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.

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.

The Burdick Group office system.

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.

Today, the Burdick Group Dining Table is part of the Herman Miller Collection.

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.

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.

“Good design is a blend of art and science,” explains designer Jeff Weber. “Using that combination to positively impact how people live and work is really exciting.”

As a kid, Weber was fascinated by the way things worked. “I was always tinkering—either building things or tearing them apart,” he says. Following a suggestion from his grandfather, Weber became interested in industrial design. “I never really thought about doing anything else,” he recalls.

As co-creator of the Embody Chair, alongside Bill Stumpf, Weber worked closely with optometrists, neurologists, and other medical specialists to learn how to “support the body in a healthful way and enable motion.” The resulting design is pleasing to the eye and has been shown to lower the sitter’s heart rate and reduce stress—good for both mind and body.

For Weber, the hard work pays off when he sees someone sitting in a chair and appreciating it. “That’s the most satisfying part.”

The last thing designer Marcel Wanders wants to be is boring. “There’s enough of that in life,” he says. “I’m interested in designing things that excite people and make them feel alive.” With a chair made out of knots and a chandelier called Happy Hour in his portfolio, Wanders is certainly on the right track.

For the Troy Chair, designed for Magis, Wanders created an intricate pattern inspired by the lush motifs of damask fabrics. The pattern, molded into the back of the chair’s plywood seat, imparts the modern profile with a romantic sensibility. The result is elegant, and, explains Wanders, a “lovely balance between new and old.”

Wanders’ prolific body of work, ranging from fashion accessories to lavish hotels, is represented in museums around the world, including the Museums of Modern Art in both New York and San Francisco and the Stedelijk Museum in Amsterdam.

In a big world, sometimes it’s the little things that stand out. A Mini Cooper zipping through traffic or a little iPad that fits in your pocket, some designs owe much to their diminutive size. The Eames Wire Base Low Table—LTR for short—is one such piece.

On it’s own or arranged in a row, dark tops beside light tops, veneer next to laminate—there’s no right or wrong way to use the LTR. Charles Eames demonstrated the fact in this photo shoot on the patio of the Eames House. So, if you’re in need of a place to serve hors d’oeuvres or a low stool or a part-time plant stand, don’t be afraid to grab this little table and get creative—Charles would be delighted if you did.

Looking to make a statement? Check out the Select Eames Wire Base Low Table, available for a limited time in three bold colors—cobalt blue, red-orange, yellow-gold.

Colorado Plaid

Superweave

Linomix

Lanalux

Trained as an architect, but proficient in all manner of activities, Alexander Girard was introduced to Herman Miller through Charles Eames and George Nelson. In 1952, Girard established the Herman Miller Textile Division and served as its Director of Design until 1973. From his outpost in Santa Fe, New Mexico, he designed over 300 textiles, multiple collections of wallpaper, decorative prints and wall hangings, an expansive group of furniture, and both decorative and useful objects.

Introduced in 1952, Girard’s first textile collection for Herman Miller included a range of bold colors and versatile textures. To this foundation he went on to add woven patterns and printed designs. Unhampered by the style and taste of his day, Girard explored different approaches to color, pattern, texture, mood, and production method. The resulting body of work is not only staggering in volume and creativity, but due to its beauty and usefulness, remains completely relevant today.

Our first re-edition of Alexander Girard Textiles focuses on textures. Though often heralded for his patterns, Girard produced a body of woven textures for Herman Miller that are timeless and versatile. Each textile is faithfull in weave and color to its original, with one enhancement: each now uses the most advanced environmental constructions and materials available.

Béhar is known for design, and he makes it look effortless. Whether it’s the frameless back of the SAYL Chair or the biomorphic curves of the Ardea Light, Béhar and his fuseproject team bring years of practice and experience to every product they design.

For Yves Béhar it’s simple: “Let’s try it. Let’s see if it crashes down on top of me. Let’s see if I can actually get through it.” Is he talking about design or surf? In his mind, there’s no difference.

Yves Behar, and his passion for surfing, kicks off Why Design, a new video series featuring designers from Herman Miller’s creative network. There are eight videos in total, with a new one debuting every Monday. Stay Tuned; next week is designer Don Chadwick.

