Vitsoe Shelving

German industrial designer Dieter Rams is revered for the pared-down, intuitive electronics and consumer goods he created for Braun — where he worked from 1955 to 1997, most of that time as chief design officer — and his timeless furniture for Vitsœ, a company with which he continues to collaborate today.

Less well known are Rams’s longstanding focus on sustainability and uneasy relationship with contemporary technology, even as Silicon Valley designers like Apple’s Jonathan Ive follow in his rational footsteps.

During Germany’s postwar rebuilding period, Rams and his team of designers at Braun, inspired by the Bauhaus and the Ulm School of Design, focused on extreme simplicity and usability while conceiving products with a modern, forward-looking appearance.

Among Rams’s most iconic designs is the SK 4 phonograph and radio, created in 1956, which had a compact white metal case topped by a revolutionary-at-the-time transparent Plexiglas lid that revealed simple gray controls inside (it was nicknamed Snow White’s Coffin). But it is the T3 portable radio, from 1958, that gets design aficionados most excited today: A white rectangular box with a perforated square for the speaker and a circular-dial control, it bears an unmistakable resemblance to Apple’s original iPod. (Many people also note that the iPhone’s calculator app looks remarkably similar to the Braun ET 66 calculator, with its circular color-coded buttons.)

In the late 1970s, Rams laid out his widely studied 10 principles for good design: It is innovative, makes a product useful, is aesthetic, makes a product understandable, is unobtrusive, is honest, is long lasting, is thorough down to the last detail, is environmentally friendly and is as little design as possible.

One of Rams’s principles that hasn’t translated to our contemporary era is his emphasis on longevity. “The time of thoughtless design and thoughtless consumption is over,” he said in 1976, stressing the need to conserve natural resources — even as he was busy designing plastic products.

Rams has also expressed reservations about how electronics have evolved in recent decades from tools for improving life to time-sucking obsessions. “Every time he crosses a street and sees people glued to their phones, he just can’t conceive of how we got to this point,” says filmmaker Gary Hustwit, whose feature-length documentary on Rams debuted in 2018. “I think he’s a little bit saddened by all this work they did in the fifties and sixties, which had a very idealistic point of view, being a stepping stone to where we are now, and the current lust for technology.”

If digital devices sometimes seem to be making life more complicated, Rams’s precept remains the same as always: “Back to purity, back to simplicity.”

Find vintage Dieter Rams 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.