INTRODUCT INTERNATIONAL RECONSTRUCTION RECOVER AMERICA BALANCES MASS CULTURE
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TION
International modernism (international style) first appearing was in 1930s, but gained broader acceptance after World War II. It incorporated standards reminiscent of reform in their balance of individual expression, restraint, and practicality. The development of international style took root internationally amid strong economic recovery and reconstruction following the World War II. In this period, The purchasing power of most Americans was at an all-time high. And because the war reason, many of the famous designers around the world were coming to America, so America was the center of international style no matter of economy or designers. 2
CONTEXT SOCIAL During the 1930s, the Museum of Modern Art in New York (founded in 1929) helped to define and to embrace a view of industrial design that incorporated elements of constructivism, the Dessau Bauhaus and the therories of Le Corbusier. The exhibition entitled machine Art curated by architect Philip Johnson(1934). Gradually the international modernism expended until after world war II that gain broader acceptance known as “good design�. Due to the destruction in war, boom in housing stimulated the related products like furniture and a lots of international corporations were the advocates and clients to the post war industrial design. International awards like Milan Triennale issued individual competitive awards, journals and publications such as Domus and design quarterly also contributed to the development. At the time there was a didactic even polemic tone accompanying the promotion of much industrial design in the early post war years. Advocates embraced familiar paternalistic themes of improving and educating public to appreciate the modern design, criticism was leveled against a narrow and monolithic view of the commercialism of mass media and progressive obsolescence (absence of responsible standard and exploitation of the consumers.) Eventually the monolithic view of mass culture derided by social critics and educators crumbled. Mass culture ( pop culture) prevailed in the end of that period. Hollywood film industry and popular magazine stimulate the mass taste especially the youthful consumers. 3
GLOBAL EVENT · Cold War Between American and Soviet. · Baby Booming: Young males returning to the United States, Canada, and Australia following tours of duty overseas during World War II. · African-American Civil Rights Movement (1954–68) · Korean War · Vietnam War
POLITICAL · United states plays a paramount role, because its elastic market and the international interests to stimulating the industry production of European countries such as Marshall plan(1948-1952). · United states, a number of modern design initiatives undertaken in the years immediately following the end of world war II were based upon adapting new materials and technologies to domestic consumption and efficiency, and some continue to be produced today.
TECHNOLOGICAL · new materials and technological innovation: plywood, fiber-glass, polypropylene,acrylics, PMMA,PC,PS. molding. · new pliable plastic Poly-t in 1942, manufactured by Dupont and other chemical companies, originally for the war. · new technology developed in war time significantly influenced the industrial 4
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DESIGNERS AND THEIR WORKS 6
CHARlES AND RAY
EAMES
Charles Eames was the driving force behind the Eames', and before he met his wife Ray, he worked very successfully for many years. It was he who founded the architectural office in 1930, and he who set the tone for the earthy, radical designs that would make them famous. Born in St. Louis in 1907, Charles showed an interest in architecture and engineering, pursuits in which he also showed a significant aptitude. He attended college at Washington University in St. Louis but was kicked out after two years for championing Frank Lloyd Wright and for being, according to one professor, "too modern." Undaunted he began working on his own, and began building the ideas and the concepts that would inform Eames furniture in the future. When he was just 23 he opened his own office, and soon was invited to accept a fellowship at Cranbrook Academy of Art in Michigan. He quickly became the head of the design department, where he proved his worth by taking first prize (along with colleague Eero Saarinen) at the Museum of Modern Art's "Organic Furniture Competition." The design was for a chair. The material? Molded plywood, the material on which the Eames' would make their name. Eames furniture began at the Cranbrook Academy as well, where the assistant who helped Eames and Saarinen prepare their designs was named Ray Kaiser. Charles Eames met Ray Kaiser in 1941, and very quickly they were married. So began the odyssey of one of the most fruitful collaborations in art and design history. After moving the company to California, Ray and Charles began to make products for the Navy out of their Charles' now famous molded plywood. Eames furniture built splints to be used in the field, stretchers, and experimental shells for gliders and various planes. At the end of the war, the Eames' molded plywood chairs began to be manufactured by Evans Products, and their influence and popularity exploded. Critic Esther McCoy even referred to molded plywood chair as the "chair of the century." It was no exageration: The Eames molded