The table leg is an important part of Everywhere Tables; how did you approach its design?
I thought of the legs as a sculpture, shaping them until they had the right sense of mass and scale—which was difficult because the legs need to accommodate such a wide range of table shapes and sizes. It was always a balance between the outer form and the technical requirements of the inside of the leg.

I often see table legs that scream for attention, which can create visual chaos in a large room. I wanted to avoid that, so I designed the Everywhere legs to work with a simple rhythm of light and shadow in mind. When you see a room full of Everywhere Tables it feels nice and clean; the spacing between legs is very precisely defined.

Was there a process you followed when developing Everywhere?
I always begin a design by sketching out ideas, sometimes very roughly. In the case of Everywhere Tables, I quickly moved into 3D modeling. To get a sense of the mass and scale of the leg, I built physical models with foam legs attached to tops made of thick foam core. This allowed everyone to get a sense of scale. As the design progressed, I continued designing in 3D and worked closely with Herman Miller on the engineering.

Were there any technical challenges to overcome?
Sure, there are two points where the leg transitions from an extrusion into a cast part: once at the tabletop and again at the foot. These are both critical connection points that bear a lot of weight and torque. The engineers at Herman Miller developed a slick little connector that met the challenge and let the Everywhere leg maintain its slim, clean aesthetic.

How did you know when the design was finished?
[Laughing] Are designs ever really finished? I look at them as works in progress, particularly furniture. The more you live with a design, the more you learn. I just had the opportunity to revisit Everywhere Tables to design some new table shapes.

Everywhere Tables are now available at the HermanMiller Store alongside a full range of work tools for offices and homes alike. If you’re a small business visiting the store, contact us about setting up a business account, which will give you special access and perks.

Thomas Heatherwick’s approach to design is reminiscent of Charles and Ray Eames and their focus on “serious fun.”

His design for Spun—a chair shaped like a spinning top that tilts and turns with the sitter’s movement—is emblematic of the fanciful yet functional designs in London-based architect and designer Thomas Heatherwick’s portfolio: the Olympic Cauldron at the 2012 London games, a double decker bus, also for London, and Hong Kong’s Sheung Wan Hotel.

When asked to design a structure for the UK Pavilion at the 2010 Shanghai Expo, Heatherwick created the Seed Cathedral—sixty thousand fiber-optic “hairs” protruding from a circular steel and timber composite structure. While some consider the structure—which looks like a giant, glowing hedgehog—simply another example of Heatherwick’s whimsical approach to design, the artist is quick to point out that the piece is actually quite serious.

“Is my studio’s work playful or is everyone else’s work too serious?” says Heatherwick in an interview with Architectural Digest. “And actually, Seed Cathedral was serious. With 60,000 varieties of seeds, it was the most biodiverse thing in Shanghai, or the whole region.”

Considering Heatherwick’s belief that good design strikes a balance between gravity and levity, it’s little wonder that Spun challenges the traditional notion of a chair and turns sitting into an experience.

For more than 60 years, the Eames Lounge Chair has been an American icon made in West Michigan by local people. Using a process that has changed little since 1956—molded plywood shells formed under heat and pressure, finished by hand, upholstered with leather cushions, and then carefully assembled—workers merge machine manufacturing with the human touch of handcraftsmanship.

A recent trip to the Herman Miller archives uncovered some photos documenting the production of the Eames Lounge in the early 1960s. Visit the HermanMiller Store to see how the process is similar today.

It’s a 50-cent word, but “dematerialization” just might save us millions, to say nothing of our planet. The basic idea is getting down to only what is essential, or, as Charles Eames said in the 1940s, “the best for the most for the least.”

Doing more with less certainly predates Mr. Eames, but dematerialization has had a resurgence lately, largely as a response to conspicuous consumption (McMansion anyone?), a throwaway culture (it’s cheaper to buy a new one than fix the old one), and planned obsolescence (as Annie Leonard says in The Story of Stuff, only 1% of things are still in use 6 months after purchase).

