Interviews with Helle Nielsen

My background in design comes mainly from my long experience in the furniture industry, which began in Denmark around 1980. I also continued my education through evening university classes while working. Over the years, working closely with furniture production, materials, designers, and craftsmen has been my greatest education and has shaped the way I understand design today.

I did not initially enter the furniture industry with the plan of becoming a designer. My interest developed naturally through many years of working with furniture. I became increasingly interested in how an idea could be turned into something practical, beautiful, and lasting, and eventually design became an important part of my work with Libra.

I would say I grew into it rather than consciously choosing it from the beginning. My career started in the furniture industry, and through the different stages of my work, I became more involved in developing products and working with designers. It was a natural evolution rather than a planned career path.

I focus mainly on outdoor furniture, particularly pieces that bring comfort and character to outdoor living. I would like to continue developing furniture with simple, timeless forms and thoughtful use of materials, rather than designs that are driven by short-lived trends.

I don't think becoming a design legend should be the goal. I would encourage young designers to stay curious, learn about materials and craftsmanship, and develop their own way of seeing things. Most importantly, they should create designs they believe in and have the patience to let their work develop over time.

A good designer can create something beautiful and functional. A great designer, in my view, understands how all the elements come together and creates something that remains relevant beyond its time. They also understand that good design is not only about the designer's idea, but about the people who will eventually use and live with the product.

I look at whether the design feels right as a whole. The proportions, comfort, functionality, materials, and craftsmanship all need to work together. I also ask myself whether I believe the piece will still look good and be appreciated many years from now.

Good design adds value because it can improve the way we experience everyday life. When furniture is well designed, comfortable, durable, and timeless, it can be enjoyed for many years instead of being quickly replaced. To me, that is also an important part of sustainability.

I would love to develop a complete outdoor living collection where every piece works naturally together, from dining to lounging and relaxing. I would design it for people who appreciate spending time outdoors and want their outdoor space to feel as comfortable and considered as the inside of their home.

My dream would be to create a complete outdoor living concept where furniture, materials, comfort, and the surrounding environment are considered together. Rather than designing individual pieces, I would like to explore how an entire outdoor space can feel natural, timeless, and welcoming.

For me, there is no single secret. It comes from experience, patience, good people, and being willing to listen and learn. I also believe strongly in not following every trend. Staying true to good materials, good craftsmanship, comfort, and timeless design has been an important part of Libra's journey.

I have always been influenced by the Scandinavian design tradition, particularly its simplicity, functionality, and respect for materials. I have also greatly valued working with designers such as Finn Østergård, whose understanding of form and outdoor furniture has influenced some of Libra's work.

I am particularly drawn to Scandinavian designs that are simple, functional, and timeless. I appreciate designs that do not try too hard to make a statement, but instead rely on good proportions, thoughtful details, and quality materials. That kind of simplicity is something I have always valued in furniture.

AXEL is one of the designs I am particularly proud of. What makes it special to me is that it brings together the qualities I value most: a timeless and simple form, good comfort, durable materials, and careful craftsmanship. It is a design that I believe can remain relevant for many years rather than being tied to a particular trend.

I believe the best way is to keep learning and stay curious. In my own journey, much of my learning came from being involved in the furniture industry for many years, working with different people, materials, designers, and craftsmen. Experience teaches you things that cannot always be learned from a book.

I honestly find this difficult to answer because furniture has been such a large part of my life since I started working in the industry in Denmark. Even when I was not directly designing, I was already surrounded by furniture, materials, production, and the people behind them. I think I would still have found my way into something connected to the industry.

For me, design is about creating something with a purpose and giving that purpose the right form. It should be beautiful, but also comfortable, functional, durable, and appropriate for the way people actually live. Good design should feel natural rather than complicated.

I have been fortunate to have many good people around me throughout my journey. Building Libra has never been a one-person effort. Our designers, craftsmen, colleagues, and business partners have all contributed to where we are today. Their knowledge, trust, and willingness to work together have been incredibly important.

More than anything, it has been experience. Starting in the furniture industry in Denmark and later building a business in Indonesia gave me the opportunity to understand both design and production from many different perspectives. I have learned to be patient, to listen, and to keep improving an idea until it feels right.