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plywood chair broke all the barriers of style, design, aesthetic appeal, and materials. The design world was never the same, and the modern era was born out of a curious and innovative new process that allowed Charles Eames to bend wood however he wanted. But Charles Eames was not limited to architecture and design. His interest in photography developed into a series of groundbreaking and fascinating short films. The short films covered furniture making, toys, and mathematics: often they were commissioned by the Eames-loving IBM company. Eames furniture went on to do several divergent, yet diverting, project. This included toy-making, including the famed House of Cards game given to the winners of the Nobel Prize, and the popular Eames flip-books. Charles Eames also designed scientific exhibitions and museum displays, and became a pioneer in scientific popularization with exhibitions like "Mathematica: a world of numbers...and beyond" and "A Computer Perspective: Background to the Computer Age." He even dabbled in history, designing "The World of Franklin and Jefferson" in 1975. Charles Eames worked with his wife from the time they were married, but they also knew Eames furniture needed more than two good heads, so they hired Henry Beer and Richard Foy, among others. The Office of Charles and Ray Eames was a California landmark for forty years, along with the Eames Residence (or as they called it, Case Study House #8), which had been built in a matter of days, by hand, using only pre-fabricated materials. A man of wide interests, intellectual curiosity and dazzling talent, Charles Eames left an indelible mark on furniture, filmmaking, exhibitions, toys, and architecture. His contributions to American society and American enterprise are vast and important, and without him modern America would be much different, a poorer place to live and work. He died in 1978, followed by Ray, exactly 10 years later to the day.
SIGNIFICANT DATES OF THEIR ACHIEVEMENTS While working for the United States Navy, Eames experimented with plywood molding processes in the development of light weight and flexible splints to treat wounded soldiers. At the end of the war he adapted this technology to the molding of forms for seating. In 1946 Eames designed a molded plywood chair with separate seat and back supported by a thin, welded tubular steel frame and mounted with rubber shocks, eventually manufactured by Herman Miller. Eames continued to experiment with molded fiber glass for furniture in the later 1940s. His simple, unupholstered dining arm chair of 1950, won another international competition by the museum of modern art for “low-cost furniture�. In 1954 an armless, stacking version of the fiberglass chair was introduced by Miller, and became immensely successful for seating in schools and other institutions by virtue of its light weight and ability to be easily stored and moved. Eames also explored the organicism of molded plywood in his well-known lounge chair and foot stool, designed for Herman Miller beginning in 1956. (Eames lounge chair).
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ORKS O F DESIGNER W
DCM (Dining Chair Metal) (1946 – PRESENT)
Eames Molded Plywood Lounge Chair (1946)
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Eames 670 LOUNGE CHAIR/671 OTTOMAN (1956 – PRESENT)
The Eameses wanted their Lounge Chair and Ottoman to have the “warm receptive look of a well-used first baseman’s mitt.” Often referred to as a twentieth-century interpretation of the nineteenth-century English club chair, this seating instantly became a symbol of comfort—and comfort was one of Charles and Ray’s key objectives for this product. The Eameses believed that design addressed itself to the need. In this case, the need was “a special refuge from the strains of modern living.” A Playboy article on Modern Design explained that this chair “sank the sitter into a voluptuous luxury that few mortals since Nero have known.” The Lounge Chair is often referred to as the 670/671, after the Herman Miller part numbers used to make the seating. It combines factory technologies with intricate hand labor and craftsmanship. While today the Lounge Chair and Ottoman are icons of midcentury modern design, when the Eameses first produced the 670/671, it was noted that they had soft, wrinkly leather and plush down feathers—materials that weren’t considered modern at all. The Lounge Chair and Ottoman can be seen in museum collections and designer homes across the globe, and it remains a symbol of luxurious comfort. It is still produced today by Herman Miller and Vitra.
HOW IT MADE
https://www.youtube.com/watch?v=SFaLpbmP0Yw
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WIRE CHAIR (1950s)
Stacking and Ganging Side Chair (1955 – 1975, 1994 – PRESENT)
FIBERGLASS ARMCHAIRS (1950 – 1993, 2014 – PRESENT)
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LA CHAISE (1948, 1996 – PRESENT)
The Museum of Modern Art’s 1948 “International Competition for Low-Cost Furniture Design.” until 1996 that the long-time Eames partner, Vitra International, began manufacturing and distributing the La Chaise in response to public interest and demand.
