Tulip Armchair by Eero Saarinen for Knoll

Eero Saarinen (1910-1961) was a Finnish-born American industrial designer and architect who helped pioneer the neo-futurism style and redefining modernism in midcentury America. Son to influential architect Eliel Saarinen (1873-1950) and sculpturist and textile designer Lola Gesellius Saarinen (1879-1968), Saarinen from an early age exhibited a strong interest in design and architecture.  At the age of thirteen, he and his family emigrated to America, where he went on to study sculpture and furniture design at the Bauhaus-inspired Cranbrook Academy of Art in Michigan. (His father taught there as well.) There he befriended future design luminaries Charles Eames (1907–1978) and Florence Knoll (née Schust, b. 1917). In 1929, he continued his education at Paris’s Académie de la Grande Chaumière, and subsequently at Yale University, graduating with a degree in architecture in 1934.

In 1936, Saarinen joined his father’s architectural practice, which was renamed Eero Saarinen & Associates after his father passed in 1950. His well-known projects include the Gateway Arch in St. Louis, Missouri (1947); the General Motors Technical Center in Warren, Michigan (1956); the main terminal of Dulles International Airport in Washington, D.C. (1958); and the TWA Terminal at Kennedy International Airport (1962).

Beyond Saarinen’s many architectural accomplishments, he also maintained a successful career in furniture design. In 1940, working in collaboration with Charles Eames, he designed a collection of plywood chairs, which won first prize in all categories for the Organic Design in Home Furnishings competition sponsored by the Museum of Modern Art in New York. Though the chairs never made it into production, Saarinen designed many other iconic pieces for friends Hans and Florence Knoll, including the Grasshopper Lounge Chair and Ottoman (1946), Womb Chair and Ottoman (1948), and the Tulip Collection (1956)—arguably his most famous series which featured side chairs  and armchairs , as well as coffee , dining , and side tables .

Saarinen died at the age of 51 during surgery to remove a brain tumor. His business partners Kevin Roche and John Dinkeloo at Saarinen & Associates completed his ten remaining projects.

Designing in postwar America, Saarinen is known for introducing curvilinear and organically-inspired forms into both his architecture and industrial designs. Over the course of his career, Saarinen received many awards and accolades, including becoming a fellow of the American Institute of Architecture in 1952 and winning the AIA Gold Medal posthumously in 1962. Saarinen’s designs have been featured in exhibitions around the world, including the National Building Museum in Washington D.C. and the Museum of Finnish Architecture in New York.

Hans Knoll was born in 1914 in Stuttgart, Germany, into the successful manufacturing family behind Walter Knoll & Co. Early-20th-century Germany was an epicenter of modernist design theory—most notably expressed in the products and practices of the Deutscher Werkbund association of artists, architects, designers, and industrialists, as well as the influential Bauhaus school—which advocated for design rooted in the principles of rationality, functionalism, and mass production. This milieu had a profound influence on Hans and inspired him to produce furniture for the new age. In 1937, after a stint in London, he moved to the United States and brought his modernist vision with him.

Florence Knoll (neé Schust) was born in Saginaw, Michigan in 1917 and from an early age exhibited a strong interest in architecture. After graduating from the Kingswood School for Girls in 1934, she moved across campus to the newly formed, Bauhaus-inspired Cranbrook Academy of Art to study architecture under recent émigré, Finnish architect Eliel Saarinen. There she befriended future design luminaries Charles Eames and Eero Saarinen. She went on to Columbia University’s School of Architecture to study town planning. In 1937, she apprenticed under former-Bauhaus professors Walter Gropius and Marcel Breuer in Cambridge, Massachusetts, and a few years later, enrolled at the Illinois Institute of Technology, where German architect Ludwig Mies van der Rohe became a life-long mentor to her.

In 1938, Hans Knoll established The Hans G. Knoll Furniture Company as a furniture exporter in a small space on East 72nd Street in New York City. As the company quickly grew, it evolved into a manufacturing business. In 1941, he opened his first plant in a former dance hall in East Greenville, Pennsylvania and hired Danish designer Jens Risom, who eventually helped him develop the first, original Knoll furniture designs. That same year, Hans met Florence on an interior design project and, recognizing her exceptional taste and eye, hired her to bring in business with architects and interior designers and, later, to provide in-house planning and interior design expertise for a growing corporate clientele. In 1946, Hans and Florence married and renamed the company Knoll Associates. That same year, the Knolls formally established the Planning Unit, solidifying the company’s role in the design of interior spaces. In 1951, Knoll International was launched as the German and French arms of Knoll, producing Knoll designs for the European market. Sadly, Hans died in a tragic car crash in 1955, but Florence remained actively involved until she retired in 1965.

Knoll’s signature pieces include Breuer’s Wassily Chair (1925), Mies van der Rohe’s Barcelona Chair (1929/1948), Harry Bertoia’s Diamond Chair (1952), Eero Saarinen’s Tulip Armchair (1957), as well as Florence‘s own furniture collection developed through the 1950s. Knoll’s impressive catalogue includes a who’s-who list of midcentury modern and contemporary design figures, including Jens Risom, Alexander Girard, George Nakashima, Isamu Noguchi, Richard Schultz, Warren Platner, Charles Pollock, Andrew Morrison & Bruce Hannah, Vignelli Associates, Richard Sapper, Maya Lin, Frank Gehry, and Rem Koolhaas. As of this writing, Knoll’s most recent collaboration is with David Adjaye, who designed the Washington Collection for Knoll and the Adjaye Collection for KnollTextiles. Today, the company is particularly focused on meeting the evolving needs of the 21st-century workplace.

In 2011, Knoll received the National Design Award for Corporate and Institutional Achievement from the Cooper Hewitt, Smithsonian Design Museum in New York. The award recognized Knoll’s legacy in American modern design and the company’s commitment to promoting the relationship between good design and quality of life. Knoll designs can be found in the permanent design collections of institutions around the world, including more than 30 acquired by New York’s Museum of Modern Art.

* All images courtesy Knoll, Inc. The David Adjaye Skeleton Chair was photographed by Joshua McHugh.