T h e Fa b u l o u s 5 0 ’ s
ARNE JACOBSEN
The Series 7
S
eries 7 designed in 1955 by Arne Jacobsen is the flagship of Fritz Hansen’s collection. A multipurpose chair range also offering varieties such as castors, a pedestal base plus a string of accessories. The slim shell is compsed of 9 layers of veneer plus 2 layers of cotton textile and rests on a base made of mirror chromed or satin chromed steel. It comes as a side chair, pedestal chair, office chair, barstool or counter stool and as a children’s chair. The many colors are available in a lacquered or lazured version and in wood veneer as well. The 7 different highgloss colors give the chair a different and unique expression. And for added comfort with leather or fabric upholstery, on the front only or on the entire chair. Available in different types of leather including a delicate welted leather version with visible seams and in metallic silver.
1955
Before the Swan Chair Arne Jacobsen’s architecture and designs were shaped by an assumption of materials’ natural ways of resisting. In other words, he could make them go only so far in becoming the structure he desired. With new technologies, however, the old rules no longer applied and he was able to shape fluid curves and singlepiece molded shells. The Swan Chair is now made from polyurethane foam, but at the time, Jacobsen used Styropore; to create its continuous shape. Designed for the SAS Royal Hotel in Copenhagen, for which Jacobsen was the architect, the chair’s swivel base permitted guests to spin in their seat, thus becoming active participants in the busy hotel atmosphere. Made in Denmark. Original design and licensed manufacture by Republic of Fritz Hansen.
ARNE JACOBSEN
The Swan
1956
Arne Jacobsen designed the SAS Royal Hotel in Copenhagen, as well as many of the furnishings. For its busy lobby, he created the biomorphic Egg and Swan, which are believed to be the first swiveling upholstered chairs. For a public area, the handcrafted Egg Chair is unique in that sitters can swivel toward the conversation area or away from others if privacy is desired. A tilt mechanism allows for relaxed lounging and the high back and curving elements are reminiscent of a traditional wing chair. Together they cocoon the sitter in a single-piece molded shell that appears to hover over the floor. Almost 50 years after its design, the Egg Chair is still used in advertising, film and television as a symbol of sophisticated urbanism.
ARNE JACOBSEN
The Egg
1954
NORMANCHERNER
The Cherner
Although best known for his furniture design, Noman Cherner’s work included almost all aspects of design: from graphics, glassware and lighting, to his pioneering work in prefabricated housing. Educated in the Bauhaus tradition of interdisciplinary design, he became interested in housing as industrial design. His first houses were built in 1948 for a cooperative housing development in Ramapo, NY. These homes were examples of this total design concept and included affordable furniture designed specifically for these low-cost modular dwellings. Our primary environmental philosophy is that you will never find a Cherner Chair product in a landfill. Cherner designs are featured in design collections worldwide, our products are manufactured to last, to cherish, and to hand down to future generations. All components of Cherner Chair products are replaceable, insuring that our chairs, tables, and stools can be indefinitely kept in service. The Cherner Chair Company minimizes the environmental impact of the manufacturing process in a number of ways--including using finishes that don’t pollute the air.
1958
CHARLES&RAY EAMES
The Fiberglass
Commonly referred to as Eiffel chairs, the Eames Molded Plastic Armchair and Side Chair were the first industrially manufactured plastic chairs. In creating these classic pieces, the Eameses honed two techniques with which they had been grappling for years: the use of a bent and welded wire base and a sculpted plastic shell seat. The results are supremely comfortable and timeless. Originally made with fiberglass-reinforced plastic, these chairs now take advantage of the benefits of more eco-friendly polypropylene. The molded shell seat has a high, flexible back and a deep seat pocket. The waterfall seat edge promotes comfortable seating for extended periods of time by reducing pressure on the backs of thighs. Today fiber prominent fiberglass is a nearly forgotten art. The fibrous pattern texture slightly varies from chair to chair, giving each chair its own unique handmade characteristics. See the rich textured surface of the Case Study Fiberglass Chair in person and you will appreciate the variation of patterns that this process produces. Like a snowflake, each chair has a tiny variation in the fibrous patterning.