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Eero
Saarinen
Born to world famous parents, architect and Cranbrook Academy of Art director Eliel Saarinen and textile artist Loja Saarinen, Eero Saarinen was surrounded by design his whole life. It came as no surprise that Eero was helping his father design furniture and fixtures for the Cranbrook campus by the time he was in his teens. In 1929 Eero left for Paris where he studied sculpture before enrolling in the Yale architecture program the following year. In 1934, he returned to Michigan to teach at Cranbrook, work on furniture designs, and practice architecture with his father. It was at Cranbrook that Saarinen met Charles Eames. The two young men, both committed to the exploration of potential new materials and processes, quickly became great friends, pushing each other creatively while collaborating on several projects. The most notable outcome of their partnership was the groundbreaking collection of molded plywood chairs for the MoMA-sponsored 1940 Organic Design in Home Furnishings competition. Their collection was awarded first prize in all categories, catapulting the
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young designers to the forefront of the American modern furniture movement. Saarinen also met Florence Knoll (né Schust) at Cranbrook, who at that time was a promising young protégé of Eliel Saarinen. Florence spent all of her free time with the Saarinen family, including summer vacations to Finland. Florence and Eero developed a brother-and-sister-like relationship that would last the rest of their lives. Florence later recalled that her history with Eero made him her most honest and, often, harshest critic. When Florence joined Knoll in the 1940s, it was an obvious choice for her to invite Eero to design for the company. Over the next 15 years Saarinen designed many of the most recognizable Knoll pieces, including the Tulip chairs and tables, the Womb chair, and the 70 series seating collection. Eero, who was known for being obsessed with revision, took a sculptural approach to furniture design, building hundreds of models and full scale mock-ups to achieve the perfect curve, find the right line, and derive the most pleasing proportions. His designs, which employed modern materials in graceful, organic shapes, helped establish the reputation and identity of Knoll during its formative years. In addition to his achievements in furniture, Eero Saarinen was a leader of the second-generation modernists. Constantly pushing material and aesthetic boundaries, Saarinen expanded the modern vocabulary to include curvilinear and organically-inspired forms not found in the work of his predecessors. Among his outstanding projects are the Dulles International Airport in Washington, DC, The Gateway Arch in St. Louis, Missouri, the TWA Terminal at Kennedy International Airport, and the CBS headquarters in New York.
SIGNIFICANT DATES OF THEIR ACHIEVEMENTS Eero Saarinen was a Finnish American architect and industrial designer graduated in Yale architecture school. He was famous for his neofuturistic style, according to his project: simple, sweep, arching structure curves or machine-like rationalism. He was influenced by his father cranbrook’s director Eliel Saarinen, and his second wife Luoise. The first received critical recognition of Saarinen was the Tulip chair, for the "Organic Design in Home Furnishings" competition in 1940. The project was designed together with Charles Eames. The "Tulip Chair", like all other Saarinen chairs, was taken into production by the Knoll furniture company. Nearly all of his design were highly successful except the “grasshopper chair”, which was designed in 1946 and went into production in 1965. One of Saarinen's earliest works to receive international acclaim is the Crow Island School in Winnetka, Illinois (1940). The first major work by Saarinen, in collaboration with his father, was the General Motors Technical Center in Warren, Michigan. He gave big influence to the Sydney Opera House, as a jury who selected the work of Jorn Utzon from discarded design.
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ORKS O F DESIGNER W
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Tulip Chair Collection (1957)
The “Tulip Chair” is one of a series of chairs, armchairs, stools, tables, and side tables developed by Eero Saarinen within a five-year period. The characteristic feature of the series is that the supporting structure has been pared to a central supporting stem “like a wineglass” in order to emphasize the uniformity of table and chair. “The bases of tables and chairs in a typical furniture arrangement create an ugly, confusing, and restless world. I wanted to design a chair as an integrated whole once again. All important furniture of the past always had a holistic structure, from King Tut’s chair to that of Thomas Chippendale. Today, we are parting ways with this holism with our predilection for plastic and laminated wood shells. In current production methods, pedestal furniture is half plastic and half metal. I am looking forward to the point when the plastics industry will be capable of manufacturing the chair using just one material, the way I have designed it.” The “Tulip Chair” is still produced today in its original form. PD
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Herbert Matter advertisement forKnoll Tulip Chair 1956
Avertisements for furnitures and products were a part of a tendency knwn as the "new advertising" that often favored the use of photography over illustrationand simple copy over narrative.