It’s no wonder those concerned about sustainability see promise in dematerialization, an idea whose logic train goes from using less material to eliminating material altogether while still delivering the same level of functionality. An example of this promise they often point to is music delivery. From LPs to cassettes to CDs to digital downloads, the progression eliminated lots of plastic waste and the resources and energy needed to make it. (The sustainability costs of using the Internet to download the music will be left to another discussion.)

We find examples of dematerialization closer to home. One is the Setu chair designed by Studio 7.5 of Berlin, Germany. The chair’s two spines provide tilt-like kinematics in one continuous seat and back, eliminating the need for a tilt mechanism.

Reducing material and actually improving a product’s performance is the theme of another chair, SAYL designed by Yves Béhar. In SAYL’s case, seat base, arm structure, and tilt mechanism undercarriage are fused into one, strong part that reduces material content. The chair’s The Y-Tower structure is sculpted and hollowed out, achieving strength with less material.

Eliminating an object altogether is the logical conclusion of dematerialization. Short of developing a way for people to levitate, we think making every molecule in a chair work harder is an acceptable alternative.

Herman Miller Creative Director Ben Watson introduces our New York City pop up shop in this video for design blog PSFK. Open until July 1, 2012, Pop Up is an opportunity for everyone to meet the Herman Miller Collection: classic designs from our archives alongside new pieces from our contemporary design partners.

Stop by if you’re in the neighborhood.

Herman Miller Pop Up Shop
68 Wooster Street, Soho
New York, NY 10012

Store Hours:
M-Sat 11-7
Sun 12-5

Today marks the opening of the Herman Miller Pop Up Shop at 68 Wooster Street in the heart of Soho in New York City. Designed to highlight the new Herman Miller Collection, the shop features richly detailed furniture vignettes with accessories and objects to complement. Each is created to tell design stories past and present. We invite you to add the shop to your itinerary if you travel to Manhattan between now and July 1. The store is open Monday through Saturday, 11 am to 7 pm, and Sunday 12 noon to 5 pm.
View directions and map

From stone-tipped axes to powerful 3D computer modeling programs, technology has always allowed design to push the boundaries of possibility.

The Atlantic recently included the Herman Miller SAYL chair, designed by Yves Béhar, on their list of designs using new technology to challenge the conventional understanding of how good design looks, feels, and functions. We are in good company. Visit the Atlantic to see the complete list.

What is ailing in fine furnishings? “Nature,” answers design duo Craig Bassam and Scott Fellows. “I really feel that a connection to nature is what makes Modernism human,” says Bassam, who sees their work as an antidote to novelty-driven and mass-produced design.

Principally made from hand-finished wood, brass, and leather, furniture designed by BassamFellows follows their belief in “core luxury values”: honesty of material, solidity of construction; utility and beauty without elaboration. With the Tuxedo lounge seating, part of the Herman Miller Collection, the goal remains the same: an attention to luxury detail that doesn’t compete with the rest of the room.

Designing a sofa for the Herman Miller Collection was a “daunting challenge,” says Goetz. “If I were sitting in a room with Eames, Nelson, and Noguchi, and we were discussing design, I would be listening rather than talking,” he said. “When designing the sofa, I took on that role, trying to understand the qualities of the Collection that make it so wonderful. I wanted to create something that echoes the Collection and respectfully adds to it.”

Understanding that design is deeper than styling, Goetz made sure that his sofa would be comfortable, no matter what position you are in. He conducted research and consulted experts to arrive at a seat depth that provides ergonomic sitting support as well as room to lie down.

The result is a design that shares good company with the works of Eames, Nelson, and Noguchi.

BassamFellows design is “about merging the rationality and clarity of Modernism with the warmth and texture of nature” and marks the return of true craftsmanship and beauty to contemporary living. “We want to mix the timelessness and attention to detail of the modern classics with contemporary design, and blend it with honest materials, solid construction, beauty, and utility,” expresses Bassam.

This two-man team consists of architect/designer Craig Bassam and brand strategist/creative director Scott Fellows who joined forces in 2003 after leaving their successful solo careers to embark on the joint creative venture to create BassamFellows

Bassam made his move in 1997 to New Canaan, Connecticut where he began to develop his brand of Warm Modernism. Fellows, cut his teeth as a strategy consultant for some of the world’s largest consumer companies including Ferragamo luxury products before taking on the creative director position for Bally during its turnaround with highly published success.

