Eero Aarnio Ball Chair for Adelta, 1980s

When Eero Aarnio's unapologetically sculptural Ball chair (or Globe chair) debuted at the 1966 International Furniture Fair in Cologne, buyers from 30 countries placed orders for their homes. Celebrities like Sammy Davis Jr. and Grace Kelly were among the early purchasers, as were royal figures like the shah of Iran.

A German news broadcast featured the futuristic Ball chair — an inviting molded-fiberglass orb, hollowed out to house a foam-filled fabric seat, affixed to a disk-shaped aluminum base — while a New York Times reporter’s witty dispatch from the fair suggested that the seating on display was “designed more for laughs than for comfort.”

Laughable or not, the distinctive chair brought Aarnio (b. 1932), a Finnish interior designer and furniture maker, instant commercial success, even as it rattled the modern design world.

A precursor to his aesthetically similar Bubble chair, it resulted in Aarnio being forever associated with 1960s Pop art and space fever. And indeed, the brightly colored piece’s sleek pod-like shape seems tailored for sci-fi epics. Nevertheless, Aarnio has stated, “I had no intention to create either ‘pop’ or ‘space-age’ design — as many people label my work. . . . My intention was purely functional, to create the most practical form for this new material.”

After drafting a modest sketch of the Ball chair in 1963, Aarnio was uncertain about sharing the idea with furniture companies. By then, he had his own firm in Helsinki and numerous prizes from design competitions. But he was pivoting from the natural materials traditionally associated with Scandinavian furniture, working instead like Verner Panton, with synthetics and exploring playful but utilitarian forms.

Aarnio feared that big furniture firms wouldn’t embrace the otherworldly Ball chair concept, so he spent several weekends in an old elementary school’s woodshop, hand-building the first prototype from plywood and water-soaked newspaper. A subsequent version, made from fiberglass and upholstered with gray fabric that Aarnio painted red, was far sturdier, and Asko, where he was freelancing at the time, began manufacturing the design.

Today, Eero Aarnio Originals makes the Ball chair, and it’s featured in movies, magazines and museums all over the planet, even as it appears to have arrived from another solar system.

“I always look ahead, never back,” Finnish design legend Eero Aarnio has been quoted as saying. A leading innovator of modern furniture design, Aarnio has long embraced a bold, playful, confident and colorful style several steps ahead of his time.

For his 1954 entrance test for the Institute of Industrial Arts in Helsinki, Aarnio created a whimsical painting of a man reading a newspaper in a red, curved chair whose silhouette foreshadowed Aarnio’s Ball chair of 1963. That spherical seat skyrocketed him to design fame, and decades later, it is still recognized as one of the world’s most futuristic designs.

Born in 1932 to a house painter and a seamstress, Aarnio has always had a cheerful disposition and an independent spirit. He went his own way early on: After just two years at Asko, the big Scandinavian furniture company that originally produced his Ball chair, Aarnio established his own studio in 1962.

Over the next decade, the young visionary made an indelible mark on the world. Open-minded and entrepreneurial, Aarnio embraced the aesthetics, materials and technologies of the Swinging Sixties, working with a new generation of plastics and molding them into fluid, organically shaped, brightly hued forms.

Introduced at the 1966 Cologne Furniture Fair, the pod-like fiberglass Ball chair soon adorned the homes of movie stars and royalty, graced magazine covers around the world and was featured in films and ads. The groundbreaking seat originally came in orange, white, black, yellow and red and could be ordered with a telephone installed in it. Yet this designer of the future, as he was known in the 1960s, has always insisted that he didn’t deliberately seek to be associated with the decade’s sci-fi aesthetic.

“I had no intention to create either pop or Space Age design — as many people label my work,” Aarnio declares in one of the essays included in Eero Aarnio — Designer of Colour and Joy, a book jointly created by the Design Museum and publisher WSOY to accompany 2016’s “Eero Aarnio” exhibition.

The show featured a number of Aarnio’s objects, including his iconic Ball, Pastil (1967), Bubble (1968), Tomato (1971) and Pony (1973) chairs. These were joined by lesser-known seating and other objects like the rattan Juttujakkara, or mushroom, stool (1960); the sculptural Double Bubble lamp (2000), with which Aarnio first explored the possibilities of rotation-cast plastic; and the three-legged Rocket (1995) and Baby Rocket (2006) stools, both parts of a collection produced by Artek after Tom Dixon, the company’s creative director from 2004 to 2009, discovered the original piece in Aarnio’s kitchen.

“Aarnio expanded the whole idea of what constitutes furniture,” explained Suvi Saloniemi, the Design Museum’s chief curator. “His significance as a designer is crystallized in the liberation of form that he has introduced by discovering the properties of plastic as the material of a designer. His furniture is sculpture-like and eye-catching, but the pieces are always utilitarian at the same time.”

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