Every era seems to evoke some kind of nostalgia. Whether it’s the roaring twenties and the impact of the economic boom following the first world war, or the 1960s with its continued influential pull on the workplace – each is a marker in history that in some way or another gets repeated in time.
The 60s, most notably, is a timestamp defined by modernism and one that has provided many reference points throughout the decades. Picture the office back then: endless rows of desks, typewriters, ashtrays, penholders, glass and polished surfaces spring to mind. Many aspects have changed, particularly in terms of technology growth and the influx of new laws and regulations that frown upon smoking indoors and taking the all-too-regular boozy breakfast meeting. Yet although this ideal of corporate working is archaic, it is an image that lingers today.
Mid-century offices were typically one-room affairs with paperwork assembly lines that imitated the factory. Sooner or later, this model backlashed against the worker’s requirement for peace and consequently there dawned the age of the cubicle. And running alongside this revolution for privacy was the need for flexible working – that is, a way of working suited to the employee’s needs. As perhaps the most prominent aspect of the modern office today, it may come to a surprise that this call for flexibility first originated in the early 60s – and the mastermind who spearheaded this movement was Danish architect and designer Bodil Kjær.
I spoke with Kjær on a cold winter’s morning in December – one of those dark risings that mark a distinct turn into the frozen months. Regardless of our dusky surroundings, both in Denmark and my base in London, we had a positively bright and warm discussion about her career and how, with designs that endure the ever-changing industry, her work with flexibility has become a true marker of this day and age.
Kjær was born in 1932 and was brought up in the countryside on the land that had been owned by her family since 1400. Her parents were well-read pillars of the community who “instilled a sense of aesthetics and a feeling for quality, along with a deep respect for nature”, she says. Her father was an anglophile – “His car was British, his socks were British, his suits were tailor-made from British cloth,” she says, before describing her move to England at the age of 18 to study English Literature.
Throughout her stay in England during the 1950s, she met students from all over the world and was introduced to English craft, design, architecture, ballet, theatre, museums and the general way of life – this wanderlust aspect played a part in forming a holistic and universal approach in her work.
“It was always on my mind that I wanted to move to England,” she says. “London was the place to go – everything was happening there.” And at this time, Kjær discovered “the tradition of well-thought-out furniture and accessories”, that later became Elements of Architecture – an emblematic series that formed
her Indoor-Outdoor collection, recently relaunched in collaboration with Danish furniture company Carl Hansen & Søn – but more on this later.
After her year in England, Kjaer returned to Copenhagen and joined the State School of Interior Architecture in Copenhagen, during which she had the fortune to encounter teachers such as Finn Juhl and Jørgen Ditzel – “from whom I learned much about the creation of spaces and the design of elements of interiors,” she says. After a brief residence in the United States from 1958-60, she planned and designed showrooms, offices and exhibitions from her studio in Copenhagen between 1960-65, when a British Council scholarship led to further study in London at the Royal College of Art and the Architectural Association.