Icons of Modern Design

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Icons of Modern Design Brought to you by Curbly.com Coconut Chair Designer: George Nelson Date: 1955 Materials: Leather, molded plastic, chromed steel Arco Floor Lamp Designer: Achille & Pierre Giacomo Castiglioni Date: 1962 Materials: Aluminum, marble, and stainless steel Tulip Chair Designer: Eero Saarinen Date: 1956 Materials: Fiberglass, upholstery Marshmallow Sofa Designer: George Nelson and Irving Harper Date: 1956 Materials: Steel, upholstery Ball Clock Designer: George Nelson Date: 1947 Materials: Wood, metal and acrylic lacquer finish Dining Chair Wood Designer: Charles and Ray Eames Date: 1946 Materials: Molded plywood La Chaise Designer: Charles and Ray Eames Date: 1948 Materials: Fiberglass, steel, oak Lady Chair Designer: Marcos Zanuso Date: 1951 Materials: Steel, wood, and upholstery Womb Chair Designer: Eero Saarinen Date: 1948 Materials: Fiberglass, steel and upholstery Eames Rocker Designer: Charles and Ray Eames Date: 1948 Materials: Molded plastic, chromed-steel, and maple Noguchi Table Designer: Isamu Noguchi Date: 1948 Materials: Wood and plate-glass Pedestal Side-Table Designer: Eero Saarinen Date: 1956 Materials: Aluminum, laminate Hang-it-all Designer: Charles and Ray Eames Date: 1953 Materials: Wire, wood Eames Lounge Designer: Charles and Ray Eames Date: 1956 Materials: Molded plywood, aluminum, leather Panton S Chair Designer: Verner Panton Date: 1960 Materials: Molded plastic Cherner Arm Chair Designer: Norman Cherner Date: 1958 Materials: Molded plywood, beech Diamond Chair Designer: Harry Bertoia Date: 1952 Materials: Welded steel, upholstery Eames House Bird Designer: Charles and Ray Eames Date: 1910 Materials: Wood, steel Pedestal Dining Table Designer: Eero Saarinen Date: 1956 Materials: Aluminum, laminate Bird Chair Designer: Harry Bertoia Date: 1952 Materials: Welded steel, upholstery Egg Chair Designer: Arne Jacobsen Date: 1958 Materials: Aluminum, foam, upholstery Series 7 Side Chair Designer: Arne Jacobsen Date: 1955 Materials: Steel, laminated wood Swan Chair Designer: Arne Jacobsen Date: 1958 Materials: Aluminum, foam, upholstery Bercelona Chair Designer: Mies van der Rohe Date: 1929 Materials: Steel, leather.

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Herman Miller Retailer Brand Guidelines
July 2010 HermanMiller Retailer Brand Guidelines Retailer Retailer Brand Guidelines page 1 © 2010 Herman Miller, Inc. July 2010 To navigate, click on the sections below— or the arrows at the bottom As an authorized HermanMiller retailer, you derive several benefits from our design heritage and brand recognition. It’s likely you already know this well because HermanMiller products are among the top-selling brands for many of our retailers. There are three key elements involved in building on the recognition of the HermanMiller brand: 1. The first element is how you associate your identity with your status as an authorized retailer. Examples on pages 3-4 illustrate how we want you to use the “Authorized HermanMiller® Retailer” phrase in relation to your identity. 2. The second element is the use of our logomark (stylized M in circle) and our logotype (the words HermanMiller). They should always be used in relation to one another. You’ll find more on this on pages 5-6. 3. The third element is the correct, clear, and consistent use of our trademarks. In Resources, on page 24, we provide a link to our current trademark list on hermanmiller.com. In the examples on pages 6-7, we indicate proper usage in ads that feature only HermanMiller products or several manufacturers’ products. On pages 7-8, we provide more information on trademarks in headlines and body copy. Retailer Brand Guidelines page 2 © 2010 Herman Miller, Inc. July 2010 2. Using the Authorized Retailer Phrase “Authorized HermanMiller® Retailer” phrase The first element involved in building on the recognition of the HermanMiller brand is how we want you to associate your identity with your status as an authorized retailer in all of your communications.
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Modern Classics 1960 Advertisement Sunset Magazine (February) Ever Wondered How Something Becomes a Classic?
