Nearly all of the furniture in the Ohio State University’s Knowlton Hall is on wheels. The mobility of pieces like Herman Miller’s Caper Chair encourages spontaneous collaboration throughout the building, which serves as both an architectural marvel and a learning space for students of the university’s Austin E. Knowlton School of Architecture. Photo: Ian Allen
Vintage and contemporary designs merge in this eclectic New York City home studio. Photo: Nick Keppol
Architecture and design firm Gensler’s downtown Chicago office in the Louis Sullivan Building stays true to the look and style of the iconic architect’s work. An open work plan and light, agile seating encourages flexibility and collaboration. Photo: Gensler
A view of London from the contemporary digs of Actis, made more comfortable thanks to the Aeron Chair. Photo: Gensler
A pair of purple Eames lounge chairs and a Central Park view from the Manhattan penthouse of architects Billie Tsien and Tod Williams. Photo: Bryan Derballa
The New York skyline from a corner conference room of the law firm Brown Rudnick. Photo: Gensler
Tired of your desk? At Autodesk you can pull up a SAYL Chair and spend some time working in a community lounge. Photo: Gensler
A classic Herman Miller coffee table and lounge chair make an appearance in this Paris home, once a convent in the heart of the city. Photo: Louis Desrosier
Matching is overrated; an Eames chair with a wood dowel base sits among an artful selection of several designs. Photo: Amy Azzarito
A beautifully renovated home nestled in the wooded hills of Marin County, California, complete with an Eames Lounge and Ottoman. Photo: Bruce Damonte
Look closely, notice anything? Artist Liu Bolin hides in the open, camouflaging himself so he disappears into an environment. Photo: Liu Bolin
Heights don’t bother photographer Alexander Remnev, who routinely climbs tall buildings without a harness to snap dizzying photos like this one. Photo: Alexander Remnev
A young Buddhist monk demonstrates his agility in Hunan Province, China. Photo: Steve McCurry
The stacked ice bubbles of Abraham Lake in Alberta, Canada, are a rare phenomenon caused by methane gas naturally released by the lake’s plant life. Photo: Chip Phillips
The world’s smallest deer, the pudu, is just 16 inches tall and weighs 20 pounds. This baby, only one month old, is even smaller. Photo: Jose Luis Saavedra
This runaway tent was able to take flight thanks to some creative photography and a bit of digital manipulation. Photo: Laurent Chehere
Only on close inspection does this swirling, iridescent sphere reveal itself to be an ordinary soap bubble. Photo: Jason Tozer
Every morning, the giraffes of this Kenyan estate help themselves to a table of breakfast treats. Photo: The Safari Collection
The last, foggy remains of night cling to the trees high up in the Polish mountains. Photo: Boguslaw Strempel
New, reusable packaging holds the Y-Towers from their manufacture offsite until they’re used on the SAYL Chair assembly line, eliminating handling steps and material waste.
Advancements come in all shapes and sizes. Some are big ideas, like the suspension material of the Aeron Chair that replaced the foam and fabric typical to so many office chairs. Others are smaller advancements, resulting in an improved process, or, in this case, a better way to build a chair.
A recent advancement on our SAYL Chair assembly line is saving time, money, and nearly 25,000 pounds of packaging materials a year. How? By developing reusable packaging, we’ve eliminated handling steps and material waste. Previously, the Y-Towers of the SAYL Chair were bundled, boxed, wrapped, and shipped to the facility with the assembly line. Upon arrival, the towers were unboxed, placed on a cart, and moved to the line. Now the Y-Towers simply arrive ready for assembly.
It’s part of our culture to look for advancements, whether they’re the Aeron Chair or a new way to package parts.
When Ray Eames entered this textile design in a 1947 competition at New York’s Museum of Modern Art, she titled the print “Brown and Black Free Shapes on a White Ground.”
One might find the title a bit uninspiring, in light of the whimsical, other worldly creatures vacillating across the fabric. But considering Ray’s background in Expressionist painting—she trained with Hans Hofmann—the title makes perfect sense. Ray would have been more concerned with the basics of shape, color, and scale. And, perhaps, she would have expected others to be more impressed with her execution of these elements than with the vibrancy and character of her “Sea Things”— the name by which the textile is commonly known.
Whether you are compelled by the brilliance of her abstract composition or by her fanciful creatures, one thing is clear. “Sea Things” is yet another example of the creative, playful, and colorful mind of Ray Eames.
Herman Miller Collection by Linda Powell, 1989 For more than 15 years, Linda Powell helped define the visual identity of Herman Miller as a member of the company’s graphic design team. Her creative work, like this poster promoting an exhibition of classic Herman Miller designs, garnered Powell multiple awards and prompted the Cooper-Hewitt Design Museum to include her work in its collection. A passionate educator, she went on to work with aspiring graphic designers as a professor at Ferris State University in Big Rapids, Michigan.
