AGL Table in Black top, Black base (as shown).
AGL Table in Black top, Chrome base (left).
Thoughtfully curated and carefully balanced, this range of Dining and Meeting offerings navigates the many moments of living when we gather around a
table—recognizing that the purpose may easily shift from sharing food to sharing ideas, from the leisurely to the long, from the elegant to the casual.
Leon Ransmeier’s newly commissioned table group draws insight from the aesthetic and efficient properties of aeronautic design. This influence extends to the name, an aviation acronym for "above ground level." A gracefully tapered edge invites the sitter, while optional power trays mounted at the perimeter reduce clutter and keep creativity flowing during collaborative meetings. Available in an array of sizes and finishes, AGL demonstrates Herman Miller’s commitment to extending the Collection with new designs that are beautiful, enduring, and purposeful.
AGL Table in Black top, Black base (as shown).
AGL Table in Black top, Chrome base (left).
Refined and confident, Mark Goetz’s Full Twist appears to have a frame formed from flowing ribbons of wood—an illusion produced by the union of carpentry craft and cutting-edge technology. This singular, sculpted wood band seamlessly attaches to the legs, forming both armrests and a slightly sloping back to provide easy comfort and natural support.
A clean-lined, solid-wood design featuring an upholstered seat, the chair is equally suited for dining and meeting functions in a workspace or at home. Full Twist is available in a complete range of woods and upholsteries, offering nearly limitless possibilities to complement any interior.
Fulll Twist Guest Chair in Epinglé/Fog from Ensemble Textiles Collection by Geiger Textiles, White Ash frame (as shown).
Full Twist Guest Chair in Black MCL leather, Light Brown Walnut frame (left).
The idea behind George Nelson’s Platform Bench—first made for his own New York office—was that having to sit on a slatted bench would discourage visitors from staying too long. But that didn’t work; people found it comfortable, and the landmark design became part of Nelson’s Basic Cabinet Series.
One of the most flexible units in the group, the multipurpose piece may function as a high base for deep and shallow cases, as a low table, or as extra seating in offices, public spaces, and homes. Available in ebonized wood or chrome legs, its clean lines reflect Nelson's insistence on “honest” design—making a visual statement that defines an object's purpose.
Nelson Platform Bench Wood Base shown in Maple seat, Ebony base.
In the 1940s, Charles and Ray Eames were fascinated by new shapes, materials, and techniques. Their focus was on plastics because the novel material could be molded into organic shapes—and do more with less.
The Eameses adapted their plywood molding techniques to produce plastic shells, while also perfecting another practice: the creation of a bent, welded wire base. The result was the first mass-produced, single-form seat and back shell. Soon after, their strong, lightweight chair out of bent wire also emerged. True to their design philosophy, the Eameses wanted materials to take center stage. Today, in keeping with their original intent, they still do.
Eames Molded Plastic Side Chair in White shell, Maple Dowel base; Eames Wire Chair with Chrome base (as shown).
Eames Molded Plastic Armchair Dowel Base in Sparrow shell, Ebony base (left).
While conceiving this design, Ronan and Erwan Bouroullec’s objective was to be as straightforward as possible, proposing a simple, delicate table that is simultaneously durable and strong. The result of their efforts—Central Table—emerged as a round, bistro-like surface that can gracefully coexist in a variety of environments at home, in a workspace, or set in rows on the terrace of a café. Small in stature and constructed for daily use, the Bouroullecs’ elegant round table comes in black, white, or polished aluminum options accompanied by a tripod base for stability and a measure of personality. Central also features a smart flip-top folding system to allow for quick, compact storage.
Central Table shown in Polished Aluminum finish.
This design is a natural progression of an idea that fascinated Charles and Ray Eames for years: how to create the curves needed to form a contoured seat and back in a one-piece shell. They first explored creating the shell in stamped metal before succeeding with molded plastic and then later in wire. Today’s three-dimensional wood veneer technology enables the original concept to be realized in wood for the first time. The chair’s plywood shell is accomplished in a single, vertically aligned piece that provides tactile comfort and formal beauty, a fitting tribute to the Eameses’ belief that every customer was their guest.
Eames Molded Wood Side Chair Wire Base shown in Santos Palisander shell, Black base.
Charles and Ray Eames combined form and function, strength and beauty in their range of table offerings. An array of options is available for every seating—an executive workspace, conference areas, a home office, or kitchen—and all feature the incomparable Eames look and touch.
Flexible and hardworking, the assortment of sizes, tops, shapes, and bases meets the needs of any space. Tops are rectangular, square, round, or oval in a variety of sizes. Finish options include laminate, veneer, and new stone selections. Universal, segmented, or contract bases form the foundations. The choices are seemingly endless, and each one is classically Eames.
Eames Table Segmented Base in Santos Palisander veneer top, Black column, Black base (as shown).