Modern Classics 1960 Advertisement Sunset Magazine (February) Ever wondered how something becomes a classic? We have, and we’d like to share our thoughts with you. We believe furniture becomes classic when it demonstrates a lasting appeal, an original personality, and a simple, innovative beauty and function. Classics are living proof that good things endure; they have a way of evoking a particular time and making time irrelevant. Committees and corporations don’t design classics. Individuals like Charles Eames and George Nelson and Isamu Noguchi do. Their view of modern design lies at the heart of Herman Miller’s collection of modern classics. Eames ® Storage Unit Eames Hang-It-All ® Eames Chaise Eames Soft Pad Management Chair Eames Walnut Stools Nelson TM Swag Leg Desk Eames Aluminum Group Lounge Chair and Ottoman Eames Molded Plywood Dining Chair Eames Sofa Compact The products above are among the original modern classics still manufactured today and available through Herman Miller. 1946 Advertisement Finger’s Furniture Store A 1945 Life magazine article pictured one of George Nelson’s early designs—the Storagewall. Herman Miller founder D.J. De Pree saw the article and journeyed to New York to convince Nelson to serve as the company’s director of design. The warm personal and professional relationship between Nelson and De Pree yielded a stunning range of products, including the platform bench. Introduced in 1946 as part of Nelson’s first collection for Herman Miller, it possesses clean, rectilinear lines that have made it a landmark of modern design. Eames Executive Chair Eames Molded Plastic Side Chair Nelson Swag Leg Chair Goetz TM Sofa Eames Molded Plywood Coffee Table Eames Molded Plywood Lounge Chair Eames Wire Base Table Nelson Platform Bench Nelson Swag Leg Table The products above are among the original modern classics still manufactured today and available through Herman Miller.
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Vlinder Sofa & Polder Hella Jongerius Freeform Sofa Isamu
Vlinder Sofa & Polder Hella Jongerius Freeform Sofa Isamu Noguchi Mariposa Sofa Edward Barber & Jay Osgerby Marshmallow Sofa George Nelson Soft Modular Sofa Jasper Morrison Suita & Grand Sofà Antonio Citterio v Vlinder Sofa → 9 Polder → 19 Marshmallow Sofa → 27 Freeform Sofa → 31 Mariposa Sofa → 35 Soft Modular Sofa → 45 Suita → 55 Vlinder Sofa Hella Jongerius 2018 La diseñadora holandesa Hella Jongerius colabora con Vitra como Directora de arte de la Vitra Colour & Material Library desde 2008. Durante este tiempo ha desarrollado varias telas exclusivas para Vitra. Su primer proyecto de colaboración con Vitra fue la creación del Polder Sofa, concebido en 2005 como la pieza central de la recién lanzada Home Collection. El último elemento introducido, el Vlinder Sofa, es la quintaesencia de esta fructífera colaboración y una obra maestra textil. Cuando una diseñadora difumina la línea entre el objeto utilitario y el arte Grand Sofà → 67 9 Al crear el nuevo Vlinder Sofa, Hella Jongerius se basó en sus amplios conocimientos de las técnicas textiles y en sus diez años de experiencia como directora artística de colores y materiales de Vitra. La moderna estructura del sofá Vlinder sirve como plataforma de la sorprendente y extraordinariamente adaptada tapicería que se tiende sobre la estructura y recuerda vagamente a una mariposa. Esta funda de tela, que lleva la firma inconfundible de la diseñadora holandesa, va más allá de los límites de la moderna tecnología textil. Multitud de motivos, colores y texturas fluyen por la superficie for man- do una densa y profunda coreo grafía abstracta. El aspecto único de Vlinder difumina la línea entre el objeto utilitario y el arte.
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Seating Suites Brochure
z Chairs for Working Y FRONT COVER Aeron® Chair, Sayl® Chair with Upholstered Back, Eames® Molded Wood Side Chair, Mirra® 2 Chair INSIDE FRONT COVER Embody® Chair, Eames Aluminum Group Management Chair, Nelson™ Pedestal Table BACK COVER Eames Wire Side Chair, Eames Soft Pad Chair, Caper® Stacking Chairs, Eames Walnut Stool INSIDE BACK COVER Setu® Chair, Celle® Chair with Suspension Back, Sit Well, Do More Since the 1946 introduction of the Eames Molded Plywood Chair—recognized by Time magazine as the Best Design of the 20th Century—Herman Miller has consistently designed and manufactured the world’s best chairs. Every Herman Miller chair begins with you in mind. We don’t set out to design chairs that are worthy of museum collections, although many of our chairs are. We set out to provide you with a great place to think, to create, to share. We want you to sit well, so you can do more. Aeron Chair with Mineral 8Z Pellicle™ back and seat, Mineral armpads, PostureFit SL™, and Polished Aluminum base. Additional featured product: AGL Table Group™. Designed Around You Our human-centered approach to design starts with a simple premise: When you feel better, you work better. By putting people at the center of every Herman Miller chair design, we help millions of individuals around the world to thrive at work every day. Chairs for Working 5 The evolution of an ergonomic revolution Aeron Designed by Bill Stumpf and Don Chadwick, 1994 Remastered by Don Chadwick, 2016 Since Aeron debuted in 1994, we at Herman Miller have learned a great deal more about how best to support people in the varied postures they adopt throughout the workday.
