Florence Knoll Dining Table Plus Two Bertoia Side Chairs

When Hans and Florence Knoll invited Italian-American artist Harry Bertoia (1915–78) to move from California to Pennsylvania in 1950 to work with their new design firm, they did not ask him to develop any specific pieces but instead to investigate whatever interested him. That open-ended experimentation led to the 1952 Bertoia Side chair, which was fitted with a fluid metal lattice that gave the seating an ethereal quality. Bertoia considered his collection of chairs created for Knoll Associates to be “mainly made of air, like sculpture,” as he bent steel wire into striking lightweight forms.

While these chairs were innovative in their use of industrial materials, they also had a progressive approach to the ergonomics of seating. Bertoia had previously collaborated with Charles and Ray Eames on molded plywood chairs — what would become the LCW (Lounge Chair Wood) — yet was miffed by the lack of credit for his work. He went on to take a job in engineering for the human body at the Point Loma Naval Electrical Lab in La Jolla, California, during which he created metal sculptures in his spare time. The opportunity from Knoll, another of his former classmates at the famed Cranbrook Academy of Art in Michigan — Bertoia met the Eameses and Knoll and later taught metalworking there — gave him the time and space to devote himself to his own ideas independently. And, as with all Knoll designers, he would get named recognition for his designs.

In a garage in Bally, Pennsylvania, he set up his metal shop and developed ideas for the welded steel grids he would use in his seating. At the time, most chairs were constructed from wood; Bertoia saw the potential for graceful and comfortable designs in the strong material of metal. Along with the Bertoia Side chair, he created the Diamond chair with a diamond pattern in its metalwork and the undulating Asymmetric Chaise (which was too complicated to manufacture until 2005), all with the transparent volume that gives his metal furniture a sense of floating.

Although he would shift to making art rather than furniture, Bertoia still worked on a number of sculptural and architectural designs for the Knoll Planning Unit in the years that followed. Knoll, Inc. has produced the Bertoia Side chair since it was introduced, with its durable materials and optional upholstery or seat covers that can be snapped on and off, making it popular for indoor and outdoor seating.

Architect, furniture designer, interior designer, entrepreneur — Florence Knoll had a subtle but profound influence on the course of mid-century American modernism. Dedicated to functionality and organization, and never flamboyant, Knoll shaped the ethos of the postwar business world with her skillfully realized office plans and polished, efficient designs for sofas, credenzas, desks and other furnishings.

Knoll had perhaps the most thorough design education of any of her peers. Florence Schust was orphaned at age 12, and her guardian sent her to Kingswood, a girl’s boarding school that is part of the Cranbrook Educational Community in suburban Detroit. Her interest in design brought her to the attention of Eliel Saarinen, the Finnish architect and head of the Cranbrook Academy of Art.

Saarinen and his wife took the talented child under their wing, and she became close to their son, the future architect Eero Saarinen. While a student at the academy, Florence befriended artist-designer Harry Bertoia and Charles and Ray Eames. Later, she studied under three of the Bauhaus masters who emigrated to the United States. She worked as an apprentice in the Boston architectural offices of Walter Gropius and Marcel Breuer; Ludwig Mies van der Rohe taught her at the Illinois Institute of Technology.

In 1941, she met Hans Knoll, whose eponymous furniture company was just getting off the ground. They married in 1946, and her design sense and his business skills soon made Knoll Inc. a leading firm in its field. Florence signed up the younger Saarinen as a designer, and would develop pieces by Bertoia, Mies and the artist Isamu Noguchi.

Florence Knoll's main work came as head of the Knoll Planning Group, designing custom office interiors for clients such as IBM and CBS. The furniture she created for these spaces reflects her Bauhaus training: the pieces are pure functional design, exactingly built; their only ornament from the materials, such as wood and marble. Her innovations — the oval conference table, for example, conceived as a way to ensure clear sightlines among all seated at a meeting — were always in the service of practicality.

Since her retirement in 1965, Knoll received the National Medal of Arts, among other awards; in 2004 the Philadelphia Museum of Art mounted the exhibition “Florence Knoll: Defining Modern” — well deserved accolades for a strong, successful design and business pioneer. As demonstrated on these pages, the simplicity of Knoll’s furniture is her work’s great virtue: they fit into any interior design scheme.

Find vintage Florence Knoll sofas, benches, armchairs and other furniture on 1stDibs.