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Tulip table
Saarinen Executive Armless
(1957)
(1948)
womb chair and ottoman (1948)
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Arne Jacobsen
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SIGNIFICANT DATES OF THEIR ACHIEVEMENTS Arne Jacobsen (1902-71), architect and designer. Educated at the Royal Danish Academy of Fine Arts, School of Architecture in Copenhagen, professor at the Academy (1956-65). As a designer, Jacobsen made prototypes for furniture, textiles, wallpaper, silverware etc. Among his most famous designs are The Ant™ (designed for Novo Nordisk canteen) (1952), Series 7™ (1955), The Egg™ and The Swan™ (designed for the SAS Royal Hotel ) 1958, and the tableware Cylinda-Line (1967). Among his most famous works as an architect are the apartment blocks Bellavista in Klampenborg (1933-34), Bellevue Theatre (1935-36), Århus Town Hall (in co-operation with Erik Møller) (1939-42), Søllerød Town Hall (in co-operation with Flemming Lassen) (1940-42), Søholm semi-detached houses in Klampenborg (1950-54), Rødovre Town Hall (1957), Glostrup Town Hall (1958),The Munkegård School in Copenhagen (1955-59), SAS Royal Hotel Copenhagen (1958-1960), Toms Chocolate Factories in Ballerup (1961), Danmarks Nationalbank (started in 1965), Saint Catherine’s College in Oxford (1964-66). Jacobsen also designed a project for the lobby of Hannover Concert Hall (196466), Castrop Rauxel mall (1965), Christaneum Grammar School in Hamburg (1965), Administration building for the Hamburg power station (in co-operation with Otto Weitling) (1965).
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ORKS O F DESIGNER W
Ant Chair (1952)
Drop chair (1957)
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Egg Chair (1958)
EGG Arne Jacobsen designed the Egg™ (1958) for the lobby and reception areas in the Royal Hotel, in Copenhagen. The commission to design every element of the hotel building as well as the furniture was Jacobsen’s grand opportunity to put his theories of integrated design and architecture into practice. The Egg is one of the triumphs of Jacobsen’s total design.
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Swan Chair (1958)
Series 7 Chair (1955)
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Harry Bertoia
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SIGNIFICANT DATES OF THEIR ACHIEVEMENTS Harry Bertoia started out as a painting student but soon being asked to take over the metal workshop in 1939, Bertoia taught jewelry design and metal work. Later, as the war effort made metal a rare and very expensive commodity he began to focus his efforts on jewelry making, even designing and creating wedding rings for Ray Eames and Edmund Bacon's wife Ruth. In 1950, he was invited to move to Pennsylvania to work with Hans and Florence Knoll. (Florence was also a Cranbrook Graduate.) After 2 years he designed five wire pieces that became known as the Bertoia Collection for Knoll. Among these was the famous 'Diamond chair' a fluid, sculptural form made from a welded lattice work of steel. n the mid-1950s, the chairs being produced by Knoll sold so well that the lump sum payment arrangement from Knoll allowed Bertoia to devote himself exclusively to sculpture. He ultimately produced over 50 commissioned public sculptures, many of which are still viewable today.
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Bird Chair (1952)
Barstool (1952)
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Diamond Chair (1952)
Bertoia’s Diamond Chair is a unique and innovative design that changed the way people think aboutfurniture. Bertoia’s history in sculpture allowed him to view the chair as a singular form, rather than a backrest, arm rest, legs etc. Additionally, the use of wire to create the chair was highly unusual and resulted in a form that was predominantly made of empty space. Cushions could be added for extra comfort, or the chair could be used as is.
