Artek Color Ring

An architect and designer, Alvar Aalto deserves an immense share of the credit for bringing Scandinavian modernism and Nordic design to a prominent place in the global arena. In both his buildings and his vintage furniture — which ranges from chairs, stools, tables and lighting to table- and glassware — Aalto’s sensitivity to the natural world and to organic forms and materials tempered the hardness of rationalist design.

Relatively few Aalto buildings exist outside Finland. (Just four exist in the United States, and only one — the sinuous 1945 Baker House dormitory at M.I.T. — is easily visited.) International attention came to Aalto, whose surname translates to English as “wave,” primarily through his furnishings.

Instead of the tubular metal framing favored by the Bauhaus designers and Le Corbusier, Aalto insisted on wood. His aesthetic is best represented by the Paimio armchair, developed with his wife, Aino Aalto, in 1930 as part of the overall design of a Finnish tuberculosis sanatorium.

Comfortable, yet light enough to be easily moved by patients, the Paimio chair’s frame is composed of two laminated birch loops; the seat and back are formed from a single sheet of plywood that scrolls under the headrest and beneath the knees, creating a sort of pillow effect. Aalto’s use of plywood had an enormous influence on Charles and Ray Eames, Arne Jacobsen, Marcel Breuer and others who later came to the material.

Concerned with keeping up standards of quality in the production of his designs, Aalto formed the still-extant company Artek in 1935, along with Aino, whose glass designs were made by the firm. In the latter medium, in 1936 the Aaltos together created the iconic, undulating Savoy vase, so-called for the luxe Helsinki restaurant for which the piece was designed.

Artek also produced Aalto pendants and other lighting designs, many of which — such as the Angel’s Wing floor lamp and the Beehive pendant — incorporate a signature Aalto detail: shades made of concentric enameled-metal rings graduated down in diameter. The effect of the technique is essential Alvar Aalto: at once precise, simple, and somehow poetic.

Find a collection of vintage Alvar Aalto stools, vases, dining tables and other furniture on 1stDibs.

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by legendary manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.