High Table
DURATION
Oct 2025
CLIENT
Glyptoteket
THE DESIGN CHALLENGE
As part of the Danish TV program Danmarks Næste Klassiker, I was invited to design a high table for Ny Carlsberg Glyptotek, one of Denmark’s most iconic museums. The table needed to accommodate multiple receptions while protecting the museum’s invaluable marble floors. It had to be easy to set up and store, either by folding or stacking. The museum director’s remark became the foundation for my design concept:“Today, we use unattractive plastic tables covered with white tablecloths. While festive, washing tablecloths is not sustainable. A table so beautiful that we wouldn’t need a tablecloth would be ideal.”
INSPIRATION & RESEARCH
Walking through Glyptoteket, I was struck by the abundance of marble sculptures—studies in idealized human anatomy and intricate drapery. These draped figures, carved from solid stone yet appearing weightless, embody a sculptor’s mastery of illusion. I found this deeply inspiring. Visitors are often tempted to touch these sculptures, though it’s strictly forbidden. I wanted to bridge that gap—creating a piece that felt like part of the collection, a functional sculpture that invited touch.
This led to the idea of a table that mimicked the soft, flowing folds of a classic white tablecloth but was, in fact, made from a hard material. I chose the white tablecloth as my reference because, historically, culturally, and globally, it has been a symbol of celebration, hospitality, and solemnity. Across different traditions, a white-draped table signifies a special occasion—a universal marker of gathering and festivity. My aim was to create a white tablecloth so beautiful that they wouldn’t need the table.
DESIGN PROCESS
I began by working with an actual fabric tablecloth, soaking it in biodegradable resin to create a rigid structure while preserving the natural folds and drapery. From there, I refined the form, sculpting and shaping it by hand. I used Jesmonite, a gypsum-based composite, to construct the final table. This was a sculptural and modeling exercise—purely tactile, intuitive, and entirely handmade. No computer modeling, just direct interaction with the material. I found great joy in working sensorially and intuitively, letting the material guide me. The process reinforced a realization: sometimes, the first instinct is the right one. Often, the first idea holds a truth that should be trusted.
THE FINAL PRODUCT & FUTURE POTENTIAL
The finished table is a sculptural interpretation of a traditional draped tablecloth—at first glance, it appears soft and flowing, but upon closer inspection and touch, it reveals itself as a solid, cold material. This interplay between illusion and perception creates a dynamic experience. The museum director appreciated both the table and the narrative behind it. However, as the current design is not stackable, Glyptoteket found it unsuitable for their original need. Still, they expressed interest in acquiring a single piece, recognizing the artistic value and storytelling embedded in the design.
While the table, in its current form, is a one-off sculptural piece, I see potential for further development. With additional refinement, the concept could evolve into a lightweight, stackable version made from more durable materials, transforming it from an artistic statement into a commercially viable design. This balance between sculptural presence and practicality is a direction I am excited to explore further.
ABOUT SOPHUS
Multi-award-winning industrial designer with over 20 years of experience in high-end product design. Raised in the Danish design tradition and mentored by master designer David Lewis, Sophus is passionate about creating meaningful, lasting design solutions. His approach is rooted in empathy, integrity, and an unwavering commitment to exceeding client expectations. He believes in long-term collaborations built on trust and mutual respect, ensuring that every project is not just a product but a true reflection of a brand’s identity.
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