Hans Olsen (1919–1992) was a Danish industrial designer and architect whose work stood out for its playfulness, comfort, and sculptural form. He began his career as a cabinetmaker, but at age 30, he took a new path, enrolling at the Royal Danish Academy of Fine Art. There, he studied architecture under the legendary Kaare Klint, gaining a strong foundation in ergonomics, human proportions, and traditional craftsmanship.
While many of his Danish modernist peers—like Arne Jacobsen, Hans Wegner, and Børge Mogensen—stayed close to Klint’s functionalist ideals, Olsen took a more experimental route. He had a particular fascination with bent laminated wood, using it to explore bold shapes that remained lightweight and comfortable.
In 1953, Olsen opened his own design studio and began showcasing his work at the annual Cabinetmakers Guild exhibitions in Copenhagen. This exposure led to collaborations with several major Danish manufacturers, including Frem Røjle, Bramin Møbel, and C/S Furniture.
Olsen’s breakthrough came with the Roundette Dining Set (1952) for Frem Røjle—a compact teak and leather set where the chairs cleverly tuck under the table. It was a perfect blend of function and style. Other standout pieces include the Shell Chair (1955), the asymmetrical Fried Egg Chair (1956), the modular TV-bench (1956), the CS500 Series (1962), and the futuristic Bikini Chair (1968). His Frederik the 9th Chair (1964)—a nod to the Danish king’s quirky habit of sitting backwards—earned him the A.I.D. gold medal in 1965.
Though not as widely known as some of his contemporaries, Hans Olsen’s body of work is gaining new appreciation for its originality, comfort-focused design, and timeless charm.