Eero Saarinen x Charlotte Perriand Tokyo Tulip Table Homage

Finnish-American architect and furniture maker Eero Saarinen (1910–61) declared that he “wanted to clear up the slum of legs” crowded beneath tables. Enter his Pedestal collection, which Knoll launched in 1958. The collection included armchairs, stools and tables of various sizes all balanced on a single supporting leg.

Saarinen got his start in furniture as a student at Michigan’s Cranbrook Academy of Art, where his father, architect Eliel Saarinen, was director. Some of Eero’s earliest work was designing furniture for Kingswood, a Cranbrook school for girls that opened in 1931. The pieces included a table with four gathered legs in order to make room for both people and chairs’ legs.

At Cranbrook Academy, Saarinen met Florence Knoll, who would become a lifelong friend and professional partner, especially when she was leading the Knoll furniture company. He also met fellow designer Charles Eames, and — with support from Ray Eames — they created the molded plywood Organic chair, which placed first in the 1940 Organic Design in Home Furnishings competition organized by the Museum of Modern Art in New York. As with Saarinen’s future practice, the Organic chair was emblematic of a design approach that was informed by a consideration of the human body as well as the possibilities of new machine processes.

Although America’s involvement in World War II disrupted plans to manufacture the Organic chair, Saarinen continued to explore organic shapes in industrial design. His interest in using seamless plastic forms was clear with his Pedestal series, but the technology was not advanced enough for their stability. Instead, the Pedestal table and its accompanying Tulip armchairs and armless chairs comprised cast-aluminum bases. Each table, stool and chair was crafted with a single, tapered cylindrical leg that descends to a base that flares into a circle, giving the illusion of being one piece. Like his Gateway Arch in St. Louis, the series’ pieces appear to float, and although austere in silhouette, they reflect intense attention to engineering.

The Pedestal table was released with several additional options, including marble and wood veneer for its round and oval tops for dining, side and coffee tables. Because of their modest footprint on a room and streamlined design, these tables can harmonize with nearly any interior style. The design’s status as a mid-century modern classic has inspired numerous imitators, but Saarinen’s original Pedestal table — still manufactured by Knoll — maintains the grace and quality that distinguishes it from the rest.

A pioneer of modernism in France, Charlotte Perriand was one of the most influential figures in 20th-century design and architecture. In her long career, Perriand’s aesthetic grammar constantly evolved, moving from the tubular steel furniture of the Machine Age to a lyrical naturalism that is reflected in her enduring designs for chairs, sconces, daybeds and other works.

Perriand’s studies at the Ecole de L'Union Centrale de Arts Decoratifs left her enthralled by Charles-Édouard "Le Corbusier" Jeanneret and his vision of a new, rational architecture. In 1924, she joined his studio to design furniture along with Pierre Jeanneret, Corbu’s partner and cousin.

Together, they devised some of the finest examples of early modernist furniture, including two icons of the era: the B306 chaise — later renamed the LC4 — with its swooping frame and hide upholstery; and the chunky, steel-framed Grand Confort club chair. Both pieces were part of the LC line, which saw the trio of designers carrying out bold experiments with tubular chromed steel, just as architect and Bauhaus faculty member Marcel Breuer had executed with his cantilever Cesca chair around the same time. (Furniture created by Perriand, Le Corbusier and Pierre Jeanneret was originally produced by Austrian manufacturer Thonet but Italian firm Cassina acquired the production and sales rights to their works in 1964.) 

Collaborative design produced another Perriand triumph: in the early 1950s, she and Jean Prouvé were engaged to produce desks, worktables and bookcases for the University of Paris. The bookcases — slim pine shelves with brightly painted aluminum dividers — are minimalist mid-century masterpieces.

By the end of that decade, Perriand’s aesthetic had changed completely from the earliest days of her career. She produced a series of furniture in ebonized wood: chairs with gentle S-curve legs, front and back; tables with elliptical tops. In the 1960s, Perriand pushed the boundaries of prefab to produce high-quality housing and furnishings at low cost for the French ski resort Les Arcs. She also adopted an almost rustic look at the time, designing simple chairs with dowel-cut frames and rush seats. 

Everything in Perriand’s oeuvre is beautiful, whether it’s the centerpiece of a décor or an accent, and her work is in every great design collection, public and private.

The vintage Charlotte Perriand furniture for sale on 1stDibs includes stools, coffee tables, case pieces, lighting and more.