Although initially too complex to put into production, the 1930 Propeller design quickly attracted attention and was featured as a concept in several design books. A prototype was created in 1956 for the major memorial exhibition for Kaare Klint at the Danish Museum of Art and Design, and the design went into production in 1962, eight years after Klint's death.
The idea of a folding stool was certainly not new; the concept existed as early as the Bronze Age. Klint, however, refined and optimized it, adding the innovative propeller element.
The stool is produced using wood with long, strong fibers that help support the slim, sophisticated construction. An optional Propeller Tray transforms the stool into a low table.
- Solid ash
- Canvas or Leather Seat
- Height: 17.7 inch / 45 cm
- Width: 21.3 inch / 54 cm
- Depth: 19.3 inch / 49 cm
- Height: 1.6 inch / 4.2 cm
- Width: 27 inch / 68.5 cm
- Depth: 19.5 inch / 49.5 cm
Carl Hansen & Son KK87830 Propeller Stool Designed by:
- Kaare Klint , 1930
Kaare Klint (1888-1954), the man behind classics such as the Safari Chair and the Safari Footrest, is considered the father of Danish furniture design. For Kaare Klint, the son of architect Peder Vilhelm Jensen-Klint, exposure to architecture was a natural part of his early development. However, it was primarily as a furniture designer that Kaare Klint made his mark on Danish architecture.
Kaare Klint was born in 1888 in Frederiksberg and designed his first furniture in 1914, for the Faaborg Museum. From the beginning, Klint's furniture was characterized by harmony between his choice of form and materials, often inspired by earlier styles or other cultures.
Klint helped found the Royal Academy of Fine Arts Furniture School in 1923, and was appointed professor there in 1924. In this role, he inspired and taught a number of prominent Danish furniture designers, who went on to pave the way for the golden age of Danish design, from 1945 to 1975.
Kaare Klint also founded the Furniture and Spatial Design Department at the Royal Academy of Fine Arts, where he employed a teaching method considered radical in his day. He asked students to construct furniture items from the inside out, based on thorough pre-analysis. The outward style was less significant; instead, the focus was on function analysis, choice of materials, and material processing.
Klint's influence led to a comprehensive renewal of Danish furniture design. He demanded clear and logical structures, with nothing superficial - only honest, pure lines, the best materials, and genuine craftsmanship.