There have been many challenges throughout my career. One of the biggest turning points was when the Danish company I had worked with for almost 23 years went bankrupt after I had moved to Indonesia. Instead of leaving, I decided to stay and see whether I could continue the business here. That difficult moment eventually became the beginning of what would become Libra.

I think a design should be presented honestly and in a way that allows people to understand both its appearance and its purpose. It is important to show the details, materials, craftsmanship, and how the product is actually experienced. A good design does not need to be over-explained.

We are continuing to develop new outdoor furniture for Libra, exploring new forms and material combinations while staying true to our core values. I would like our future designs to continue being timeless, comfortable, durable, and thoughtfully made, while finding new ways to bring Scandinavian design and Indonesian craftsmanship together.

My goal is to create furniture that people genuinely enjoy living with for many years. I would rather create a piece that remains relevant and becomes a long-term part of someone's home or outdoor space than something that is simply fashionable for a short time.

I think people expect consistency, quality, and authenticity. For me, that means continuing to develop good furniture without losing sight of the principles that have shaped Libra: timeless design, comfort, good materials, responsible thinking, and respect for craftsmanship.

Good design can make everyday life more comfortable, functional, and meaningful. I also believe designers have a responsibility to think about durability and the materials they use. Creating products that last longer and do not need to be replaced quickly is one simple way design can contribute to a more responsible society.

I am always excited about developing new outdoor furniture for Libra. At the moment, I am particularly interested in exploring how we can continue to create simple and timeless forms while finding new ways to work with materials and Indonesian craftsmanship.

AXEL is one of the projects that has given me a great deal of satisfaction. Seeing the original idea develop into a finished chair, while maintaining its simplicity, comfort, and craftsmanship, was very rewarding. I am also proud of the Palm Collection because it represents a meaningful collaboration between Scandinavian design and Indonesian craftsmanship.

I would like to see more emphasis on quality and longevity rather than constant consumption. There is already more awareness around sustainability, but I believe the industry can go further by designing products that are genuinely durable, repairable, and made to be appreciated for many years.

I think design will become increasingly conscious of sustainability, materials, and longevity. At the same time, I hope designers continue to value simplicity and human comfort. Technology will develop, but I believe the basic need for furniture to feel good, function well, and last will remain.

It varies considerably depending on the project. Some designs come together relatively quickly, while others require several rounds of prototypes and adjustments. With furniture, I believe it is important not to rush the process because the smallest details can make a significant difference to comfort and quality.

I usually start by considering the purpose of the piece and the people who will use it. From there, we look at the form, proportions, materials, and how it can realistically be produced. I like to involve the production side early because the craftsmanship and materials can influence the design in very positive ways.

Keep it simple, make it well, and make it last.

I think it works both ways. Trends can influence what people are looking for, but I believe good design should not be dependent on them. At Libra, we prefer to create pieces that have their own character and can remain relevant even when trends change.

Technology is a useful tool that helps us communicate ideas, develop drawings, and improve precision. However, I don't believe technology can replace the importance of physical materials and craftsmanship. With furniture, you ultimately need to sit in it, touch it, and see how it works in reality.

We use digital drawing and design tools as part of the development process, particularly for communicating ideas and technical details. However, physical samples, prototypes, material samples, and direct collaboration with our craftsmen remain equally important to us.

They play a very important role because they influence how a piece feels, not just how it looks. Natural materials such as teak can bring warmth and character, while colors and the surrounding environment can change the atmosphere of an outdoor space. I always think about the furniture as part of its environment rather than as an isolated object.

I would like people to ask not only how a piece looks, but also why it was designed the way it was. The story behind the materials, craftsmanship, comfort, and the thought that goes into making furniture last is just as important to me as the final appearance.

I usually start looking at the details. I ask myself what makes the proportions work, how the materials have been used, and whether the design will still feel relevant in ten or twenty years. I am especially interested when something looks simple but has clearly been very carefully considered.

My ideal design partner is someone who is open to discussion and understands that a design develops through collaboration. I definitely believe in co-design. At Libra, the designer brings the creative vision, while our team and craftsmen bring practical knowledge of materials and production. The best results often come from combining these perspectives.