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DESIGN-English 2.Indd
16. Wilhelm Wagenfeld (1900–1990) and Jakob Jucker (1902–1997) Table lamp, 1923–24 Made in the metal workshops of the Weimar Bauhaus Chrome-plated metal and glass Museum of Modern Art, New York IntroductIon Dominique Forest The first use of the word “design” to mean a plan or pat- tern for a manufactured object appears in nineteenth- century England, in the writings of Henry Cole, the organizer of the Great Exhibition in London in 1851— the original World’s Fair. Two years earlier, Cole had launched the Journal of Design and Manufactures in col- laboration with Richard Redgrave. The definition of “design” has evolved over time and now embraces a broad range of associations. It was in the United States, in the years before World War II, that it came to describe a creative discipline whose respective qualities and production conditions of arti- purpose was to shape products so as to enhance their sanal crafts and industrial goods. This controversy was appearance, and possibly their performance. A profes- taken up again in Germany in the early twentieth cen- sional in this field was now referred to as a “designer.” tury, and figured into the new ideas and experiments Not until the 1950s, though, did the word “design” that, in the 1920s, were synthesized in that laboratory take its place beside the term “industrial aesthetics” of forms for the modern age, the Bauhaus (plate 16). in continental Europe. Soon the expressions became From then on, a powerful tide of modernism would interchangeable, and “design” ultimately triumphed, progressively eradicate the forms and styles of the becoming commonplace in the parlance of architec- past, ultimately severing ties with tradition.
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Nelson Collection Der Architekt George Nelson Zählt Zu Den Wichtigsten Und Einflussreichsten Persönlichkeiten Im AmerikaNi Schen Design
Nelson Collection Der Architekt George Nelson zählt zu den wichtigsten und einflussreichsten Persönlichkeiten im amerika ni- schen Design. Neben seiner Arbeit als Architekt, Designer und Ausstellungsgestalter prägte sein um - fangreiches publizistisches Werk den internatio nalen Design- und Architekturdiskurs über Jahrzehnte. Vitra produziert und vertreibt einen Teil seiner Entwürfe Coconut Chair 1955 seit 1957, zunächst in Lizenz. 1984 übernahm Vitra die exklusiven Rechte für Europa und den Mittleren Osten. In den letzten Jahren wurde die Kollektion um einige Entwürfe erweitert. Die Marke Vitra gibt Ihnen die Sicherheit, ein Original-Produkt von George Nelson zu besitzen. Nelson Bench 1946 Nelson Perch 1964 Marshmallow Sofa 1956 Marshmallow Sofa, 1956 Home Desk 1958 George Nelson, Charles Eames und Alexander Girard in einer Anzeige der Herman Miller Inc., um 1960 Nelson Tables 1960 1964, Foto der »Swaged-Leg Gruppe« für Katalog Tray Table 1949 Coconut Chair, 1956 Classic Tray „China Shop“ 1950 Wall Clocks 1948/60 | Desk Clocks 1947/54 Ceramic Clocks 1947/54 | Zoo Timers 1965 Coconut Chair Der Coconut Chair, seit 1988 von Vitra wieder produziert, ist typisch für das Design der 50er Jahre. Formale Klarheit und der reduzierte Einsatz der Materialien zeichnen ihn aus. Die bequeme leder- oder stoffge- polsterte Sitzschale erinnert an eine Kokosnuss, die in acht gleiche Teile aufgeschnitten ist. Sony Europe, Berlin (D) Nelson Bench Die geradlinige klare Formensprache der Bench reflektiert Nelsons architektonischen Hintergrund. Gleichermassen als Bank wie als Ablagetisch ist das japanisch anmutende Möbel einsetzbar. Nelson Perch Nelson Perch ist die ideale Lösung für eine Arbeitshal- tung zwischen Stehen und Sitzen. Auch bei informellen Konferenzen kann es eine Hilfe beim Stehen bieten.
