Download - Garsnas Collection

8/13/2019 Garsnas Collection

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AKUSTIKKE AXELSSON


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I GRSNS MBELFABRIK p sterlen blirplankor till stolar, bord och skp i en sammanhllenprocess. Blonda trslag som ask, bok, bjrk ochlnn hr till de material vi arbetar mest i, men ek

och ven valnt har med tiden kommit att bli alltvanligare. Det nra samarbete vi har med vraformgivare, det gedigna hantverkskunnandet ochavancerade trtekniska lsningar, har givit oss ensrstllning och en mjlighet till ett helt eget uttryck.

Mtesplatser, fretagsmiljer, bibliotek, aulor ochrestauranger inreds med mbler som br vrspeciella prgel. Men med sin trygga lgmldhet,och den integritet som inte tillter ngot tummandep kvaliteten, vinner vi ocks terrng utanfr denoffentliga miljn. Grnserna mellan det allmnnaoch det privata suddas ut, liksom handelsgrnserna.P den nya globala marknaden vxer intresset frde tidlsa, stndigt moderna kvalitetsmbler somsedan lnge r en del av vr svenska vardag.Och fr vrt stt att gra dem.

P senare tid har termen hllbarhet laddats mednya valrer. Fr Grsns var det ledordet redand bolaget etablerades, fr 116 r sedan. Viarbetar alltjmt enligt vertygelsen att hllbarhet imngt och mycket r precis vad kombinationen

form och funktion handlar om.

Kunskapen om materialet, om ekologi och denmsesidiga respekten yrkesmn emellan, r enfrutsttning fr resultatet; mbler som tl att sesp och att brukas. Vitalitet, mod, egensinne ochlyhrdhet r ngot Grsns alltid sttt fr ochdet som gr det mjligt.

AT THE G RSNS FURNITURE FACT ORYisterlen in south-east Sweden, boards aretransformed into chairs, tables and cupboards inclosely linked process. We work most in blondwoods like ash, beech, birch and maple, but oaand even walnut have become increasinglycommon over time. Our close cooperation with designers, expert craftsmanship and advancedwood technology solutions have given us a uniqposition and the opportunity to develop a

completely individual design style.

Meeting places, corporate environments, librarieauditoriums and restaurants are equipped withfurniture that carries our own special look. Butthanks to our quiet unobtrusiveness and an integthat rejects any compromises on quality, we arealso gaining ground outside the contract furnitursector. The boundaries between public and privspaces are being erased, as are the boundariesbetween the two trade segments. In the new

global market there is growing interest in thetimeless, perpetually modern quality furniture thahas been part of Swedish everyday life for a lontime. There is also growing interest in the Grsnway of making that furniture.

Recently the term sustainability has been chargwith new values. Sustainability was already theguiding star when Grsns was founded 116years ago. Today we still work according to theconviction that sustainability on many levels isprecisely what the combination of form andfunction is all about.

The knowledge of materials, ecology, and themutual respect among professional craftsmen is prerequisite for the result: furniture that is enjoyato look at and durable to use. Vigour, courage,independence of thought and responsiveness arvalues that Grsns has always stood for andthat lie behind the companys continued success


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USTIK ANSELMBIRD GREITZBUTTON

RIUS HUGMOSES XLN LIGHT&EASYINGA ZEN

ENCE BIG HUGEO LONDONENIT BUSS CITINEPTUNUS

D COMBIOTOR VINGAUTLINE PIA

ID NILEN

ME DRESSBIRD BONDTWIST CLUBILT LOOP

GHT&EASY


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DRESS ANNA VON SCHEWEN


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DRESS ANNA VON SCHEWE


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OUTLINE DAMIAN WILLIAMSON


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LOOP NINA JOBS


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KVILT NINA JOBS


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CITI RALF LINDBERG BOND MRTA FRIMANCITI RALF LINDBERG BOND MRTA FRIMAN


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BOND MRTA FRIMAN


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BUTTON PIERRE S


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BIG HUG ANNA VON SCHEWEN


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HUG ANNA VON SCHEWEN BOND MRTA FRIMAN NAPOLEON VID NILEN TORE AHLSN


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BIRD RALF LINDBERG ROTOR KE AXELSSON


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ROTOR KE AXELSSO


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BIRD RALF LINDBERG ROTOR KE AXELSSON