The designers I have worked with have certainly influenced me, but so have the craftsmen who turn those ideas into reality. Working for many years with Indonesian craftsmen has taught me to appreciate materials, patience, and the importance of details. These experiences have strongly shaped how I look at furniture today.

I would not say that one particular book has defined my approach to design. Much of my learning has come through experience: working in the furniture industry, visiting different places, meeting designers, and learning directly from craftsmen. For me, those experiences have been more influential than any single book.

My skills developed gradually through many years in the furniture industry. I learned by being involved in different parts of the process, from materials and production to working with designers and developing products. Moving from Denmark to Indonesia also gave me a completely different perspective on craftsmanship and furniture production.

I would love to meet some of the great Scandinavian designers from the golden era of Danish design and have a conversation about how they approached simplicity, functionality, and materials. It would be fascinating to understand what they were thinking at the time and how they developed their ideas.

The awards are certainly something I am proud of, but I see them more as recognition of the hard work of everyone involved rather than something personal. Furniture is a collaborative process, and every award represents the contribution of our designers, craftsmen, and team. I don't really think of myself as famous; I am simply happy when our work is appreciated.

Color: Purple

Place: Hawai

Food: Hot Dog

Season: Spring

Thing: Family and Friends

Brand: Copenhagen Brand

One of the things I have learned from working with furniture is that the final product can sometimes be quite different from the first idea. I have had many situations where a prototype looked perfect on paper but needed to be changed once we actually sat in it or worked with the materials. It can be frustrating at the time, but looking back, those moments are often what lead to a better design.

A good day for me is when I see progress, whether it is a new design taking shape or a small detail finally being solved. I am motivated by the feeling that there is always something new to learn and improve. After so many years in the industry, I still enjoy seeing an idea become a real piece of furniture.

Not at all. I never planned as a child to become a designer. My career started quite naturally when I began working in the furniture industry in Denmark. Over the years, furniture became such an important part of my life that design eventually became a natural extension of my experience.

It is impossible to know what the world will look like in a thousand years, but I believe our basic human needs will remain. We will still value comfort, beauty, connection with nature, and things that are made with care. Technology will certainly change, but I hope we never lose our appreciation for good craftsmanship and timeless design.

I would like people to know that Libra is the result of a long personal journey. What began with my work in the Danish furniture industry eventually brought me to Indonesia, where I found the opportunity to build something of my own. For me, Libra has always been about bringing together Scandinavian design thinking with Indonesian craftsmanship and creating furniture that is comfortable, timeless, and made to last. I am very grateful to everyone who has been part of that journey.

My background has always been closely connected to furniture and product development. Over the years, I developed a strong appreciation for how good design can combine beauty, comfort, and functionality. Becoming a designer was a natural progression from this experience and passion for creating furniture that people can enjoy for many years.

Libra by Palma International is an outdoor furniture brand that combines Scandinavian-inspired design with Indonesian craftsmanship. We work closely with designers and skilled craftsmen to create timeless furniture using carefully selected materials, with a strong focus on quality, comfort, and durability.

For me, design is about finding the right balance between aesthetics, functionality, comfort, and purpose. Good design should look beautiful, but it should also feel natural to use and remain relevant over time.

I particularly enjoy designing furniture for outdoor living. I like exploring how form, material, comfort, and functionality can come together to create pieces that feel natural in both private and hospitality spaces.

AXEL is one of my favorite designs because it represents what I have always wanted Libra to stand for. I was drawn to its simple Scandinavian character, but also to how naturally it could be brought to life through Indonesian teak and craftsmanship. Its balanced proportions, comfortable form, and woven rope details make it feel both refined and welcoming. I also appreciate that its timeless design is made to last, which is an important part of how I see sustainability in furniture. For me, AXEL is a good example of how Danish design ideas and Indonesian craftsmanship can come together naturally, creating something beautiful, comfortable, and made to be enjoyed for many years.

My journey with furniture started through Libra, where I became deeply involved in developing outdoor furniture together with our designers and craftsmen in Indonesia. Rather than one particular first product, it was the process of learning how a design idea could be translated into a well-made piece through Indonesian craftsmanship that shaped my approach to design.