1953
CHARLES&RAY EAMES
The Wire
1951
The Eames Wire Chair is a variation on the organi-
shape of the famous Fiberglass Chair. With their
cally shaped one-piece seat shell, boasting a light
innovative use of humble steel wire the Eames’ cre-
transparency and high technicality. The chairs are
ated an original and groundbreaking design. The
available without upholstery, or with a single seat
use of wire makes the chair light and transparent,
cushion or a seat and backrest cushion. Wire
producing the impression of a three-dimensional
Chairs can be used in all kinds of situations at
metallic drawing. The seat and base are chrome
home, in cafés, restaurants, waiting areas and in
plated (special stacking version available with
conference and training rooms. For the design of
linking elements). Bright slim line fabric or leather
the Wire Chair Charles and Ray Eames used the
cushions add even more comfort to these chairs.
The Eames Molded Plywood Lounge Chair has been referred to as the “most famous chair of the century,� with a form that relates directly to the human body and holds no secrets as to how it succeeds technically. Low-slung, with an expertly crafted molded plywood seat and back, this chair cradles the user and features hardwood inner ply for durability. The molded plywood legs provide superior strength and rubber shock mounts buffer against jarring movement. Selfleveling pod glides level
CHARLES&RAY EAMES
on uneven surfaces
The Bikini Wood
sunburst bikini
poppy bikini
cypress bikini
Ivory bikini
mink bikini
grass bikini
claret bikini
1950
CHARLES&RAY EAMES
The Rosewood
In continuous production since its introduction in 1956, the Eames Lounge Chair is widely
1956
considered one of the most significant designs of the 20th century. It was the culmination of Charles and Ray Eames’ efforts to create a club chair using the molded plywood technology that they pioneered in the ‘40s.
“Who ever said that comfort wasn’t functional?”
In Charles Eames’ words, the vision was a chair with the “warm, receptive look of a well-used first baseman’s mitt.” The result has become the consummate lounge set, timelessly blending old-fashioned comfort and visionary modernism. Pairing soft, inviting leather with the sleek form of molded plywood, the seat is balanced on a five-star, die-cast aluminum base. The hand assembled is also environmentally sound; the wood is harvested exclusively from sustainably managed forests.
When Charles and Ray
the and exploring newly
and swivel for easy entry
Eames designed the
affordable aluminum, the
and exit. An important
Eames Aluminum Chair
designers constructed a
characteristic of the
they created a revolution
lightweight, corrosion-
Aluminium Chair is the
in seating that has lost
resistant and die-cast
intelligent combination of
none of its edge. These
frame. They wrapped
materials. It has a clear,
chairs were originally
the frame in a sling “sit-
transparent form and its
developed as a special
ting pocket” that subtly
construction is clearly
project for a private
conforms to the body’s
visible. Aluminium sec-
residence being de-
shape and gave it a
tions lend the chair both
signed by Eero Saarinen
wide seat for leisurely
stability and lightness.
and Alexander Girard.
sitting. Set on a five-point
This material is not just
Moving away from the
base, these chairs sit
a cover but an integral
Eameses’ shell forms of
on tubular steel columns
part of the design.
CHARLES&RAY EAMES
The Aluminium
1958
GEORGENELSON
The Coconut George Nelson once said that “total
design is nothing more or less than a process of relating everything to everything.” So it makes perfect sense that, in 1955, Nelson related a lounge chair to a coconut. Intended to combine comfort with freedom of movement, the shape of the Coconut Chair’s white molded shell was inspired by the shape of Eero Saarinen’s Kresge Auditorium at MIT. Echoing both the auditorium’s triangular shape, as well as a portion of coconut shell, the Chair’s unique form invites a number of different seating positions. The shell sits upon a chromed-steel base with three thin legs. A single-piece foam cushion, upholstered in high-quality semi-aniline leather, is molded into the shell.
