Michael Anastassiades launched his studio in 1994 to explore contemporary notions of culture and aesthetics through a combination of product, furniture and environmental design. Positioned between fine art and design, his work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane, yet full of vitality one might not expect. Anastassiades’ work is featured in the permanent collections at MOMA in New York, Victoria and Albert Museum in London, the Craft Council in London, FRAC Centre in Orléans, and MAK in Vienna.

The design – Halfway Round

Exclusively for Dansk Møbelkunst, Michael Anastassiades has designed a group of furniture, consisting of a table, a stool and a screen, collectively titled Halfway Round. The three elements are all made in Oregon Pine and share an idiom, characterized by refined simplicity and beautiful contrasting interplays between soft, rounded curves and sharp, disciplined lines. “I have tried to avoid a nostalgic approach in bringing a contemporary quality to the project”, he says.

“Each piece is an independent work and they are sold individually, yet there is an obvious conversation going on between the three elements. They are very much related, not only in material quality but also in their formal language”, Anastassiades explains.

“The screen consists of three generous curves, connected by two canvas hinges. I see it as a translation of the modular screen with reference to Alvar Aalto, Poul Kjærholm and Charles and Ray Eames. I wanted to abstract their modular approach into a more generous curve, which I then multiplied that curve into three elements, looking almost like a column detail, which you can then position in whatever geometry you would like. You can position them in parallel and use the screen as a room divider – that is why, it is a relatively low screen – or you can fold the curves towards themselves and then and use it as a changing cubicle in your bedroom. I like that it has a broad function,” he says.

The stool mimes the curvature of the screen, but also has a cut-through look, evoking the natural character of the material. “I think of it as a log of wood cut in half”, Anastassiades explains and points out the interdependency of the pieces: “The geometry of the stool relates directly to the screen and makes it possible to place it within one of the half curves of the screen.”

The interplay between soft and straight cut lines reoccurs in the table. “It is a very monolithic piece, made of one material, yet composed of contrary elements. The large, rectangular table top contrasts the two simple, structural bases that are softer and rounded to increase comfort where a person’s legs are. Once again you see, that the curvature of the stool relates to the geometry of the base, just as you could imagine the stool as a seat for the table. I like to think of the stool as the key element acting like a link between the pieces and bringing it all together.”

Materials and craftsmanship

The London-based Cypriot designer describes the choice of material as an essential starting point. He is a strong advocate for honest materials; materials that show themselves for what they are and age beautifully over the course of time: “I believe in the inherent quality of materials and the selection of one solid timber to be used in the construction of these pieces was a very conscious choice. It was important to me to choose one wood type and then try to bring out the quality of that wood in the construction.”

Anastassiades chose Oregon Pine. “I like the quality of pine, its honesty,” he says. “We used it in a kind of solid state and aimed for a very linear result in the texture of the wood. Pine is obviously not as art-associated as wood types like mahogany, or even elm and oak, but that is what I like about it – to take a material and transform it into something else. I also very much like the beautiful pieces which Axel Einar Hjorth did in pine, these are very monumental, solid furniture pieces. There is an interesting reference there.”

Working on this project, Anastassiades also resumed one of the most distinctive features of Danish furniture making; the close collaboration between designers and cabinetmakers:

“I wanted to bring the qualities and knowledge of the cabinetmaker into the process of designing the pieces – this profound sense of the material and its possibilities. So our conversation happened quite early on. It was not so, that I designed the pieces and then passed the drawings on to the cabinetmaker, asking him to do it. It was very much a conversation that happened throughout the process”, he says.

“Timelessness is also about materials and how you use them – you need to use them with honesty and care”, he says. “It is the continuous interaction with time that makes a design timeless.”







Period : 2018


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The stylish and functional Thonet S 285/2 Office Table was designed for leading furniture producer Thonet by the renowned veteran architect and designer Marcel Breuer.

Famed as one of the masters of modernism, Breuer attended Bauhaus, Weimar and was swiftly recognised as an emerging talent. After completing his studies, the young architect became a lecturer at the institution. During the latter part of the 1930’s, Breuer relocated to London and later designed a number of building projects. Shortly after, the architect was appointed chairman of Harvard’s Graduate School of Design and his work received broad recognition.