Teak is probably my favorite material. I have always appreciated its natural beauty, strength, and ability to age gracefully, which makes it particularly suitable for outdoor furniture. I also value that it has such a strong tradition within Indonesian craftsmanship, allowing us to combine a beautiful natural material with the skills of local craftsmen.

I feel most creative when I am surrounded by the process of developing furniture, especially when discussing ideas with designers and our craftsmen. I enjoy seeing how a simple idea develops through sketches, materials, proportions, and prototypes until it becomes something that feels right.

I always pay close attention to comfort, proportions, materials, and how timeless the design feels. I want a piece to be beautiful without being overly decorative, comfortable enough to be used every day, and durable enough to remain part of someone's outdoor space for many years.

For me, designing furniture is a very rewarding process. I feel curious in the beginning, excited when an idea starts to take shape, and proud when we see the finished piece. Most importantly, I feel satisfied when the result is something people can genuinely feel comfortable with and enjoy for many years.

There is always a special feeling when I see an idea become a real piece of furniture. I feel proud of the designers and craftsmen involved, especially when the finished product looks and feels as we imagined. Seeing people actually enjoy and use the furniture is probably the most rewarding part.

For me, a successful design is one that remains relevant over time. It should be comfortable, functional, well made, and beautiful without depending on trends. I also believe a design is successful when people naturally want to live with it and keep it for many years.

I first look at the overall proportions and whether the design feels natural and balanced. Then I consider comfort, functionality, materials, and how well it is made. I also ask myself whether I can imagine the piece still looking good and feeling relevant many years from now.

I believe designers have a responsibility to create products that are made to last rather than be replaced quickly. Choosing durable and responsible materials, considering how a product is made, and creating timeless designs can all contribute to a more sustainable approach to furniture.

I think design is becoming more conscious. People are looking beyond appearance and paying more attention to sustainability, durability, comfort, and where and how products are made. I believe the future of design will be about creating fewer but better products that can remain useful and meaningful for a long time.

Our most recent exhibition was IFEX in Jakarta, Indonesia. We are always interested in opportunities to present our collections and connect with people who appreciate thoughtful outdoor furniture. We would like our next exhibition to be an opportunity to introduce new designs while also presenting the craftsmanship and materials behind our collections.

A lot of my inspiration comes from Scandinavian design, nature, architecture, and everyday life. I also find inspiration in the materials themselves, especially when working with teak and seeing what skilled Indonesian craftsmen can create with it. Visiting different places and being exposed to different cultures also keeps my perspective fresh.

I would describe my style as timeless, simple, and functional, with a strong Scandinavian influence. I am naturally drawn to clean forms and good proportions rather than unnecessary decoration. My approach is to create furniture that feels comfortable and welcoming, uses materials thoughtfully, and can remain beautiful and useful for many years.

Living and working between Scandinavian design influences and Indonesia has had a strong effect on the way I see furniture. Denmark has given me an appreciation for simplicity, functionality, and timeless design, while Indonesia has shown me the value of craftsmanship, natural materials, and skilled handwork. I see this combination as an advantage because it allows Libra to bring two different design cultures together in a natural way.

I prefer to work closely and openly with the people involved, from the early idea through to the final product. At Libra, collaboration between the designer, our team, and Indonesian craftsmen is very important because a good design needs to work not only on paper, but also in real production.

I think it is important to find a designer whose values and understanding of design are compatible with the company. A good designer should not only create something beautiful, but also understand the material, production process, comfort, and the people who will use the product. Good communication and trust are equally important.

The process usually starts with an idea, followed by discussions about the form, function, materials, and how the piece will be produced. We then develop and refine the design together with the craftsmen, often through samples and prototypes. I believe this practical process is very important because sometimes the material and craftsmanship can suggest improvements that you cannot see in the initial design.

A favorite chair

A dining table

A lamp

A particular piece of art

A personal furniture piece

My days are usually a mixture of design discussions, business, and following the development of our furniture. I may spend part of the day discussing a new design or materials, and another part looking at production, quality, or our collections. I enjoy that variety because furniture design is not only about sitting down and drawing, it is also about understanding the whole journey from idea to finished product.

