tray designed by Kaj Franck.\u003c\/p\u003e\n\u003cp\u003eIn 1953, Kaj Franck designed products incorporating teak elements for Arabia and Nuutajärvi. In 1955, he returned to the combination of glass and teak in works such as the marmalade jar 1368 and dessert bowl 1369. In that context, he designed a teak tray to accompany Saara Hopea’s glass bowl 1367, originally designed in 1952, and it was introduced that autumn as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eProduced from 1955 to 1965.\u003c\/p\u003e\n\u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ SRHP494","offer_id":49765380554992,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP494_1.jpg?v=1779783495"},{"product_id":"srhp308","title":"HORS D'OEUVRE TRAYS(SMOKE) 2\/1367","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA product combining Saara Hopea’s glass bowl with a teak tray designed by Kaj Franck.\u003c\/p\u003e\n\u003cp\u003eIn 1953, Kaj Franck designed products incorporating teak elements for Arabia and Nuutajärvi. In 1955, he returned to the combination of glass and teak in works such as the marmalade jar 1368 and dessert bowl 1369. In that context, he designed a teak tray to accompany Saara Hopea’s glass bowl 1367, originally designed in 1952, and it was introduced that autumn as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eProduced from 1955 to 1965.\u003c\/p\u003e\n\u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"SMOKE \/ SRHP308","offer_id":49765384716528,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP308_1_65a72a6d-5c7a-4961-bfb7-6c3c490d5e7b.jpg?v=1779783607"},{"product_id":"srhp496","title":"HORS D'OEUVRE TRAYS(CLEAR) 1\/1367","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA product combining Saara Hopea’s glass bowl with a teak tray designed by Kaj Franck.\u003c\/p\u003e\n\u003cp\u003eIn 1953, Kaj Franck designed products incorporating teak elements for Arabia and Nuutajärvi. In 1955, he returned to the combination of glass and teak in works such as the marmalade jar 1368 and dessert bowl 1369. In that context, he designed a teak tray to accompany Saara Hopea’s glass bowl 1367, originally designed in 1952, and it was introduced that autumn as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eProduced from 1955 to 1965.\u003c\/p\u003e\n\u003cp\u003e* The glass bowl remains in good condition with no noticeable damage. The teak tray has a small chip to one corner and an area of loss along the side edge.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ SRHP496","offer_id":49765384945904,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP496_1_7c4d60a1-ce19-4094-8e72-2c41de1b8073.jpg?v=1779786706"}],"url":"https:\/\/elephant-life.com\/en\/collections\/wood.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}