The year before, in 1948, Kristian Vedel had made a name for himself at the Cabinetmaker's Exhibition, which at that time was The Place where one showed the newest of the new in furniture design. The piece of furniture that caused a fuss was a chair that consisted of a back and a seat that mounted on a wall. The chair received the honor of becoming caricatured by none other than Storm P. and Berlingske Tidende wrote: “[…] One of the Exhibition's sensations is the chair to hang on the wall. It is a little reminiscent of the seats that in the past were made for the conductor's on the streetcar's back platform. It is a little strange idea brought to use in a home – but its creator has nevertheless thought of realizing it further.”¹. In a contemporary perspective, one can see this furniture as the infancy of a newly conceived furniture genre. A new conception that seriously began to gain speed in the end of the 1950s and up through the 1960s, where both Nanna Ditzel and Verner Panton made a name for themselves with furniture landscapes on multiple levels that totally breaks with the classical furniture types like chairs and sofas.

In addition to interior design assignments, furniture and applied arts, in 1959 Kristian Vedel created a little bird , that is once again in production in natural or smoked oak. The bird is a continuation of the Danish tradition of designing wooden toys and is a fine alternative to Kay Bojesen's famous figures: the ape, the elephant, the guardsman etc. The little bird consists of two parts: a head and body. The spherical head is placed loosely on the body and Vedel's bird can signal the owner's mood in this way: optimistic with the beak in the air or pessimistic with the glance toward the ground.