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BIRD RALF LINDBER


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AKUSTIKKE AXELSSON


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AKUSTIKKE AXELSSON ROTOR KE AXELSSO


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OUTLINE DAMIAN WILLIAMSON FRAME T THOMAS ERIKSSON CECILIA ANDREASSON ELISABETH ANCKERSWING BIRD RALF LINDBERG


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ZEN KE AXELSSON ROTOR KE AXELSSON


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28ZENIT I KE AXELSSON BOND MRTA FRIMAN PIATORE AHLSN


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ZENIT I I KE AXELSSO


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VINGAKE AXELSSON FRAME THOMAS ERIKSSON CECILIA ANDREASSON ELISABETH ANCKER VINGAKE AXELSSON


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LONDON KE AXELSSON BOND MRTA FRIMAN PIATHORE AHLSN BUSS ANNA VON SCHEWE


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ZEN CONFERENCE KE AXELSSON FRAME THOMAS ERIKSSON CECILIA ANDREASSON ELISABETH ANCKERBUSS ANNA VON SCHEWEN


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LOOP NINA JOBS M BORD KE AXELSSON


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TWIST ANNA VON SCHEWEN


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TWIST ANNA VON SCHEWE


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PIATORE AHLSN


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CLUB PETER CELSING FRAME THOMAS ERIKSSON CECILIA ANDREASSON ELISABETH ANCKER BUSS ANNA VON SCHEWE


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ANSELM, RIKSDAGEN, GSTIS KE AXELSSON


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VAXHOLMAREN, KB, NEPTUNUS KE AXEL


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ORE AHLS NLISABETH ANCKER

CECILIA ANDREASSON

KE AXELSSONOHAN CELSINGETER CELSINGHOMAS ERIKSSON

MRTA FRIMANBJRN HULTNNINA JOBSEO JOHANNSSON

KEMPE/LJUNGLFALF LINDBERGANNA VON SCHEWENIERRE SINDRE

DAMIAN WILLIAMSONORE AHLSNLISABETH ANCKER

CECILIA ANDREASSON

KE AXELSSON


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GRSNS HAR TILLVERKATmbler sedan 1893. Det frstahalvseklet bestod produktionen till strsta del av stilmbler frexpediering till vlbestllda hushll, framfr allt i det sknskanromrdet. Med de mnga bokskogarna inom rckhll fll det

sig naturligt att mnga av mblerna tillverkades i just rdbok. Detvar ocks i den som avstampet till det moderna Grsns skullekomma att tas.

1963 utlystes en mbeltvling dr rdbok var arbetsmaterialet.Bokskogarna hotades av skvling och trslagets goda egen-skaper behvde en rejl puff. Med sitt stt att anvnda bokensfina egenskaper vad gller massivbjning och basning, tog keAxelsson hem andrapriset. Stolen som fick namnet S217,produceras n idag av Grsns.

ke Axelsson kom in i bilden precis i den veva d kvalitetsmbel-

producenterna brjade f mer avsttning fr sina mbler i denoffentliga, n i den privata sfren. De nya statliga rummen ropadeefter inredning och bestllarna hade hgt stllda krav p slitstyrkaoch finish och valde arkitekter och tillverkare drefter. Bland mycketannat kom s Grsns att i brjan av 80-talet leverera 90 procentav inredningen i det nya Riksdagshuset. De allra flesta av mblernahade skapats av ke Axelsson. Det var ocks vid den hr tiden somGrsns fick sitt nuvarande namn.

I dag samgs Grsns av en liten grupp privata delgare.Huvudgare r ke Axelsson, hans dotter Anna och mgen

Dag Klockby, som ocks r bolagets vd. Drygt tio namnkunnigaformgivare och arkitekter r knutna till fretaget som har ett femtiotalanstllda. De allra flesta av dem arbetar p plats i Grsns psterlen.

Sedan 2003 har Grsns ocks tv showrooms, ett i anslutningtill fabriken i Grsns, det andra inrymt i Konstakademiens hus vidRdbodtorget i centrala Stockholm.

GRSNS HAS BEEN MAKING furniture since 1893. For thefirst fifty years the company mainly produced reproduction furniturefor well-off homes, especially ones close by in Skne. The manybeech forests nearby made copper beech a natural choice as a

material for much of the furniture, and beech wood was also thestarting point for the Grsns company as it is today.

