Initially conceived as a rocking stool, Isamu Noguchi’s playful design caught the attention of Hans Knoll who thought it a perfect complement to the Bertoia wire collection. At the suggestion of Hans Knoll, Noguchi adapted the stool into a small table in 1954, and a full-size dining table in 1957. The distinctive base features chrome-plated steel wires set into a cast-iron base.  The top is maple veneer on plywood cut with a knife's edge bevel.

ISAMU NOGUCHI was a sculptor, painter, ceramicist, and furniture and lighting designer. He was one of the most prolific and protean creative forces of the 20th century and a key figure in the development of organic modernism. Noguchi’s sculptures and designs share a common spirit: one of lyrical abstraction, tempo and flow, and harmonious balance. Noguchi was born in Los Angeles to an American mother and Japanese father and spent most of his childhood in Japan. He returned to the United States at age 13, went to high school in Indiana, and enrolled at Columbia University to study medicine. At the same time, he took night courses in sculpture. Within three months, he left college to pursue art full time. Noguchi was awarded a Guggenheim Fellowship in 1927 and traveled to Paris to work under Constantin Brancusi. It marked a turning point. Inspired by Brancusi, Noguchi embraced abstraction and began to sculpt in the expressive, rhythmic style that would be the hallmark of his work. Once back in New York, Noguchi was introduced to design by what would become a lifelong collaboration creating sets for choreographer Martha Graham. His first industrial designs were in Bakelite: a sleek clock-timer created circa 1932, and his famed Zenith Radio Nurse intercom, from 1937. Ten years later, Herman Miller introduced Noguchi’s now-iconic glass-topped coffee table with an articulated wooden base. His washi paper and bamboo Akari light sculptures, handmade in Japan, debuted in 1951. In the late 1950s, Noguchi designed for Knoll, creating such pieces as his dynamic Cyclone table and rocking stool. For collectors, Noguchi’s furniture and lighting designs remain his most accessible work.

KNOLL INC - KNOLL INTERNATIONAL was founded in 1938 by Hans Knoll. Hans 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 catalog 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.

Details