Stay curious and take the time to understand materials and craftsmanship. Do not design only for what is fashionable today. Develop your own sense of proportion and function, listen to experienced people, and be willing to learn from mistakes. Most importantly, create something you believe can still have value many years from now.

One of the greatest positives is seeing an idea become something real that people can use and enjoy. It is very rewarding to know that something you helped create can become part of someone's everyday life. The challenging part is that design involves many compromises between creativity, production, cost, comfort, and durability, so not every idea can become exactly what you first imagined.

My golden rule is: keep it simple, make it comfortable, and make it last. I believe the best furniture does not need to follow every trend. If the design is well considered, made with good materials, and comfortable to use, it can remain relevant for many years.

I think curiosity, observation, and the ability to listen are very important. A designer also needs to understand materials, proportions, function, and production. But beyond technical skills, I believe patience and the ability to work with other people are essential, because good furniture is rarely created by one person alone.

My most important tools are quite simple: sketches, drawings, material samples, prototypes, and of course conversations with the people involved in the development. I also use digital tools when needed, but I believe that touching and testing the actual materials is just as important as working on a screen.

I try to give each project the time it needs rather than rushing the process. At the same time, I have to balance design development with the many other aspects of running Libra. Clear priorities and good communication with the team help keep the process moving.

There is no fixed timeline. It depends on the complexity of the design, the materials, and how many prototypes are needed. Some ideas develop relatively quickly, while others require much more testing and refinement before we feel they are ready.

I am often asked where our designs come from and how we combine Scandinavian design with Indonesian craftsmanship. I think this is one of the most interesting parts of Libra because both cultures bring something different and valuable to the final product.

Building Libra and developing furniture together with designers and Indonesian craftsmen has been my most important experience. It has taught me that good furniture is the result of much more than a good idea. Understanding materials, production, craftsmanship, and the people involved has shaped the way I approach design.

Our furniture is used by a wide range of international customers, including furniture retailers, distributors, hospitality projects, and private clients. We work with partners in different markets who appreciate well-designed, durable outdoor furniture.

I enjoy developing outdoor furniture the most, particularly pieces where comfort and simplicity are equally important. I like working with natural materials such as teak and exploring how a relatively simple form can become something both beautiful and highly functional.

I would like to continue developing Libra with designs that are timeless, comfortable, and made to last. We are also continuing to explore new materials, new ideas, and collaborations while strengthening the connection between Scandinavian design and Indonesian craftsmanship.

I strongly believe in working as a team. A design may begin with an idea, but it develops through collaboration between the designer, our team, and the craftsmen. Their experience with materials and production often brings valuable ideas that improve the final design.

We are continuously developing new outdoor furniture designs at Libra. At the moment, we are exploring new forms and material combinations while staying true to our focus on timeless design, comfort, durability, and responsible material choices. I prefer to talk more about them once they are ready, as the development process can still bring unexpected and exciting changes.

People can contact us through Libra by Palma International via our website or social media. We are always happy to connect with people who are interested in our designs, collections, and collaborations.

I would simply add that, for me, good furniture is about more than appearance. It is about creating something comfortable, durable, and timeless, while respecting the materials and craftsmanship behind it. This is what I hope we continue to achieve with Libra.

What I am most proud of in the Palm Collection is its ability to create two distinct emotional experiences within one cohesive design language. From the beginning, we wanted to explore comfort in different ways.The Palm Nest feels grounded, quiet, and protective, while the Palm Swing brings softness through gentle movement. This dialogue between stillness and motion became the heart of the collection, giving Palm Collection its emotional depth and making both pieces stronger together.

One of our main intentions with Palm Collection was to create a design that feels equally natural in both indoor and outdoor spaces. As the boundary between interior and exterior living becomes softer, we wanted the collection to respond to that shift.Balance guided every decision, from material selection to visual expression. Durable materials such as powder-coated aluminum, handwoven rope, and weather-resistant cushions ensure outdoor performance, while thoughtful proportions and soft textures keep the pieces warm and refined indoors. This balance allows Palm Collection to transition seamlessly across different environments.