The striking contrast of chrome and walnut epitomises the Thonet S 285/2 Office Table. Three spacious drawers are housed to the left of the desk for convenient storage. The tubular chrome frame not only lends a contemporary feel but also ensures stability and durability. Due to the materials used to construct the product, the Thonet S 285/2 Office Table is easily cleaned and maintained, ensuring a long life. Suitable for any room in the home or office, this beautiful item of furniture will complement its surroundings, wherever it is placed.




Model : S 285/2 OFFICE TABLE


Editor : THONET

Period : 1930

Dimension : W 122cm x H 73cm x 76cm


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During his artistic studies, Pol met Pierre Sterckx, professor of aesthetics, who opened his eyes to art and philosophy. This meeting will be decisive in his future choices. He then discovered the profession of bodybuilder and, by working on the most prestigious cars, he learned to work with all the materials, the various techniques and the aesthetics. That’s when he started drawing objects and furniture.

In 1987 he created his compact disc shelf. The shelf is still in production twenty years later. He then participated in various furniture shows (Salone del Mobile, Interieur) and thus began his career as a designer. In 1995 Pol met an ex-engineer from Donnay (tennis racket manufacturer) who taught him composite materials and mainly carbon fiber. The C06 chair was born in April 1995, it will be the lightest chair in the world (950 grams). During his 6 months in Milan, Pol met people from Swatch Group. Carlo Giordanetti, Swatch’s artistic director, asked him to design watches for the group’s brands. In New York, he started working for Hamilton and finally for Rado. Back in Brussels at the end of 2000, Pol created the “strada”, a 10 cm high shoe without heels.

While still designing furniture. He creates bright tables for a downtown dance hall and also creates a brand new shoe shop for Biondini in Paris, at Galeries Lafayette. At the same time, furniture publisher Vange is interested in Pol’s collection of objects. In 2007 he designed a complete Corian collection for OVO editions and put the C09 (his new carbon chair) into production with this young publisher.




Model : 35/35

Designer : POL QUADENS


Period : 2014

Origin : BELGIUM

Dimension : H 74 x 250 x 84 cm

Material : ALUMINIUM


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Pendant ses études artistiques, Pol fait la rencontre de Pierre Sterckx, professeur d’esthétique, qui lui ouvre les yeux sur l’art et la philosophie. Cette rencontre sera déterminante dans ses choix à venir. Il découvre alors le métier de carrossier et, en travaillant sur les plus prestigieuses voitures, il apprend à travailler tous les matériaux, les diverses techniques et les esthétiques. C’est alors qu’il commence à dessiner des objets et meubles.

En 1987 il crée son étagère à compacts disques. L’étagère est toujours en production vingt années plus tard. Il participe alors aux divers salons de meubles (Salone del Mobile, Interieur) et débute ainsi sa carrière en tant que designer. En 1995 Pol rencontre un ex-ingénieur de chez Donnay (fabricant de raquettes de tennis) qui lui apprend les matériaux composites et principalement la fibre de carbone. La chaise C06 naît en avril 1995, elle sera la chaise la plus légère du monde (950 grammes). Pendant ses 6 mois à Milan, Pol rencontre des gens de chez Swatch Group. Carlo Giordanetti, le directeur artistique de Swatch lui demande de dessiner des montres pour des marques du groupe. A New York, il commence à travailler pour Hamilton et enfin pour Rado. De retour à Bruxelles fin 2000, Pol crée la ‘strada’, une chaussure haute de 10 cm sans talon.

Tout en dessinant encore des meubles. Il réalise des tables lumineuses pour un dancing du centre ville et crée aussi une toute nouvelle boutique de chaussures pour Biondini à Paris, aux galeries Lafayette. Dans le même temps, l’éditeur de meubles Vange s’intéresse à la collection d’objets de Pol. En 2007 il dessine pour OVO editions une collection complète en Corian et met avec ce jeune éditeur la C09 (sa nouvelle chaise en carbone) en production.


pol quadens table f1



Model : F1

Designer : POL QUADENS


Period : 2018

Origin : BELGIUM


Dimension : H30 x 170 x 90 cm


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This sculptural table is a skilful example of postmodern design by the Belgian designer Willy Ballez. The glass and marble table is architectural in its design is it is built up of horizontal and vertical marble slabes which can be compared to building blocks. The rectangular table top is executed in glass. As a result, the sculptural, building block marble base is clearly visible. The pattern of the marble combined with the various slabs result in a sculptural and architectural piece.