Some of BassamFellows most popular designs include the stacking trays and tractor stools. Tuxedo sofas and lounge seating are part of the Herman Miller Collection and are a perfect fit with the Collection’s “modernism with soul” philosophy.

In the 1950’s George Nelson characterized the ultimate office environment as “a daytime living room where work can be done under less tension with fewer distractions.” Today we work whenever and wherever we are most comfortable—Nelson’s goal is closer to reality than ever before.

Recognizing this, Herman Miller introduces the Herman Miller Collection. The Collection offers you the ability to select, furnish, and create complete environments in myriad settings—from the boardroom to the backyard. We believe that design goes much deeper than styling. Each piece in the Collection represents a solution that is as purposeful as it is beautiful.

The idea of the Collection is not entirely new. In his introduction to our 1948 catalog George Nelson wrote of “the continuing creation of a permanent collection designed to meet fully the requirements for modern living.” Nelson established a program and a philosophy for the Collection that allows us to continue it today.

The Collection began with classic pieces from Herman Miller’s archives that have stood the test of time. We then added complementary furnishings from our partners, such as Magis and Mattiazzi. And most importantly, we are developing new furniture and accessories with today’s most talented designers. These pieces will stand as a living demonstration of our design philosophy, bridging Herman Miller’s past, present, and future.

What good is a chair with holes? In the case of the Mirra, it’s the holes—567 of them to be exact—that provide the chair’s backrest its characteristic flex.

Envisioning a chair that acts as a second skin, Studio 7.5 designed Mira’s TriFlex back to move with the sitter. They worked with us to design and engineer holes of varying shapes and sizes. It results in the one-piece molded polymer back that has been fine-tuned to create three zones of flexibility. Each zone offers a different level of pliability for proper ergonomic support.

So, while holes in your desk chair are often cause for concern, in the case of Mirra, a back full of holes is a good thing.

The secret? Continual improvement. Using a process we call the Herman Miller Performance System, or HMPS, we compound small, incremental improvements into big change. Rearranging a bin of parts to be six inches closer may only save a half second, but when combined with hundreds of other refinements, the results add up. In fact, they add up to more than 260 seconds—or 4 minutes and 20 seconds—of time saved to make an Aeron chair.

Applying the same problem-solving knowhow to the production of our products as we do their design, Herman Miller remains at the cutting-edge. And while the competition is busy exporting manufacturing jobs, we can proudly say our products are made in the United States.

Checkout this video FastCompany made while visiting us a few weeks ago.

Girard, who joined Herman Miller in 1950 as director of upholstery and the newly created textile division, furnished the Miller House with pieces from the Herman Miller Collection together with his custom textiles and carpets. The residence is also a sublime example of Alexander Girard’s mastery of the artful collage—combining furniture, fabrics, accessories, and art to create unified and joyful environments.

The Miller House has multiple outdoor living and dining areas created by an extended roof and a continuous travertine floor, blurring the distinction between indoors and outdoors. Girard, faced with furnishing these spaces, noted to Charles Eames the lack of high-quality outdoor furniture. Charles and Ray and the Eames Office responded by designing an innovative group of chairs with aluminum frames tautly supporting a continuous plane of plastic cloth.


Herman Miller began producing the Aluminum Group chairs in 1958, originally promoting the chairs as the “leisure group” or alternatively the “indoor-outdoor group.”  The Millers owned some of the first production models. It didn’t take long for the Aluminum Group to move inside exclusively, perhaps due to their lithe form. Now, that distinctive design returns to its place of origin with materials, finishes, and hardware fit for the Miller House terraces and all outdoors. A classic returns to its original environment.

Miller House and Garden is owned and cared for by the Indianapolis Museum of Art. Tours at Miller House and Garden are made possible through the Columbus Area Visitors Center.

What was the concept behind the design of 360?
The idea was to do more with less. A typical desk lamp has a two-piece arm with three joints. The design of 360 combines a single arm with just two joints. The head and base rotate, which allows for a full range of motion.