In 1963 there was a furniture competition in which the entries hadto be made of copper beech. The beech forests were threatenedwith destruction and it was important to showcase the good qualitof the wood. ke Axelsson won second prize thanks to histechnique of using beech woods excellent steaming and bendingproperties to create solid bentwood. His chair, named S217, is sbeing made today by Grsns.

ke Axelsson entered the picture just when the producers of quality

furniture began to find a better market for their furniture in the publsphere of contract furniture rather than in the private home market.Swedens many new public sector offices were crying out to bedecorated. The purchasers had high demands on durability andfinish, and chose their architects and manufacturers accordingly.Among its many other commissions, at the beginning of the 1980Grsns supplied 90 per cent of the furniture for Swedens newRiksdag building. Most of this furniture was designed by keAxelsson. It was also at this time that Grsns acquired its presentname.

Today Grsns is co-owned by a small group of partners. Theprincipal owners are ke Axelsson, his daughter Anna, and herhusband Dag Klockby, who is also the companys CEO. About adozen well-known designers and architects are associated with thcompany, which has some fifty employees, most of whom work inthe village of Grsns in sterlen, south-east Skne.

Since 2003 Grsns has also had two showrooms, one adjoiningthe factory in Grsns and the other housed in the Royal Academof Fine Arts building at Rdbodtorget in central Stockholm.


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DESIGNE

KE AXELSSONOM LIGHT & EASY:

I Light & Easy har jag samlat allamina erfarenheter av mitt arbetemed mbler, i en enda stol. Jagtycker en stol ska vara bekvm attsitta p, det har brukaren rtt att

begra. Eftersom den ofta flyttasfr att tillgodose olika behov,mste den vara ltt att hantera.Den ska vara s stark att den tlde pfrestningar och det slitageen offentlig milj utstter den fr.Den ska dessutom ha en tilltalandegestaltning som gr att den passarin i de mest skiftande miljer.

In Light & Easy I have broughttogether in a single chair all myexperiences of my work with

furniture. I believe a chair shouldbe comfortable to sit on its userhas the right to demand that.Since chairs are often movedabout to meet different needs,a chair must be easy to handle.It must be strong enough towithstand the demands and wearand tear placed on it by a publicenvironment. It must also have anappealing form that allows it to fitinto very varied settings.

RALF LINDBERGOM BIRD:

Bird r en stolsfamilj med sexmodeller, var och en med sinkaraktr och sina egenskaper.Genom att vlja modell efterfunktion och behov, variera kldseloch ytbehandling kan jag i minamiljer stadkomma bde egen-art och sammanhllning.

Grundmnet, den lilla karm-stolen, r nog min favorit, den harlite danskt 50- och 60-tal ver sig,en tid som finns med i mittbagage.

Bird is a chair family with sixmodels, each with its owncharacter and features. Byselecting a model according tothe required function and otherdemands, and varying theupholstery and surface treatment,I can achieve both individualityand cohesion in my environments.The basic element the smallarmchair is my favourite. It hasan air about it of the Danish1950s and 60s an era that ispart of my own history.

JOHAN CELSINGOM MOSES:

Avsikten med Moses var att gra

en elementr stol, stolen stol, idet fr Grsns typiska materialettr. Mest uppenbart r det iutfrandet i obehandlad bok. Somen rationell och smcker lsningav karminfstningen kompletterastret av stldetaljer, och s valdejag en intressant textil med relief,Xorel Speed Bump. Jag har justkompletterat den lilla och lttaMoses med en Moses XL.

My aim with Moses was to make

an elementary chair a kind ofchairs chair in that typicalGrsns material, wood. Theresult is most apparent in theversion made of untreated beech.In a rational and elegant solution,the wood is complemented bysteel fittings that function as frameattachments. I then chose aninteresting raised fabric, XorelSpeed Bump. I have justcomplemented the small, slimMoses with a Moses XL.


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DESIGNERS

MRTA FRIMANOM BOND:

Det r den lilla detaljen som grdet, det frsta spret dr benmter sarg. Tanken r att Bond som ursprungligen ritades som ett

soffbord men vars familj nu vxer ska vara elegant, klassiskt ochsamtidigt modernt. Att p plats ifabriken f arbeta frn skiss tillverklighet tillsammans medmnniskor som kan s mycketom tr, har varit vldigt roligt.

