{"id":346088,"date":"2020-09-04T12:44:55","date_gmt":"2020-09-04T16:44:55","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=346088"},"modified":"2024-04-05T17:06:34","modified_gmt":"2024-04-05T21:06:34","slug":"eero-aarnio-ball-chair","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/eero-aarnio-ball-chair\/","title":{"rendered":"The Ball Chair, Eero Aarnio\u2019s Space Age Masterpiece, Was Almost Never Made"},"content":{"rendered":"\n
\"Fran\u00e7oise
Actress Fran\u00e7oise Dorl\u00e9ac sits in an Eero Aarnio Ball chair<\/a> in this image promoting the 1967 film Billion Dollar Brain<\/em>, directed by Ken Russell.<\/figcaption><\/figure>\n\n\n\n

The Germans call it literally the \u201ctime spirit,\u201d the zeitgeist, and it is a curious creature, manifesting in a moment commonalities of thought and image from the least likely sources. Take Eero Aarnio\u2019s Ball chair<\/a>. Design scholars consider it one of the most iconic objects of the 1960s<\/a>, an expression of the new Pop<\/a> aesthetic in design and an emblem of the Space Age<\/a>.<\/p>\n\n\n\n

Yet the Helsinki-based Aarnio<\/a> wasn\u2019t thinking about either when he designed his groundbreaking seat<\/a>. Instead, as he explained to numerous interviewers over the years, he, like many ambitious young designers of that era, was fascinated by the potential of fiberglass<\/a> as a material in furniture design. Its strength, malleability, glossy smooth finish and ability to hold vivid hues made it incredibly compelling.<\/p>\n\n\n\n

Until then, however, experimenting with the material, invented in the 1930s, had been cost prohibitive because of international patents, which had finally expired when Aarnio got ahold of it.<\/p>\n\n\n\n

\"Aarnio's
Aarnio’s original 1963 sketch of the Ball chair. Photo courtesy of the Design Museum, Helsinki<\/figcaption><\/figure>\n\n\n\n

What shape best suited this material? A curving form is what Aarnio and others, like Verner Panton<\/a>, whose cantilevered Panton chair<\/a> is itself an icon<\/a>, concluded. But only Aarnio dared to create a full sphere, a chair as a room. It was an idea he had been mulling since he was a design student. And he was determined that it would be a showstopper. <\/p>\n\n\n\n

Considering how seamless a form the Ball chair is, you might think it was first fabricated in some high-tech factory. But its production was strictly DIY. Aarnio \u2014 having only recently gone out on his own as a designer after working for two of Finland<\/a>\u2019s most acclaimed furniture designers, Ilmari Tapiovaara<\/a> and Antti Nurmesniemi<\/a> \u2014 didn\u2019t have a workshop in which to make such a chair.<\/p>\n\n\n\n

There was a craft room, however, in the elementary school where his father-in-law was a teacher. It was about an hour-and-a-half drive from his home and studio, but in late 1962, Aarnio traveled there and back each weeknight and stayed with his in-laws on weekends, so he and his brother-in-law could work on the chair together. <\/p>\n\n\n\n

\"Production
Production of the Ball chair’s fiberglass shell at the Artekno factory in Helsinki. Photo by Colombo-Kokkonen, courtesy of the Design Museum, Helsinki<\/figcaption><\/figure>\n\n\n\n

It might as well have been a craft project, as they had to apply layers of wet paper by hand to a plywood mold to create the shell before laminating the exterior surface with fiberglass. According to Aarnio, when the chair first emerged from the mold, \u201cit looked like a deformed potato.\u201d<\/p>\n\n\n\n

The demoralized designer considered applying more layers of fiberglass to reinforce the form, but he knew that would make the chair extremely heavy and too expensive to ship. After briefly despairing \u2014 his wife had to urge him on \u2014 he realized he could stabilize the structure by adding a metal ring to the ball\u2019s aperature.<\/p>\n\n\n\n

Once he had a perfect shell, he took it to an upholsterer<\/a>, who outfitted the interior with inviting cushioning. (Later models even featured built-in stereo speakers and telephones.) By the middle of January 1963, Aarnio had a striking white prototype with black upholstery.<\/p>\n\n\n\n

\"black<\/a>
The Ball chair’s prototype had a white shell and black upholstery, a classic combination that is still in production<\/a>.<\/figcaption><\/figure>\n\n\n\n

Few thought the piece a showstopper, however. While he was working on the chair, Aarnio had shown drawings of it to a representative of a Finnish furniture company, and when the executives saw the prototype, they passed on the idea of merchandising it.<\/p>\n\n\n\n

A frustrated Aarnio then had the idea of proposing it as a new marketing vehicle for Coca-Cola and the company’s \u201cThings go better with Coke campaign.\u201d He painted the shell red, glued the Coca-Cola logo on its back and had his attractive wife pose in the chair dressed all in black drinking a Coke from a bottle with a straw.<\/p>\n\n\n\n

He took photos and sent them to a representative of the company, who was enthusiastic enough about the idea to pass the images on to company headquarters. When Aarnio finally received a letter from the Coca-Cola powers that be, it was to demand that he cease and desist in using their logo! <\/p>\n\n\n\n

Happily for design lovers, this Finnish designer was a determined young man. In 1965, with little left to lose, he pitched the chair to Asko<\/a>, one of Scandinavia\u2019s biggest manufacturers<\/a>, with a thriving business producing tasteful but generic modern<\/a> furnishings.<\/p>\n\n\n

\n
\"orange
The Ball chair produced by Asko originally came in orange, white, black, yellow and red and could be special ordered with a telephone installed in it. Photo courtesy of Eero Aarnio’s archive and the Design Museum, Helsinki<\/figcaption><\/figure><\/div>\n\n\n

As it happened, Asko was keen to move into more cutting-edge design. The Ball chair was just what the furniture division was looking for. In less than a year, Asko had produced six of the chairs in brilliant Pop colors and placed them on display in its booth at the Cologne Furniture Fair under the banner \u201cGreat things are coming from Asko.\u201d<\/p>\n\n\n\n

The first visitors to see the display were a pair of Italians, who immediately placed an order for six. (An Italian company soon became the chair\u2019s European manufacturer for Asko.) By the end of fair, a week later, Asko had orders from 30 different countries. <\/p>\n\n\n\n

Today, the Ball chair embodies the mod culture of the 1960s, but it took the Scandinavian<\/a> equivalent of Sears to make it a star. Such are the curious workings of the zeitgeist. <\/p>\n\n\n\n

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\n\t\t\t\t\"Eero\t\t\t<\/div>\n\t\t\t
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\n\t\t\t\t\t\tEero Aarnio's Ball Chair\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tShop All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"

The Germans call it literally the \u201ctime spirit,\u201d the zeitgeist, and it is a curious creature, manifesting in a moment commonalities of thought and image from the least likely sources. Take Eero Aarnio\u2019s Ball chair. Design scholars consider it one of the most iconic objects of the 1960s, an expression of the new Pop aesthetic 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