Fritz Hansen Swan 3320 Anniversary Chair
SWAN 3320 ANNIVERSARY CHAIR
SWAN 3320 ANNIVERSARY CHAIR
Designed By Arne Jacobsen, 1956
The beautiful Swan™ chair was designed by Arne Jacobsen in 1958 for the lobby and lounge areas of the SAS Royal Hotel in Copenhagen.
The design contains no straight lines, making it look organic and soft despite its simplicity and strong architectural appeal.
INFORMATION
BRAND
Fritz Hansen
PRODUCT TYPE
Chair
COLLECTION
Swan
PRODUCTION
Made in Denmark
LIGHTFASTNESS
6-7 (ISO 105-B02)
ENVIRONMENT
Indoor
MANUFACTURER
Kvadrat
STAR BASE
PVD Coated Metal / Black
DIMENSIONS
- Height : 77 cm
- Width : 74 cm
- Depth : 68 cm
- Armrest height : 58 cm
MODEL
3320
DOWNLOAD
↓ Product fact sheets
MATERIAL 3320 W. LEATHER UPHOLSTERY
32% Leather
30% Steel
26% PUR foam
12% Aluminium
MATERIAL 3320 W. TEXTILE UPHOLSTERY
13% Aluminium
28% Textile
31% Steel
27% PUR foam
PACKAGING
The lamp is covered with a plastic bag and shipped in a cardboard box. Cardboard is used as protection inside the box. All packaging material can be recycled.
PRE-ASSEMBLED
Yes
ABRASION
100.000 Martindale
MATERIAL SHELL
The shell is molded CombiPUR (RigiPur/hard PUR and FlexiPUR soft PUR), and back is covered with tricot wadding 100g, before the chair is upholstered with textile or leather.
EDIT UPHOLSTERY/EDIT STAR BASE
WEIGHT PER METER
Approx. 760 g
COMPOSITION
92% New wool & 8% Nylon
MATERIAL BASE
The star-shaped, swivel base consists of black PVD coated steel connected to a base in black PVD coated aluminium. The leg ferrules are made in black polyamide. The Swan™ is available in two different heights (standard or + 8 cm/3.1").
PRODUCTION PROCESS
BASE
The base is made from a swivel centre part of welded steel tubing mounted on a 4-star base in in black PVD coated aluminium.
SHELL
The shell is made of polyurethane foam with glass fibre reinforcement. The foam for the upholstery is molded directly onto the hard PUR shell. The seat carrier consists of a spindle of diameter 28 mm automate steel and an assembly plate of 5 mm steel sheet. The individual parts are welded and surface treated with matt zinc.
UPHOLSTERY
Grace / Chestnut
DESIGNER
Arne Jacobsen, 1958
YEAR OF LAUNCH
1936
TEST
EN 15373 (EN 1728) Test Level 2 General Contract use for strenght and durability
CERTIFICATIONS
Swan™ is GreenGuard Gold certified.
WEIGHT
- Textile : 12.0 kg ( 26.5 lb)
- Leather : 12.6 kg ( 27.8 lb)
REPAIR, DISPOSAL AND REUSE
In case of repair and disposal the chair can be disassembled into two parts (shell and base). The plastic shell, aluminium base and other metal parts can be recycled. Check local regulations for recycling and whether there is potential for reuse.
DESIGNER
ARNE JACOBSEN
1902-1971 Design visionary and creator of the Egg™, Swan™, Series 7™ and Drop™ chairs, among other iconic furniture pieces. In design, Jacobsen rarely knew what he wanted ahead of time - despite the seemingly effortless line. Here, Jacobsen was far from the confident person he was seen to be with builders.
Apart from the basic idea, conceived with a keen sense of proportion and an unusual talent for design and form, nothing was determined ahead of time.
THE REBELLIOUS ARNE JACOBSEN
It is said that as a child growing up in Copenhagen, Arne Jacobsen painted over the Victorian wallpaper in his bedroom. But young Arne did not cover his walls with typical childish drawings or paint the ornate wallpaper boyish blue. Instead, he decided to paint his room entirely white.
His decision may seem commonplace today, but in the early twentieth century white walls were not yet in fashion. From the very beginning, Arne Jacobsen was ahead of his time.
For more than half of the 20th century, Arne Jacobsen’s ideas shaped the landscape of Danish design, rippling out from Scandinavia to influence architects and designers around the world. He directed projects ranging from complex buildings such as Denmark’s National Bank to humble undertakings that included designing a teaspoon for his cutlery set.
Working with a relatively small studio staff driven by an unquenchable desire to create, Jacobsen’s creative process centred on his strict consideration of detail. He brought his visions to life with meticulous, hand-painted watercolour sketches. In any given year, Jacobsen managed to design what others might produce in five.
THE MEN
Arne Jacobsen was a notoriously difficult man to work with, sarcastic and demanding, and even requiring his own staff to work around the clock rather than tend to their families.
At home, he lined his cups and glasses in neat rows and ensured the children’s toys were stored out of sight. While redecorating, he had his family hold up picture frames for hours on end to make sure the final composition was just right. Yet despite his peculiarities, Jacobsen was a well-rounded individual who enjoyed painting, studying nature and tending to saplings.
He had a warm, self-depreciating sense of humour evident in his hand-drawn Christmas cards to close friends or his carefully considered statements on subjects close to his heart.
As a child, he liked to play the clown and throughout adulthood he continued his boyhood antics – once donning a hollowed-out melon as a hat. Oftentimes Jacobsen looked to escape the very thing he had helped to create: “I am choking on aesthetics,” he would say in private, where even the pastries he ate had to look as good as they tasted.
Little wonder, then, that he often sought joy and comfort in places where anti-design and anti-aesthetics ruled. His legacy – as a pioneering and uncompromising modernist designer and a nature-loving, affable family man – reflects his complex nature.
SEMANTIC QUIRKS
Arne Jacobsen was not considered intellectual or analytical in a traditional sense. His design vernacular has become legendary in the industry thanks to expressions such as “as thin as possible and never in the middle,” and “today, we have to make a truly low/round project.” Jacobsen would also ask how objects had been “behaving” – personifying the pieces he created.
THE EGG™, 1958
Arne Jacobsen designed the Egg chair for the lobby and reception areas at Copenhagen’s SAS Royal Hotel.
JACOBSEN’S PRACTICE
Arne Jacobsen rarely knew where his ideas would take him. His seemingly effortless approach to design coupled with his keen sense of proportion and rare talent for form led him to create objects of lasting beauty. Nonetheless, his intuitive process led others to perceive him as insecure and lacking direction. Instead, he worked organically, pushing the boundaries of the possible as his ideas progressed.
BELLA VISTA, 1934
The Bella Vista housing estate was built by Arne Jacobsen between 1931 and 1934. The name refers to a villa which had previously stood on the site.
UNREMITTING CREATIVITY
Jacobsen worked tirelessly on his designs. Form, technology and materials were carefully considered at every step and provided him with a framework from which he could develop his ideas. A perfectionist by nature, he continually refined his designs, elaborating on initial sketches and exploring and developing new techniques, which often resulted in delays in production.