Eames Table Universal Base in Georgia Grey stone top, Black column, Black base (left).
By inventing the technique that allows lightweight plywood veneer to be molded into gently curved shapes, Charles and Ray Eames managed to give a hard material a soft appearance—and created an inviting seat of contoured comfort. Named the “Best Design of the 20th Century” by Time magazine, this classic dining chair offers the same enduring style as the Eameses’ lounge chairs, but with a straighter back that’s more suitably sized to work at the table. Available in several veneer options on either a chrome or black-finished base, the timeless, adaptable design sits just as comfortably in living and working settings as it does in dining.
Eames Molded Plywood Dining Chair Metal Base shown in Ebony veneer, Black base.
This is the basic expression of what a table should be: clean and elegant, versatile and resourceful. Designed by George Nelson to function in almost any setting, it balances everything from dining to working to relaxing with equal confidence. It similarly welcomes a variety of chair styles, pairing well with classic Eames offerings and modern designs.
This adaptable table comes in two laminate surfaces and three veneers, including walnut, white ash, and santos palisander. The rectilinear surface sits atop sturdy legs in trivalent chrome, white, or black, while various sizes set at dining height extend its flexibility even further.
Nelson X-Leg Table in White Ash veneer top, Trivalent Chrome base (as shown).
Nelson X-Leg Table in Walnut veneer top, Trivalent Chrome base (left).
For their Branca Chair, Sam Hecht and Kim Colin found inspiration in the way tree branches (“branca” in Italian) meet and branch off. In the same way, the back legs support the joints of the armrests, seat, and back so they seem to grow from one piece of wood. This creates a seamless look that contradicts the complexity of its production. The chair’s counterpart, the Branca Table, also presents a soft but inviting surface. Topped with lacquer and in a frame of solid ash, its legs are “sliced” to look delicate but remain strong. Together, the table and chairs meet the expectations of modern furnishings: comfortable, lightweight, versatile, and beautiful.
Branca Chair shown in Natural Waxed Ash; Table shown in White Lacquered top, Natural Waxed Ash base.
The Eames Aluminum Group Lounge Chair has offered an enduring silhouette since its first inception in 1958 as outdoor seating for industrialist J. Irwin Miller’s home. Supportive and sculptural, the lounge has a deep “sitting pocket” and aluminum frame and base that keep it comfortable and easy to move. In 1969, the Eameses extended the design by adding generously plush cushions, creating the Soft Pad line.
Simple lines, innovative materials, and suspension comfort have made the chairs popular choices for relaxing at home and at work. Both offer optional tilt swivel; a return to a 4-star base brings them back to the Eameses’ original intent.
Eames Soft Pad Management Chair in Luggage MCL Leather, Polished Aluminum frame and base (as shown).
Eames Soft Pad Management Chair in Ivory Leather, White frame and base (left).
Like the She Said Chair and Table, the name of Nitzan Cohen’s subtly curved stool draws its inspiration from an intense conversation between a woman and a man in a small Parisian bistro. A warm, graceful example of solid-wood carpentry at its finest, its distinctive silhouette pays tribute to Mattiazzi’s advanced digital technology: the backrest and long legs display a smooth geometry usually seen in plastic chairs. Soft and sophisticated, it fits comfortably at a work table or at a breakfast, cocktail, or café bar in any setting, formal or informal, at home or in the workplace.
She Said Stool shown in White Lacquered Beech.
Given his background in exhibition display, it’s no surprise that Bruce Burdick uses drama and beauty for a purpose. His Burdick Group Tables are a perfect example. Described by Burdick as “workbenches for executives,” the tables demonstrate his belief that desks should be designed with the same dedication to superlative performance as custom golf clubs or a high-performance automobile.
Distinctive and functional, the system uses modular components that are endlessly flexible. Built around an aluminum beam—the backbone of the design—the tables can be arranged in different configurations, allowing them to adapt as work, meeting, and dining spaces change.
Burdick Group Table in Glass and Georgia White Marble top, White column/ Polished Aluminum frame and base (as shown).
Burdick Group Table in Glass, Black column/ Polished Aluminum frame and base (left).
A man and a woman’s intense conversation inspired Nitzan Cohen’s line of masculine and feminine variations, He Said, She Said. His group, which includes chairs, stools, and tables, started with chairs: the subtle She Said and its self-assured counterpart, He Said. Created using Mattiazzi’s state-of-the-art wood-cutting capabilities and centuries-old joinery techniques, the seats represent a marriage of high and low tech. Comfortable and stackable, they are available in an array of wood options and upholstery colors. The designs sit beautifully anywhere, from restaurants to offices to the home, whether they are together—or confidently alone and apart.
She Said Table shown in Glass top, Natural Ash base; She Said Chair shown in Natural Ash.