“Raw and honest in material expression and intent.” This is what Christian + Jade Studio intend for in their thoughtfully made designs. Christian Hammer Juhl and Jade Chan, hailing from Denmark and Singapore respectively, met at Design Academy Eindhoven in the Netherlands and now work out of Copenhagen. Their furniture imbues a “twist that seeks to create a subtle tension or contrast.” And their designs, at times cheekily, do just that. Delicate paper lamps feel substantial, hammered aluminum mirrors reflect wavy, unreliable images, and metal candleholders play with light, reflecting the wick’s glow like the moon does the sun. The mirror has the words “proud to be humble” etched into the back, a balanced oxymoron rivaling the likes of “wise fool.” 

Given this commitment to intention, it begs the question: Where does the green “Kor-Alm” glass wine fountain—which pours six glasses of wine at once—feel at home? The answer is Schloss Hollenegg, an Austrian castle built in 1550. The fountain was designed specifically for the estate, a contrast of new and old. A sure stroke of Christian + Jade Studio’s conceptual mastery.

Would you consider the role of designer and the design to be mutually exclusive once it’s out in the world or something that will always have ties to its creator?

We believe that a good design leaves traces of its creator(s). We think that there is so much importance, when interacting with an object, or being within a space, that you are able to witness the traces of someone’s thoughts and intentions. We think that this can really transform your connection and relationship to a piece of design! But of course, this tie to a creator does not necessarily have to take the form of a signature style in aesthetic, we think it is important enough that you are able to witness the presence of a creator.

How do you feel your experience and personal histories come through in your work?

We come from very different cultural backgrounds, Denmark and Singapore. We think that many of our cultural narratives of where we come from are reflected in the way we work, and the objects we create. Our work is a good combination of our two personalities, being it Jade’s curiosity around materials, its origin and application, and Christian’s sensitivity to systems and materials. 

What went behind the decision of creating with silver and metal as a medium? How did that influence the playful shapes your work takes on?

Back in 2020, we did a residency at the Cranbrook Academy of Art in Detroit where we met an ex-plane and current motorcycle builder who introduced us into the fascinating world of hammer-forming metal!

We found ourselves drawn to the joy of being able to transform a flat sheet of metal into a three dimensional form, resulting in us exploring various application of the technique from mirrors, candleholders to chandeliers.

What do you like about magazines?

Continuity and space for experimentation within a set grid. There is something so beautiful about getting to see an evolution of a magazine, a time capsule from a specific perspective. We think that magazines allow for a witness of growth that can often be hard to pin down or make tangible. And of course, nothing beats a piece of physical print. 

Written by Annie Winerip