For us, the combination of powder-coated aluminum and handwoven synthetic rope was never only a technical decision. It was about finding a balance between durability, responsibility, and human touch.Aluminum gives the Palm Collection a strong and long-lasting structure. Its durability and resistance to outdoor conditions help extend the life of the product, which we believe is an important part of sustainability. A product that is designed to last reduces the need for frequent replacement and encourages more mindful consumption.At the same time, the handwoven rope brings something equally valuable that cannot be achieved by machines alone. It carries the skill, patience, and sensitivity of the artisans who craft each piece. This human element adds warmth and character, making every piece feel more personal.I believe responsible design today is not only about choosing durable materials, but also about preserving craftsmanship and creating products with lasting emotional value. When people feel connected to an object, they are more likely to care for it and keep it for a long time. In that sense, longevity is both physical and emotional.

Receiving the Silver A’ Design Award was a meaningful recognition for Palm Collection, affirming our belief that outdoor furniture should not compromise between beauty and performance. The collection combines durable materials such as powder-coated aluminum and handwoven rope with a calm sculptural presence that enhances both comfort and atmosphere.The award also carries special meaning as Palm Collection was one of the final collaborations with Finn Østergård. For Libra by Palma International, this recognition reinforces our commitment to thoughtful, enduring design and meaningful collaboration.

One of the biggest challenges in developing the Palm Collection was translating an organic form inspired by the radial arrangement of nine leaves into a structure that feels light yet remains durable. We wanted to preserve the softness and openness of the design while ensuring it could withstand long-term indoor and outdoor use.This required careful refinement of proportions, structure, and materials. Through this process, we learned that furniture today must do more than function well, it should also create comfort, emotion, and a meaningful connection with its users.

The development of Palm Collection was a meaningful exchange between Scandinavian design thinking and Indonesian craftsmanship. Finn Østergård brought a clear design vision rooted in simplicity, proportion, and functional beauty, while our Indonesian team contributed deep material knowledge and hands-on craftsmanship, especially in weaving and production techniques.This dialogue shaped many decisions throughout the process, from refining the proportions to selecting materials that could balance durability with warmth. The result is a collection that carries Scandinavian clarity while preserving the richness and human touch of Indonesian craftsmanship.

Developing the Palm Swing required careful prototyping to achieve the right balance between movement, comfort, and stability. We tested the relationship between the aluminum stand, suspension points, and woven seat through multiple adjustments in proportions and weight distribution.The goal was to create a gentle, controlled motion rather than a dramatic swinging effect. Small refinements in angle, structure, and seating depth helped ensure the movement feels calm, supportive, and intuitive, allowing users to feel relaxed and secure while using the piece.

The woven surface of Palm Collection is shaped not only by material selection, but also by the hands that craft it. The synthetic rope is woven manually by skilled artisans in Indonesia, requiring precision, consistency, and careful attention to tension to achieve both comfort and structural support.Beyond technical execution, the artisans contributed something less measurable but equally important: sensitivity. Their experience influenced the rhythm, texture, and overall character of the weave, adding warmth and subtle variation that gives each piece a more human and authentic presence.

The inspiration of nine leaves arranged like a bouquet guided the Palm Collection from the very beginning, not only as a visual reference but as a principle of balance, openness, and harmony. In the early stages, it influenced the overall silhouette and radial composition of the seating form.As the design developed, the inspiration became less literal and more embedded in the proportions, curves, and spatial experience of the pieces. It was no longer about representing leaves directly, but about translating their natural rhythm into a form that feels embracing, light, and calm.

My advice to emerging designers is to stay curious and patient with the process. Good design rarely comes from chasing trends or rushing toward a final result. It grows through observation, experimentation, and a deep respect for both materials and craftsmanship.I also believe meaningful design happens when you stay open to collaboration and cultural exchange. Listen to the people involved in making the work, because design becomes richer when different perspectives come together. In the end, the most lasting designs are often the ones that create not only function, but also emotional connection and a sense of belonging.