” The simple joy of taking an idea into one’s own hands and giving it proper form, that’s exciting.”
GEORGENELSON
The Marshmallow The playful Marshmallow sofa is a landmark of modern design that’s still turning heads and making people smile. The cushions can be all the same color or in multiple colors for the right look in a private office, lobby, lounge, living room, or den. Cushions can be detached for easy cleaning and interchanged to equalize wear or create a new look. A connecting element makes it possible to join individual sofas together, extending the length as desired. This sofa is one of the earliest manifestations of Pop Art in furniture design. Its unique form makes it one of the few truly unconventional sofas in design history. The basic version consists of 18 individual round cushions mounted on transverse braces in the seat and back. Despite its astonishing appearance, this piece is very comfortable.
1955
1950
When Florence Knoll challenged Finnish-born architect and designer Eero Saarinen in 1948 to create a chair that she could curl up in, she had found an apt candidate for the task. The Womb Chair’s enveloping, lap-like form continues to be one of the most iconic and recognized representations of mid-century Scandinavian organic modernism. In fact, ask most designers and architects what lounge chair design they covet and they’ll promptly tell you it’s the Womb Chair. By applying foam molded over a fiberglass shell, Saarinen was able to create a single-piece form that perfectly facilitated a relaxed sitting posture and a sublime feeling of security. Additional seat and back cushions and the coordinating Womb Ottoman provide a further de-
EEROSAARINEN
The Womb
gree of lavish comfort. The slender steel rod base is chrome-plated using a multiple step process that results in a flawlessly polished mirror finish.
1956
EEROSAARINEN
The Tulip
Simple. Elegant. Cool. The Tulip Chair is the perfect
Pedestal Table and Tulip™ Chair
complement to your home or of-
Collection and obliterated the "slum"
fice. It’s a versatile design element
by creating a cast aluminum base
that works well in any space. The
inspired by a drop of high-viscosity
chair’s durable cushioning layer and
liquid. The platinum enamel has a
back contour make it surprisingly
clear satin finish, while the black
comfortable. The Tulip Chair looks
and white frames are reinforced
especiallygood surrounding a small
bonded finishes that maintain their
table in sets of two or four. In a
gloss through years of use. The
1956 cover story in Time maga-
comfortable Tulip Armless Chair
zine, Eero Saarinen said he was
has a swivel seat with a padded
designing a collection to "clear up
cushion. Each piece is stamped
the slum of legs in the U.S. home."
with the KnollStudio logo and Eero
Later that year, he completed his
Saarinen’s signature.
VERNVERPANTON
The Cone
1958 Verner panton converted a Volkswagen bus into a mobile studio and travelled across Europe. In 1958 he returned to Denmark full of unconventional ideas... one of which evolved into the iconic Heart Cone Chair. Defying gravity, the cone was both futuristic and shocking. so much so that when it was exhibited in a shop window in New York City police had to order its removal due to the traffic chaos its presence created. A comfortable club chair for everyday use, Vitra has faithfully re-issued this classic in close collaboration with the Panton estate. The Heart Cone Chair takes its name from its heart-shaped silhouette.
VERNVERPANTON
The Heart
“Most people spend their lives living in dreary, beige conformity, mortally afraid of using colors. The main purpose of my work is to provoke people into using their imagination and make their surroundings more exciting�
VERNVERPANTON
The Panton
1956 The Panton Chair has won various design prizes world-wide and graces the collections of numerous renowned museums. Its expressive shape makes it a true 20thcentury design icon. The chair offers great seating comfort thanks to the cantilever base, together with its shape designed to do justice to the human body and flexible materials. It can be used on its own or in groups, in rooms and even outdoors. The Panton Chair is a furniture design classic. It was the very first fully plastic chair made from a single section. Since its market launch, the Panton Chair has undergone several production phases. Not until today was it possible to produce it in line with Panton’s original idea namely from consistently dyed, tough plastic with a matt surface.
T h e Fa b u l o u s 5 0 ’ s