With a sharp sense of contemporary Functionalist style, Mogens Lassen designed the iconic Kubus candleholder in 1962, a piece once reserved solely for family and close architect colleagues.
In 1983 he reapproached his own geometric candleholders, and the result was Line, whose shape was conceived through a mathematical formula. The two candleholders form a single line, and the architectural look fits perfectly with contemporary minimalism. Kubus and Line is still crafted in Denmark, and among architects and design connoisseurs it has acheived the status of a modern international design icon.
Cleaning: Place the candleholder in the oven at 75 degrees celsius upside down on a baking sheet covered with parchment for 15-20 minutes. Follow by polishing with a moistened cloth.
Please note: Do not use boiling hot water, scrub sponges or other sharp/scratchy objects We recommend that you do not let the candles burn the whole way down to the bottom of the candlestick holder as this may discolour or damage the paintwork on your product.
Architect Mogens Lassen (1901-1987) is among the greatest and most influential of Danish architects, a pioneer of Danish Functionalism, and is internationally renowned for his characteristic architecture. Mogens Lassen was inspired by the German design school Bauhaus, and its geometric shapes recur often in his iconic designs.
In 1927 Mogens Lassen traveled to Paris and worked for an engineering company. He did not enjoy the work nor understand the French language, and it annoyed him that he could not sketch for architecture but only for practical purposes. For Mogens Lassen, drawing ugly facades was almost painful.
But Paris shaped Mogens Lassen. He adored the open kitchens found in the city’s restaurants – they were full of life and, for Mogens, the most important room in the house. It was also here in Paris that Mogens Lassen became acquainted with Le Corbusier, who became a source of ongoing inspiration. During his time in Paris, Mogens was honored with the offer of a place in Le Corbusier’s studio, which he gracefully refused. He was highly self-critical and thought his French was not good enough.