Indonesia is a country rich in tradition, where craftsmanship is often a skill passed down through generations. This heritage brings an exceptional level of skill and artistry to our work. For the Axel Chair, we wanted to honor this legacy by collaborating with local artisans to hand-weave the backrest and incorporate beautifully crafted teakwood armrests. At the same time, we drew on Scandinavian design principles—simplicity, functionality, and a modern aesthetic. This fusion allowed us to create a chair that feels fresh and timeless, seamlessly blending cultural influences while showcasing the remarkable skills of Indonesian weavers

Our material selection for the Axel Chair centers on both sustainability and durability. We source all raw materials locally in Indonesia to support the community and reduce our environmental footprint. Through our partnership with Trees4Trees, we ensure that every cubic meter of teakwood we use contributes to reforestation efforts. Using a powder-coated aluminum frame and quick-dry foam also enhances the chair’s resilience in various climates, aligning with our commitment to creating furniture that’s functional, long-lasting, and responsibly crafted.

Looking back to the timeless designs of 1960s Denmark, we wanted to bring the character of that era outdoors. Scandinavian furniture from that period is known for its simplicity, comfort, and craftsmanship, so we aimed to capture those elements in a way that would suit open-air settings. This meant reimagining classic forms with durable materials, such as weather-resistant fabrics and a robust aluminum frame, to ensure the Axel Chair could embody both the elegance of Scandinavian heritage and the functionality required for outdoor living

Balancing classic aesthetics with outdoor durability involved thoughtful material choices and design refinements. By using quick-dry foam and outdoor-grade acrylic fabric, we ensured the Axel Chair could withstand the elements without losing comfort or elegance. We kept the design clean and timeless, choosing simple lines and natural tones that complement outdoor settings while maintaining the strength and resilience needed for outdoor use. This approach allowed us to create a piece that’s both enduringly stylish and highly functional in any environment

Receiving the A' Design Award has encouraged me to look more deeply into classic designs and draw inspiration from the past for future projects. This recognition has strengthened my belief that timeless elements can be reimagined in fresh ways, blending heritage with modern needs. Moving forward, I plan to continue exploring how traditional design influences can shape innovative and functional furniture

The idea for combining teakwood armrests with the woven rope backrest came from classic indoor furniture designs. Teakwood is perfect for outdoor furniture because it’s durable and has a beautiful golden color that softens the harder look of the aluminum frame. This combination gives the chair a nice contrast and makes it comfortable and stylish

Working with Indonesian craftsmen has been a truly exciting and seamless journey. They are always open-minded and eager to engage with new designs, which made the process enjoyable from start to finish. Their skill and willingness to explore fresh ideas allowed us to refine and evolve the Axel Chair’s design, ensuring that the final piece stayed true to my vision while benefiting from their expertise. The collaboration enhanced the chair’s quality and attention to detail, making it a unique blend of modern design and traditional craftsmanship.

The original design was made with straight minimalist lines, which made aluminum the perfect material choice. The matte grey powder-coated finish not only enhances the chair’s modern, sleek look but also provides a durable, weather-resistant surface ideal for outdoor use. This finish bridges the gap between the chair’s retro-inspired design and contemporary aesthetics, adding a subtle yet strong foundation that highlights the craftsmanship of the woven rope and teakwood armrests

One of the key challenges was ensuring the backrest provided the perfect balance of support and comfort while maintaining the chair’s refined aesthetic. We wanted to preserve the elegant, minimalist design of classic Scandinavian furniture, but also needed the chair to be functional for outdoor use. It took careful attention to the design and the choice of materials to ensure the backrest was both visually striking and comfortable enough for extended use. Finding that balance between style and comfort was crucial to achieving the final design

I see the Axel Chair as a step toward shaping the future of sustainable outdoor furniture. By using eco-friendly materials like recycled wood and non-toxic ropes, and focusing on low-energy production methods, it sets an example for what environmentally conscious design can look like. The integration of cross-cultural elements—combining Scandinavian minimalism with Indonesian craftsmanship—adds a unique touch that speaks to the beauty of blending traditions. I hope this chair will inspire future designs that embrace both sustainability and cultural diversity, creating outdoor furniture that not only looks beautiful but also respects the environment and the craftsmanship from different parts of the world.