Herman Miller Fabric Collection by George Tscherny, 1953 When George Tscherny joined George Nelson & Associates in 1953, he was an assistant and the low man in the office. A few years later, Tscherny was named the head of the graphics department and given a staff of his own. A talented designer, Tscherny proved himself by challenging commonly held notions of advertising furniture. This ad, for the Herman Miller Fabric Collection, is one noted example and illustrates Tscherny’s belief that, “Design communicates best when reduced to its essential elements.”
Herman Miller Advertisement by Don Ervin, 1961 Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.
Herman Miller Advertisement by Don Ervin, 1961 Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.
Chadwick Modular Seating by Steve Frykholm, 1981 Straight lines, neat arcs, wandering serpentines, loops, full circles—with just five simple components, the Chadwick Modular Seating could be arranged in nearly any shape. A fact made evident in this promotional poster designed by Steve Frykholm, Herman Miller’s first internal graphic designer.
Sketch by Bill Stumpf, 1989 Parodying the kinds of uncomfortable chairs he spent his career improving, designer Bill Stumpf doodled this sketch on the back of a napkin. Quickly snatched up by graphic designer Steve Frykholm, the drawing became a poster. Stumpf was widely recognized as a pioneer of ergonomic design and a long-time collaborator with Herman Miller. As co-creator of the Aeron Chair, he helped transform the very concept of sitting.
Sweet Corn by Steve Frykholm, 1970 Steve Frykholm joined Herman Miller in 1970 as the company’s first internal graphic designer. Two weeks into the job, he was asked by an executive to make a poster announcing the company’s annual employee picnic. In a moment of inspiration, Frykholm put an ear of corn in his mouth and asked a colleague to make a quick sketch. From that, he created this poster, which won an American Institute of Graphic Arts (AIGA) award.
Action Office 2 by John Massey, 1969 "A design must satisfy the problem it was conceived to solve,” explains graphic designer John Massey, “but can achieve a life of its own when the creator imbues it with a spirit.” This poster, which uses color and form to express the optimism and flexibility of an innovative product, is one such example. Massey received the American Institute of Graphic Arts (AIGA) medal in 1994.
Eames Hang-It-All by Craig Redman and Karl Maier Despite living in different parts of the world, design team Craig & Karl collaborate daily on works recognized for their bold yet thoughtful nature. For Then X Ten, the duo opted to create a split portrait of Charles and Ray, explaining, “They were a creative force together—Charles in a bowtie and Ray with a ribbon in her hair. The Hang-It-All is integrated into the artwork, and while you don't see the whole product, you know what it is.”
Eames Molded Plywood Chair by Eda Akaltun Under the careful eye of Eda Akaltun, old photos and other ephemera become detailed collages that invoke a sense of nostalgia. While working on this piece, Akaltun found inspiration in the playful nature that Charles and Ray Eames applied to design. “Together they created the Molded Plywood Chair, which works well in any environment.” As Akaltun explains, “The four interconnected rooms depict the chair in different contexts and, I hope, capture the couple’s playful spirit.”
Nelson Coconut Chair by Jonathan Zawada Employing a range of approaches, Jonathan Zawada is a graphic designer whose style is ever evolving. Finding his inspiration in the “simple beauty” of the Coconut Chair, Zawada explains, “I wanted my design to draw attention to that form. I also wanted to pay homage to the directness and simplicity of Herman Miller posters from the past, while updating the visual language for an audience that lives in a world of emoticons.”
Eames Lounge and Ottoman by Petra Mrzyk & Jean-François Moriceau Designers Mrzyk & Moriceau are becoming notorious for their mischievous black-and-white line drawings. With amorphous figures stacked atop one another and sandwiched between two Eames Lounge Chairs, their Then X Ten poster design certainly lives up to their reputation. When asked for explanation, the artists declined, stating, “We don't like to explain our work, we prefer to let people imagine what they want.”
Herman Miller Initials by Emily Forgot Emily Forgot (the curious moniker of graphic artist Emily Alston) embraces the odd, the everyday, and occasionally the surreal to create images that surprise. Forgot’s idea for Then X Ten began with typography: “I wanted to create something familiar and nostalgic, but with letters at its core. The final design is subtle: The 'HM' is made of office panels and inhabited by surreal elements, office characters, and, of course, beautiful furniture by Herman Miller.”
Nelson Marshmallow Sofa by Keiichi Tananmi Keiichi Tanaami is an illustrator and graphic designer widely credited with introducing psychedelic and pop art to his native Japan. Creating a poster for the Marshmallow Sofa, Tanaami describes the iconic design as floating against a backdrop of “colorful creatures wriggling in a chaotic modern world.” And he notes that the snake woman relaxing on the sofa “seems to be having fun.”