Period : 1970’s

Origin : BELGIUM

Dimension : H 36 cm x W 120 cm x D 70 cm


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The coffee table PK61 is almost as elementary and minimalistic as it gets from the hand of Poul Kjærholm. Despite the extreme distillation of the structure into a set of identical elements, the square and aesthetic design has the power of a manifesto and shows Kjærholm’s development from industrial designer to furniture architect.



Model : PK61


Period : 1956

Origin : Denmark

Material : Satinpolished stainless steel

Dimension : 80 x 80 cm  H32cm


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India Mahdavi is a French architect and designer of Iranian-Egyptian origin. Since the beginning of her career in the 1990s, she has developed through her interior design projects a style associated with a certain vision of happiness and colour, which she has largely contributed to putting back on stage. Since then, his international success has led him to work with Maja Hoffmann, the Beaumarly group, the Valentino house, the Ladurée house, the Société des Bains de Mer de Monaco, etc. But also Alber Elbaz, Adel Abdessemed. She designs and designs private residences all over the world, from Paris to London, New York, Siwa to Egypt, Sydney, but also hotels, restaurants, shops. His objects, starting with the Bishop family, are among the most important icons of contemporary decorative art.

India Mahdavi’s signature celebrates a cosmopolitan, polychrome party, influenced by cinema, as much as by design and art. Abstract prints and figurative motifs with pop accents exalt a nomadic culture, of which the rue Las Cases, with three addresses in Paris (the studio, the showroom, the small objects), is the epicentre.





Period : 2008


Dimension : Set: 70 x 290 x 140 cm    Small table: 70 x 92 x 140 cm    Large table: 70 x 200 x 140cm



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Giovanni “Gio” Ponti, (Milan, November 18, 1891 – Milan, September 16, 1979), is one of the Italian masters of architecture. He was also a designer and essayist and one of the most important of the twentieth century. Other than the great architectural works which carry his unmistakable signature, he created a vast amount of work in the furniture sector. This is demonstrated in his three Milanese houses which were fully furnished in the “Ponti” style. The houses in via Randaccio, 1925, Casa Laporte in via Brin, 1926 and the last in via Dezza, in 1957 is an “expression” of his home design ideas.


The D.859.1 table, designed primarily as a meeting table for up to ten people, stands out not only for its impressive size—over 3,60 meters long—but especially for its simple yet refined design. The legs are notable for their fine-membered modernity, creating a trapezoidal single-span bridge upon which the large tapered top conveys the idea of aerodynamics.



Model : D.859.1

Designer : GIO PONTI

Dimension : 360 X 112 X 75


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Giovanni “Gio” Ponti, (Milan, November 18, 1891 – Milan, September 16, 1979), is one of the Italian masters of architecture. He was also a designer and essayist and one of the most important of the twentieth century. Other than the great architectural works which carry his unmistakable signature, he created a vast amount of work in the furniture sector. This is demonstrated in his three Milanese houses which were fully furnished in the “Ponti” style. The houses in via Randaccio, 1925, Casa Laporte in via Brin, 1926 and the last in via Dezza, in 1957 is an “expression” of his home design ideas.



Architecture, a pan virtuosity, acrobatic proportions and an intersection of joints. An infinite table which is a geometric dialogue between the glass and rosewood – lightness and abstraction distilled.
D.552.2 small table, in wood with a glass top, designed for the American company. The D.552.2 small table, made of solid rosewood with satinized bronze legs and an ultra light transparent triangular top.



Model : D.552.2

Designer : GIO PONTI

Dimension : 83,2 x 78,9 x 40 cm


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Destroyers/Builders is a Brussels based design studio, initially founded by Linde Freya Tangelder. With a focus on materiality the studio strives for sensory relevance and cultural value in detail and bigger scale. Their works have a sculptural and architectural character, but are always on the edge of contemporary material use and traditional crafts. The studio takes on projects that range from commissions to self-initiated projects, and extends across the realms of both product and interior design.

A human approach is reflected in the projects of destroyers/builders. Working with a wide range of materials – both high en low valued materials -, new values arise. Based on a method where an interaction between the architectural, sculptural and material can be seen, both limited editions and objects and projects in commission from the base of the studio.



Archetype Coffee Table embodies a compelling tension between contemporary and traditional crafts. With its carved structure, an intensive method to form a surface that is touchable and tactile. The machine made chipwood is transformed into a structured coffee table. The carved surface of the table reinforces the sculptural character of the object.






Period : 2018

Dimension : 60 x 120 x 35 cm

Material : chipwood, lacquer, pigment


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