HOW IT MADE
https://www.youtube.com/watch?v=Q9yJxiwvoaw
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Hans Wegner
At the age of twenty he moved to Copenhagen, Denmark, to attend the School of Arts and Crafts, where he studied from 1936-1938 before embarking on a career as an architect. In 1940, Wegner joined Arne Jacobsen and Erik Møller and began designing furniture for the new City Hall in Aarhus, Denmark's second-largest city. Hans J. Wegner opened his own drawing office in 1943. In 1944, he designed the first China Chair in a series inspired by Chinese chairs from the Ming dynasty. One of these chairs, the Wishbone Chair, designed in 1949 and produced by Carl Hansen & Søn since 1950, went on to become Wegner's most successful design of all time. He has received several accolades given to designers, including the Lunning Prize in 1951 and The 8th International Design Award in 1997. He became an honorary member of the Royal Danish Academy for the Fine Arts in 1995, and an honorary doctor of the Royal College of Art in 1997. Almost all of the world's major design museums, from The Museum of Modern Art in New York to Die Neue Sammlung in Munich, feature his furniture in their collections.
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CH24 | WISHBONE CHAIR
Peacock Chair
(1949)
(1947)
Papa Chair (1950)
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Shell Chair (1960s)
The CH07 Shell Chair, or ‘smiling chair’ as it is commonly referred to is one of the more radical furniture designs of the 20th century. Originally it was shunned as too avant-garde by the public, although design critics were favourable toward it. The three legged layout and sweeping seat suggest a drive for simplicity as well as beauty. The forward thinking of Wegner was finally appreciated in the mid 90’s where it was reissued to much acclaim, suggesting that sometimes design can evolve faster than culture is willing to accept.
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George
Nelson
George Nelson studied architecture at Yale University. A fellowship enabled him to study at the American Academy in Rome from 1932 to 1934. In Europe, he became acquainted with the major architectural works and leading protagonists of modernism. In 1935, Nelson joined the editorial staff of the Architectural Forum, where he was employed until 1944. A programmatic article on residential building and furniture design, published by Nelson in a 1944 issue of the journal, attracted the attention of D.J. DePree, head of the Herman Miller furniture company. A short time later, George Nelson took on the position of design director at Herman Miller. Remaining there until 1972, he became a key figure of American design, also convincing the likes of Charles and Ray Eames, Isamu Noguchi and Alexander Girard to work for Herman Miller. The collaboration between Nelson and Vitra began in 1957. From 1946 onward Nelson also ran his own design office, creating numerous products that are now regarded as icons of mid-century modernism. Nelson's office also produced important architectural works and exhibition designs. George Nelson died in New York in 1986. His archive belongs to the holdings of the Vitra Design Museum.
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Swag Leg Chair
Coconut Chair
(1958)
(1958)
Nelson Bench (1946)
The Nelson Bench is a piece of furniture in which architecture meets furniture design. The rectilinear forms and use of hardy materials such as polished chrome and ebonised wood draw heavily from the Modernist architecture of the time. Additionally, the lack of organic forms and contours in the bench means it can be used as a low table, a seating area, or as a foundation for Nelson’s ‘Basic Cabinet Series’. The simplicity of the design not only broadens its usability, but also reflects Nelson’s theory that an object’s visual qualities should be honest to that object’s purpose. 32
SORI YANAGI
Attended art school in the Tokyo and worked from 1940 to 1942 in the office of the designer Charlotte Perriand. In 1952, he founded the Yanagi Industrial Design Institute, which created a prolific number of articles of daily use and furnishings. Sori Yanagi’s organic forms combine western industrial designs with Japan’s native artisanal traditions. This successful synthesis made Sori Yanagi one of the most significant Japanese designers of the post-war era. In addition to furniture, he also designed lighting, glass objects, cutlery, children’s toys, metro stations, cars and motorcycles. In 1977, Sori Yanagi was named director of the Japanese Folk Art Museum in Tokyo.
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Butterfly Stool (1956)
Sori Yanagi’s legendary Butterfly Stool is the product of a strange period in history. In The years following the Second World War, Japan experienced a period of occupation by the US, in which the Asian country was influenced heavily by western culture. But, by 1951 Japan was once again independent and began to produce their own designs. The Butterfly stool is a strange dichotomy; it is on one hand clearly influenced by Charles and Ray Eames developments with plywood as well as western furniture in general (The Japanese basically do not use seating furniture in households at all), but on the other hand its beautiful curves and references to nature evoke the naturalistic qualities of Japanese art.