Its the small detail that makes it the milled groove where the legsmeet the apron. The idea is thatBond which was originallydesigned as a coffee table but

whose family is now growing should be elegant and classic butalso modern. It has been reallyfun to work at the factory togetherwith people who know so muchabout wood, and transform theblueprint into reality.

PIERRE SINDREOM BUTTON:

Tanken med Button var att skapaen stol som knns bde klassisk

och modern. Att anvnda sig avtraditionellt hantverk och tillfrangot nytt. Jag ser stolen som enuppkldd figur dr ryggen av filthar formen av en skjortkrage,benen har ftt pressveck som ettpar byxor. Button r lite snobb.

My idea with Button was tocreate a chair that feels bothclassic and modern. To usetraditional craftsmanship and addsomething new. I see the chair as

a clothed figure, where the feltback is shaped like a shirt collarand the legs have pressed trousercreases. Button is a bit of asnob.

THOMAS ERIKSSON,CECILIA ANDREASSONOCH ELISABETH ANCKEROM FRAME:

Frame r en mbelfamilj somvuxit fram ur en lngtan efter

klassisk elegans i moderntappning. Det r ett experimentmed lttare dimensioner ochfrfinade detaljer. Vr strvan harvarit att skapa ett modulsystemmed mnga kombinations-mjligheter. Frame passar likabra p kontoret som hemma.

Frame is a furniture family thathas emerged from a longing forclassic elegance in a modernformat. It is an experiment with

slimmer dimensions and refineddetails. Our aim was to create amodular system that can becombined in many ways. Frameis equally suited to the office andthe home.


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DESIGNE

NINA JOBSOM KVILT:Kvilt bestr av soffa, ftlj ochpuff. Utsidan r stram medan denmatelasserade insidan r genersoch ger skn komfort som attsitta i en tckjacka. Kollektionen

finns att f p sockel alternativt prunda trben, med hg rygg somknns cosy och intim eller med lgsom ger en sportigare knsla. Fratt underltta mbelns sktsel, rkldseln avtagbar. I mtet mellantraditionellt hantverk och svenskindustri har mlet varit att arbetamed ett uttryck som knns p engng modernt och classy.

Kvilt consists of a sofa, easy chairand pouffe. The outside is austere

whilst the quilted interior isgenerous and very comfortable like sitting in a down jacket. Thecollection is available on either abase or round wooden legs, andwith either a high back that feelscosy and intimate or a low backthat has a sportier feel. To make iteasier to care for the furniture, thecover is removable. In combiningtraditional craftsmanship andSwedish industry, my aim has

been to work with a style that feelssimultaneously modern andclassy.

ANNA VON SCHEWENOM HUG:Hug r en stiliserad omfamning,en kram kring den sittande.Utvecklingsarbetet som ledde framtill att det blev mjligt att tillverkastolen industriellt, var mycketintressant. Jag ville f fram en starkmaterialknsla, samtidigt ville jagutmana tillverkningsprocessen. Frmig var det ocks spnnande attrita en stol till ett fretag medsdan fin tradition av trmblersom Grsns. Drfr r Hugsrskilt viktig fr mig.

Hug is a stylised embrace ahug around the person who sits onit. The development work thatmade it possible to manufacturethe chair on an industrial scalewas very interesting. I wanted topresent a strong feeling of the

material, while also wanting tochallenge the manufacturingprocess. It was also exciting forme to design a chair for acompany like Grsns that hassuch a fine tradition of woodenfurniture. Thats why Hug isespecially important to me.

DAMIAN WILLIAMSONOM OUTLINE:Min tanke med Outline r att

mnniskor med hjlp av den kanrita sig en outline, en linje somskapar intimitet och avskildhet.Den ger ett slags flytande kontursom genom sina hlrum tillter ljus,frg och rrelse frn det somhnder p andra sidan om den,att trnga igenom.

My idea is to draw an outlinearound people, an outline thatinspires a sense of privacy andintimacy. A floating outline that

allows light to flow throughopenings in the surface whilecapturing color and movementfrom activity on the other side.


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A COUPLE OF YEARS AGOone of Swedens best and mostspectacular restaurants, Pontus at Brunnsgatan 1 in Stockholm,chose to furnish its dining rooms with tables and three different kindsof chairs from Grsns. That says something about where ourstrengths lie in the combination of function and form, of durabilityand timeless, self-evident aesthetics.

