T Table Patricia Urquiola

Spanish-born, Milan-based architect Patricia Urquiola doesn’t lack for commissions these days, and, unlike the work of many other high-concept architects, her projects tend to get constructed, envelope-pushing though they sometimes are. And when she’s not imagining covetable creations for contemporary furniture houses — including B&B Italia, Driade and Cassina, where she was named art director in 2015 — Urquiola makes headlines by designing some of the world’s most aesthetically ambitious hotels, such as 2016’s Il Sereno on Lake Como in Lombardy, Italy.

Born in Oviedo, in northern Spain, Urquiola grew up in a family that valued creativity. Everyone in the house, she says, talked and cared about design. She fondly remembers her mother going to London in the 1960s and ’70s and coming back home with a Mary Quant this, a David Hicks that. When it came time to go to university, Urquiola decided that her place was architecture school, first at the Polytechnic University of Madrid and then at the Polytechnic University of Milan, where she completed her design thesis — a felt carpet with a panel that connected to a home’s electricity source and telephone line so that you could plug, say, a table lamp and your phone into it — under the direction of legendary Italian industrial designer Achille Castiglioni.

Today, Urquiola has become a go-to when it comes to avant-garde product, hospitality and retail design, working with such blue-chip international furniture, fashion and hotel companies as Alessi, Baccarat, Salvatore Ferragamo, Kvadrat, Mandarin Oriental, Panerai, Rosenthal, W Hotels and Louis Vuitton, among many others. Her residential projects, meanwhile, though few and far between, stretch from such far-flung locations as Punta del Este, Uruguay, and Melbourne, Australia, to closer-to-home Udine, in northeastern Italy, where she designed the two-story, largely open-plan glass-and-cedar home of Patrizia Moroso, creative director of the family-owned design company that bears her last name.

Over the course of a long-term and highly productive collaboration spanning some 20 years, Urquiola has created dozens and dozens of Moroso-branded products. A chair from her 2001 Fjord line of seating, tables and poufs for the company sits in the collection of New York’s Museum of Modern Art, and Moroso debuted (love me) Tender, her modular sofa system upholstered in jersey, during Milan’s Salone Internazionale del Mobile in April of 2014.

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The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Arguably the world’s most ubiquitous man-made material, plastic has impacted nearly every industry. In contemporary spaces, new and vintage plastic furniture is quite popular and its use pairs well with a range of design styles.

From the Italian lighting artisans at Fontana Arte to venturesome Scandinavian modernists such as Verner Panton, who created groundbreaking interiors as much as he did seating — see his revolutionary Panton chair — to contemporary multidisciplinary artists like Faye Toogood, furniture designers have been pushing the boundaries of plastic forever.

When The Graduate's Mr. McGuire proclaimed, “There’s a great future in plastics,” it was more than a laugh line. The iconic quote is an allusion both to society’s reliance on and its love affair with plastic. Before the material became an integral part of our lives — used in everything from clothing to storage to beauty and beyond — people relied on earthly elements for manufacturing, a process as time-consuming as it was costly.

Soon after American inventor John Wesley Hyatt created celluloid, which could mimic luxury products like tortoiseshell and ivory, production hit fever pitch, and the floodgates opened for others to explore plastic’s full potential. The material altered the history of design — mid-century modern legends Charles and Ray Eames, Joe Colombo and Eero Saarinen regularly experimented with plastics in the development of tables and chairs, and today plastic furnishings and decorative objects are seen as often indoors as they are outside.

Find vintage plastic lounge chairs, outdoor furniture, lighting and more on 1stDibs.