What does this mean for someone using the lamp?
It means they can put the right amount of light right where they need it; 360 allows that in a simple, smooth motion, without compromising ergonomics.

Were there any technical challenges?
I don’t believe an object that sits in such close proximity to person, like a desk lamp, should demand undue attention. With this in mind, we worked hard to hide all of the mechanics, electrical fasteners inside the arm of 360—this was a challenge. The result is a smooth design that I hope people find very inviting.

Check out the video below to seen how 360 moves.

Formed over a millennium under heat and pressure, stone reflects the particular characteristics of its origin. A fact kept in mind when we selected stone tops for the new Nelson and Eames outdoor tables.

Wanting stone with unique character, we found four we liked from quarries across North American: Georgia White Marble, a white stone with accents of warm beige and grey veins; Georgia Grey Marble, a cloudy grey stone with strong veins of light and dark grey, and reflective crystals; Wisconsin Black Marble, a dark stone speckled with lustrous green and grey veins; and Quebec Graphite Granite, a subtly patterned granite composed of deep grey hues.

Each is a natural complement to the design it sits atop, and durable enough to stand up to all types of weather.

Faced with answering this question, Anna Hernandez of Luna Textiles found inspiration in the, “shapes and forms of contemporary architecture.” The resulting patterns—Connection, Current, and Circuit—form a new fabric collection developed exclusively for Herman Miller.

“Inspiration is subtle,” says Hernandez, “it may express itself in small ways. Some especially evident to architects and designers in the profession.” Connection for instance, while a geometric pattern, forgoes 90-degree angles. “Modern architects who design buildings without straight lines will recognize these forms.”

Grass cloth, a popular textural material of mid-century interiors, inspired the tiny gird pattern of Current. “It’s not symmetrical,” explains Hernandez, “it’s a little off, giving the pattern a more natural look with a mid-century feeling,” while Circuit pays homage to round, organic forms common to the 1950s.

Drawing on her inspirations, Hernandez aspired to a timeless collection, “that responds to the moment, but without being specific to a brief period of time.”

Our lives don’t stop outside the walls of our buildings, and our furniture shouldn’t either. A fact addressed by Charles and Ray Eames with the Aluminum Group. Originally referred to as the “Indoor-Outdoor Group,” the Eameses intended their design to blur the distinction between patio and living room in the modern home.

To make the Aluminum Group chairs appropriate for outdoors, the Eameses found saran—a cloth-like fabric made of woven plastic fibers. Porous and fast drying, they felt it was the ideal material for life outside. Perhaps ahead of its time, saran proved to have durability issues forcing the Eameses to abandon it just a year or two after production. Consequently the entire collection migrated indoors.

Today, the Eames Aluminum Group is once again ready for life on your patio. Building on the yarn and weave technology pioneered in Pellicle, we have developed with designer Susan Lyons a new outdoor upholstery option called Outdoor Weave. Porous, fast drying, and durable, it meets all of the characteristics Charles and Ray demanded of saran.

Enter Gem, a new polyester upholstery fabric that is antimony-free, making it a good choice for the earth. Polyester is one of the world’s most popular polymers; unfortunately making it is harmful to the environment. Designing a better polyester meant replacing antimony, a heavy metal used as a catalyst, with titanium, a much more earth-friendly choice.

Gem is durable, inexpensive, and easy to take care of—and it’s part of Herman Miller’s quest for a Better World.

It looks beautiful when it’s from the hands of designer Yves Béhar. Who, with Herman Miller, set out to dispel the misconception that affordable meant offhand design and questionable quality.

Looking for affordability in innovation, Béhar and Herman Miller engineers spent months developing a unique suspension material for the backrest of SAYL. The resulting breakthrough molded ergonomic support directly into the back of the chair, which was then stretched into place. It also replaced foam and fabric, typical to other low-cost task chairs, with a single recyclable material. Less material and fewer manufacturing steps, all saved money. A point not lost on Spencer Bailey of Bloomberg Businessweek, who recently described SAYL as “An executive-quality perch that doesn’t require an executive’s bonus to buy.”