Our furniture is recognisable by its quality, which is the basis of ourstrong brand. Quality is also what comprises the heritage of whichwe are stewards. But despite or perhaps thanks to our 116 yearsin the industry, Grsns is also one of Swedens most moderncompanies. Today, when ecology, sustainability and control over theentire manufacturing chain are so crucial, we have an enormousadvantage. This is how we have operated since the very beginning.Our furniture lasts for several generations (and, after renovation, fora couple more!). We also know the origins of all the components inour process: where the beech or oak originally grew. And ourdelivery driver knows our furniture just as well as the designers and

craftsmen who created it.

A furniture company must be continually in motion thats just theway it is. This is where a lot of the enjoyment in our work is found in following current developments, in being flexible and humble inthe face of change. The trends of recent years have been towardswhat is individual and personal. Having a relationship with objectsand knowing something about their background has becomeincreasingly important. Our furniture already has a story to tell the

friska sjlvskerhet skapar mbler som bidrar till den positiva kraftsom just nu genomsyrar svensk mbelformgivning. Mbler sominfrlivar mer mjuka vrden har ltit hra tala om sig och ocksblivit frsljningsframgngar. Vra mbler blir med tiden mjukare,

mer taktila, ocks rent bokstavligt.

Helt avgrande fr fretagets utveckling r den kompetens vi har ifabriken i Skne. Det r dr, i modellverkstaden som de allraviktigaste mtena sker. Dem mellan formgivare och hantverkare,men ocks dem mellan materialen, de material som med sdanprecision fogas samman till mbler. I en slags symbios mellan dethantverksmssiga och det industriella dr mnniskan nd alltid rverordnad, erbjuder samspelet hela tiden mjligheten attytterligare finputsa ider och material. Att frdla, att stndigtarbeta vidare och att inte ngonsin lmna ngot t slumpen, varesig det gller konstruktion, hllfasthet eller estetik. I slutndan

handlar det frsts ocks om de mten som uppstr nr en mbeltas i bruk i arbetet, hemmet eller i det offentliga rummet hr iSverige och utomlands.

moment it leaves the factory. Its high quality means that it ages wa rare dignity, and even when second hand is a fine investment, least from an environmental perspective.

Most Swedes have sat on a chair or at a table from Grsns at otime or another. Every year our furniture is used to decorate newlibraries, meeting rooms, hotels and many restaurants. Goodfurniture deserves to be public property. Our products have auniversality that means they function equally well in public andprivate spheres. We are glad to see that they are increasinglyfinding their place in a home environment as well. Many visitorscome to our showrooms one on the spot in Grsns and the othin Stockholm. They include architects, of course, but also privateindividuals and they come from around the world. Now, asGrsns enters a new phase, these are the two areas in which wwill invest a lot of energy: reaching out into peoples homes and

strengthening the position we already enjoy on the internationalmarket, especially in Europe but also in Japan and the UnitedStates.

Over the past five or six years a number of new designers havebecome associated with Grsns, each with their own personalvalues and styles. A playfulness and sensuality is emerging in thecontemporary design idiom. This is perhaps especially true of theyounger Swedish designers, who with their healthy self-confidenceare creating furniture that is contributing to the positive energycurrently permeating Swedish furniture design. Furniture that

embodies soft values has made its presence felt and also becomea sales success. Over time our furniture is becoming softer and motactile literally as well.

The expertise at our factory in Skne is completely crucial to ourcompanys development. It is there in the joiners shop where themost important encounters happen. Encounters between designersand craftsmen, but also between the materials that are combinedwith such precision to create furniture. In a kind of symbiosisbetween the traditions of handcrafting and industry, where thehuman hand is still always in control, this collaboration constantlycreates the opportunity to further refine ideas and materials. Torefine, to continually advance, and never to leave anything tochance, whether it has to do with construction, design or aestheticIn the final analysis, this creative process is also about thoseencounters that arise when a piece of furniture is put into use atwork, at home, or in the public sphere here in Sweden orelsewhere in the world.