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OTHER DESIGNERS WORKS
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Marco Zanuso
720 lady chair (1951)
Gio Ponti
699_Superleggera (1957)
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Dieter Rams Dieter Rams 606 Universal Shelving system ( 1960)
The year was 1960, and the design was in its sixth iteration. 606. Dieter Rams 606 Universal shelving system was a design with no singular form; each piece was interchangeable and moveable meaning that there are countless configurations of the shelves. This means that the shelving system can be implemented successfully in almost any area; a design which blends and moulds to its environment rather than dictating it. More-so, the 606 requires no tools, the shelves are interlocked by notches and pins. The design was hugely influential, and Ram’s innovations can still be seen today in objects such as ikea flat pack furniture.
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Reference list Books History of Modern Design, David Raizman The art of things: product design since Website articals and pictures http://www.arne-jacobsen.com/ http://www.eamesoffice.com/ http://www.knoll.com/ http://www.fritzhansen.com/ http://www.cassina.com/
https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images& cd=&ved=0ahUKEwj9kbyV6t_LAhXDmJQKHc6JA8YQ jhwIBQ&url=http%3A %2F%2Fculturemmag.com%2Findex.php%2F2013%2F11%2Fto-see-life-tosee-the-world-life-photo-exhibition%2F06-the-kiss-of-marine-c-the-picturecollection-inc%2F&psig=AFQ jCNEdVn5UljmpHy7meQC4rqGNBQ7ivA&u st=1459132461925743 http://www.esquire.com/news-politics/g2132/30-photos-world-war-2-victoryday-europe/ http://www.knoll.com/designer/Eero-Saarinen http://www.creativereview.co.uk/cr-blog/2012/september/knoll-and-herbertmatter/ https://livingedge.com.au/brands-designers/arne-jacobsen http://www.paletteandparlor.com/products/arne-jacobsen-ant-chair?utm_ ca m p a i g n = P i nte re st % 2 0 B u y % 2 0 B u tto n & u t m _ m e d i u m = S o c i a l & u t m _ source=Pinterest&utm_content=pinterest-buy-button-0695ee343-547b-46b999d5-8b431f555469 http://www.furniture-express.co.uk/jacobsen-series-7-dining-chair-fe-d008.html https://livingedge.com.au/brands-designers/hans-j-wegner http://living.corriere.it/tendenze/design/libro-eero-saarinen-50209145427/ http://imgur.com/gallery/L3fzC http://www.wright20.com/auctions/2012/10/modern-design/123 https://www.smartfurniture.com/hermanmiller/designers/eames/charleseames. html http://www.aestheticamagazine.com/the-world-of-charles-and-ray-eamesbarbican-centre-london-opens-tomorrow/
https://livingedge.com.au/brands-designers/hans-j-wegner http://www.icollector.com/PeacockChair-By-Hans-Wegner-Magnificent-Classy-Rare_ i11343080 http://www.mattblatt.com.au/Replica-Dining-Chairs/The-Matt-Blatt-Replica-HansWegner-Wishbone-Chair-Walnut-Maple-Oak-PREMIUM.aspx?p1504c1 http://cngzhuayu.en.alibaba.com/product/1084172104-213105196/Shell_chair_ inspired_by_Hans_J_Wegner.html https://www.roveconcepts.com/hans-j-wegner_papa-chair.html http://www.iainclaridge.co.uk/blog/33451 http://mellcarth.com/shop/chairs/coconut-chair-inspired-by-designs-of-georgenelson/ http://www.carlhansen.com/designers/hans-j-wegner/ http://www.harrybertoia.org/furniture.html https://www.vitra.com/en-au/corporation/designer/details/sori-yanagi http://www.danishdesignstore.com/collections/designer-collections-arne-jacobsen https://www.vitra.com/en-au/corporation/designer/details/george-nelson http://www.harrybertoia.org/furniture.html http://www.hermanmiller.com.au/products/seating/lounge-seating/eames-loungechair-andottoman.html https://en.wikipedia.org/wiki/Eames_Lounge_Chair https://www.vitsoe.com/rw/606/how-it-works https://en.wikipedia.org/wiki/Vits%C5%93#606_Universal_Shelving_System http://www.danishdesignstore.com/collections/hans-j-wegner-ch07-shell-chair http://www.wegnershellchair.com/ http://www.knoll.com/product/bertoia-diamond-chair http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/ butterfly-yanagi.html http://www.arne-jacobsen.com/en/arne-jacobsen/designs http://www.hermanmiller.com.au/products/seating/bench-seating/nelson-platformbench.html