Eames Walnut Stool by Sanghon Kim A self-described jack-of-all-trades, Sanghon Kim moves seamlessly between media in search of a strong visual language. A journey, in this case, that transports the viewer to a fantastical forest created from the repeated forms of the Walnut Stools—and home for Walnut Boy, “A character inspired by one of my daughter’s drawings and a symbol of the joyful spirit of the Eameses.”
Aeron Chair by Kam Tang The work of Kam Tang is typified by meticulous attention to detail and constant reinvention. For this piece, Tang chose to convey the lightness and transparency of the Aeron Chair. “A departure from the padding of traditional office chairs, Aeron’s Pellicle material was like a new dawn; I wanted to capture that in my design by taking the chair out of the office and transforming it into a landscape.”
Eames Molded Plastic Chair by Felix Pfaffli Graphic designer Felix Pfaffli can’t be held to a single style, instead he prefers experimenting and exploring new methods. Asked to create a poster for the Eames Molded Plastic Chair, Pfaffli decided on an simple approach that focuses the viewer’s attention on the form of the chair. “I realized that from a certain direction that I could transform the chair into the body of a beautiful woman with the addition of just three simple shapes.”
Setu by Genevieve Gauckler Genevieve Gauckler is a creator of eccentric characters, which she enjoys placing in seemingly everyday situations—in this case, sitting in a Setu Chair. “I began by making some 'serious' drafts, but realized I was in danger of being seriously boring, so I decided to sit one of my characters in the chair.”
Bill Stumpf once said, “I know this sounds terribly self serving, but I design for myself. Who else am I going to know better than me?”
The outcome of Stumpf’s self-described “selfishness”? Empathic designs that can help everyone feel better as they work.
Stumpf and design partner Jeff Weber turned their own problems with the lack of physical harmony between themselves and their computers into a solution that benefits people who sit all day at a computer. The resulting designs—the Embody Chair and the Envelop Desk—work together to support the wrists, back, and eyes as the sitter moves through a range of postures. This concept, which we call concordance, helps people stay healthy and aligned as they work.
Asked how to measure a designer’s impact on society, Bruce Burdick, a designer himself, replied: “A designer’s influence on public opinion comes down to how the public utilizes their designs. They influence people’s perceptions of what a car, a desk, your clothing, or your house can be.” To this he added, “It’s the highest order of design to squeeze function and pleasure together so tightly that a person cannot separate them.”
Burdick established his reputation by pioneering the use of computers in exhibition design. Two of his exhibits, one on nutrition and the other on economics, are on permanent display at the Museum of Science and Industry in Chicago.
For Herman Miller, Burdick challenged the very notion of what people thought office furniture could be. By designing a flexible system based on a central rail, Burdick allowed various elements—display, storage, work surfaces, and ergonomic tools—to be arranged and rearranged, creating infinite configurations and responding to individual ways of working. Named the Burdick Group, the system was ahead of its time and earned Burdick recognition from the Institute of Business Designers, the Industrial Designers Society of America, and Time magazine.
“If your goal is to build a better stool, where do you start?” That was the question designer Carol Catalano asked herself. It was when she looked down and noticed her own entwined fingers that she found the answer.
Once inspiration had struck, Catalano quickly landed on the design the of the Cappelli Stool. Using two identical laminated wood pieces with interlocking “fingers,” Catalano found she could create a stable seat. No fasteners required.
“From the beginning,” Catalano says, “the form of the stool was a simple curve that we kept refining until it was comfortable and beautiful.”
Catalano’s ingenuity paid off, earning her silver prize at the International Furniture Design Competition in Asahikawa, Japan. Hers was one of only eight awards given, and was the only American design selected from more than 700 entries worldwide.
Fifty years ago, Alexander Girard, the head of Herman Miller’s Textile Division from 1952 to 1973, introduced this playful design and called it “January.” Girard’s distinctive combination of color, originality, and spirit came from his love of folk art, his world travels, and his delightfully curious personality.
Here’s hoping the optimism of Girard’s design inspires you in this new year. Click here to download one of six free desktop wallpapers featuring “January” for your computer, mobile, or tablet device.
Designer Yves Bèhar isn’t kidding when he says, “Every molecule in the SAYL chair had to work harder.” To achieve Bèhar’s vision of an eco-dematerialized design, every piece of SAYL was examined, sculpted, and hollowed out to use the least amount of material without compromising strength. Was it successful? Well, SAYL survived having a 300-pound sack dropped on it—multiple times.
The Herman Miller Test Lab, where SAYL was put through its paces, is infamous among our designers. Some have even dubbed it “the place where designs go to die.” Weights, pulleys, and pistons test every design to the brink of failure—and beyond—to ensure they meet the requirements of our standard 12-year warranty.
Engineers weren’t sure SAYL would make it. It did, thanks to some hard work making every piece work harder.