Dag Klockby, vd/CEO


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PIATORE AHLSN


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THE GRSNSCOLLECTION


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STOLAR/PALLAR CHAIRS/STOOLS

BIRDRALF LINDBERG

BIRDRALF LINDBERG

ANSELM IIKE AXELSSON

ANSELM IKE AXELSSON

AKUSTIKKE AXELSSON

AKADEMIKE AXELSSON

CENTURYKE AXELSSON

BIRD ON THE ROCKSRALF LINDBERG

SWING BIRDRALF LINDBERG

BIRDRALF LINDBERG

BIRDRALF LINDBERG

GSTISKE AXELSSON

GSTISKE AXELSSON

GREITZKE AXELSSON

EPOKKE AXELSSON

GUSTAVKE AXELSSON

LIGHT & EASYKE AXELSSON

MERCURIUSKE AXELSSON

KBKE AXELSSON

HUGANNA VON SCHEWEN

INGARKE AXELSSON

MOSESJOHAN CEL SING

LIGHT & EASYKE AXELSSON

BUTTONPIERRE SINDRE

BIRDRALF LINDBERG

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STOLAR/PALLAR CHAIRS/STOOLS

PIATORE AHLSN

PIATORE AHLSN

MOSES XLJOH AN CELSING

TWISTANNA VON SCHEWEN

SARKE AXELSSON

S234KE AXELSSON

S217KE AXELSSON

RIKSDAGENKE AXELSSON

ZEN CONFERENCEKE AXELSSON

ZENKE AXELSSON

VINGAKE AXELSSON

VAXHOLMARENKE AXELSSON

CLUBPETER CELSING

CITIRALF LINDBERG

BIG HUGANNA VON SCHEWEN

DRESSANNA VON SCHEWEN

ZENIT IKE AXELSSON

NEPTUNUS IIKE AXELSSON

NEPTUNUS IKE AXELSSON

LONDONKE AXELSSON

LEOLEO JOHANNSSON

ZENIT IIKE AXELSSON

FTLJER EASY CHAIRS


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SOFFOR/BNKAR SOFAS/BENCHES

CITIRALF LINDBERG

BUSSANNA VON SCHEWEN

CITIRALF LINDBERG

NEPTUNUSKE AXELSSON

KVILTNINA JOBS

BONDMRTA FRIMAN

BONDMRTA FRIMAN

BJRNBORDBJRN HULTN

COMBIKE AXELSSON

CITIRALF LINDBERG

ROTORKE AXELSSON

PIATORE AHLSN

MOSESJOH AN CELSING

M BORDKE AXELSSON

KL BORDKEMPE/LJUNGLF

FRAME XTHOMAS ERIKSSON CECILIA ANDREASSON

ELISABETH ANCKER

FRAME TTHOMAS ERIKSSON CECILIA ANDREASSON

ELISABETH ANCKER

VINGAKE AXELSSON

BORD TABLES

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BUSS SPEGELANNA VON SCHEWEN

BUSS HATTHYLLAANNA VON SCHEWEN

BUSS PALLANNA VON SCHEWEN

BUSS SKOHYLLAANNA VON SCHEWEN

NAPOLEON VID NILENTORE AHLSN

LOOPNINA JOBS

PIA PLAFONDTORE AHLSN

PIATORE AHLSN

OUTLINEDAMIAN WILLIAMSON

FRVARING/HYLLOR STORAGE/SHELVES

AC CESSOARE R AC CESSOR IES

SKRMAR/LAMPOR ROOM DEVIDERS/LAMPS

FRAMETHOMAS ERIKSSON CECILIA ANDREASSON ELISABETH ANCKER


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Lampor (frutom Grsns egna) Lamps (in addition to those of Grsns):Fine Stockholm, www.finestockholm.se, Nordiska Galleriet, w ww.nordiskagalleriet.seGlas och porslin Glass and porcelain:Carina Seth Anders son, www.csa.nu

Gaengerdesign Foto/Photos:Lennart DurehedTryck/Printing:Trosa Tryckeri, Trosa, Sweden 2009

HEAD OFFICE PRODUCTION AND SHOWROOM:

Box 26 SE-272 03 GrsnsMalmvgen 16 18Phone +46 414 530 00 Fax +46 414 506 16

OFFICE AND SHOWROOM:

Rdbodtorget 2 SE-111 52 StockholmPhone +46 8 442 91 50 Fax +46 8 442 91 51

[email protected] www.garsnas.se


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HEAD OFFICE PRODUCTION AND SHOWROOM: BOX 26 SE-272 03 GRSNS MALMVGEN 16 18 PHONE +46 414 530 00 FAX +46 414 506 16

OFFICE AND SHOWROOM: RDBODTORGET 2 SE-111 52 STOCKHOLM PHONE +46 8 442 91 50 FAX +46 8 442 91 51

[email protected] WWW.GARSNAS.SE