With the architectonic Ratio table, the Danish contemporary designer Rasmus Fenhann (Winner of the Finn Juhl Prize 2016) further explores the beauty of geometric form combined with exquisite craftsmanship. The perfect proportions are derived from the Golden Ratio and the relationship between the rectangle and the square. In Ratio, Rasmus Fenhann shows the close connection between design and architecture, underlining the fact that the difference is often mainly a question of scale.
Alone, or several combined, the Ratio table is proposing interesting shifts in scale and direction, making possible different formations and functions. The inspiration comes from Japan and the Ratio tables are created as a challenge to make the thinnest solid wood construction possible, still with a stable and strong construction. Thanks to the thin lines in Ratio, Rasmus Fenhann manages to create an exceptionally transparent structure. Like the split Cane fishing rods, the table is made out of mitred frames, glued together in 45°. This requires an extreme accuracy which can only be obtained through the combination of CNC technology and handcraft. Special Jigs are created and high skill with Japanese hand planers is needed to get a perfect finish.
Rasmus Fenhann has a double education at the Danish Royal Academy of Art and Design, Furniture Department 1997-2003, and as a Cabinetmaker 1991-1996, He is considered as one of the most important Scandinavian designers today in the field of handmade art design. He is frequently exhibiting in Japan, Europe and in the United States, and his works are part of important private and public collections such as the permanent collection of Design Museum Denmark. Rasmus Fenhann has received several Prizes and awards such as the Danish Arts and Crafts Silver Medal, 2004 and the Finn Juhl Prize, 2016.
Creating designs with an equal focus on sculptural and functional qualities, Rasmus Fenhann’s works are made in carefully selected natural materials, especially wood. He is considered as one of the most important Scandinavian designers today in the field of handmade art design. His working processes combines traditional, sometimes near-forgotten craft techniques with advanced high-tech procedures, including computer based sketching and visualisation. His painstakingly precise treatment of wood surfaces, ending up in a velvet-like, soft finish and with invisible joints, is the result of an extraordinary effort, which is both mental and physical. It is exquisite craftsmanship, close to the obsessive. In the words of the artist, “It has to do with being able to zoom in, infinitely… There mustn’t be any flaws, not even the tiniest, in the delicate woodwork. Time is key, and infinite repetition is expected until a level of breathtaking perfection is reached.”