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This Changes Everything
ISSUE architecture 48 interiors design culture g n i h t y r e v E es g n a h C s SHAPE SHIFTER LISA PICARD IS LEADING THE TRANSFORMATION Thi OF OUR WORKPLACES, ONE OFFICE AT A TIME. PLUS: Hank Willis Thomas Messgewand Philippe Nigro Faye Toogood x CC-Tapis Civilization Lenore Tawney Jean-Michel Othoniel Barbara Kasten Burke Museum Gray_Oct19_Hive.pdf 1 9/13/19 9:19 AM C M Y CM MY CY CMY K string lights designed in 2014 by michael anastassiades - model 607 designed in 1971 by castiglioni - made in italy by flos please inquire about our A&D trade program flos erik jorgensen verpan carl hansen vitra kartell bensen herman miller knoll artek artifort foscarini moooi and more! GRAY AWARDS PARTY NATIONAL IT’S ON. NORDIC MUSEUM SEATTLE, USA BE PART OF THE LEGEND. NOV. 20, 2019 JOIN US AT THE DRESS GRAY AWARDS PARTY! BLACK TIE GRAY TURNS THE TRADITIONAL AWARDS GALA ON ITS HEAD (WOULD YOU EXPECT ANYTHING LESS OF US?) CHARITY The GRAY Awards Party—a game-changer in and of itself—is the most signifi cant 50% OF TICKET PROCEEDS design bash of the year. It is the design industry’s version of the Oscars and Vanity DONATED TO Fair’s after-party rolled into one. Think red carpet interviews, marching bands, THE BLOCK PROJECT tequila shots, showers of sparkling confetti, and you’ll get a sense of how we roll. Join us for the unveiling of this year’s GRAY Award winners for a celebration of the best and brightest in Pacifi c Northwest design.
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China Shop and Pavement by George Nelson Textiles of the 20Th Century™
China Shop and Pavement by George Nelson Textiles of the 20th Century™ May 2001 Image: Maharam_Pavement_000GroupShot_1.tif, photography by John Gettings [email protected] Maharam 251 Park Avenue South NY, NY 10010 800.645.3943 maharam.com As part of the Textiles of the 20th Century™ series, Maharam announces the reissue of the only textiles designed by George Nelson ever to be produced. The reintroduction consists of two patterns, Pavement and China Shop, both originally designed and produced in 1950. These patterns reflect Nelson’s commitment to applying modern design principles to a variety of media. An innovator and visionary, George Nelson’s work cut across the fields of interior, industrial and exhibition design. Born in Hartford, Connecticut, and Yale educated, Nelson was awarded the Rome prize in 1932, providing him with two years of paid study in Europe, expanding his design vocabulary and refining his exceptional talent. Throughout the rest of his career, Nelson brought a European sensibility to American mid-century modern design. He espoused a rigorous interpretation of modernist aesthetics through a series of influential writings and a wide range of design projects. In the 1940’s Nelson began a long association with Herman Miller. As a furniture designer and the company’s design director, he was responsible for recruiting such innovators as Charles Eames, Alexander Girard, and Isamu Noguchi. Also during this period, Nelson worked with Girard to produce Herman Miller’s first set of textiles and the establishment of a textile division. Nelson continued to work on his own designs from the late 1950’s through the remainder of his years.
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Rottet Studio: Still Smokin’ SWERS.” —JOHN J
04.20.09 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS Compliments of Dan DeClercq and dog, DeClercq Offi ce Group Global Industries, Inc. It would be both correct and misleading to characterize Global Industries, Inc., Marlton, NJ, as a sales and distribution arm of Global. It is that, but it is also a separate company conceived and organized almost 40 years ago by Joel Appel, who remains the chairman of the company. FULL STORY ON PG.3 Pritzker Prize to Low-Profi le Swiss Architect The choice of Peter Zumthor for this year’s Pritzker Prize – often called the Nobel of architecture – is in synch with the current mood. We’ve moved into a period of scaled-down consumption, concern for sustainability, and fatigue with the exploits of star architects. FULL STORY ON PG.15 Hilda, Hilda: Wherefore are thou Hilda? About 250 industry veterans and pioneers turned up at the 6th Avenue Her- man Miller National Design Center to see if the legend, Hilda Longenotti, the grande dame of A&D, the doyenne of design sales, was actually going to retire after 54 years in the industry and almost 35 years with Herman Miller. FULL STORY ON PG.17 Mancini•Duffy: Strategic Hires We know that many A&D fi rms have had layoffs in recent months, some with cuts suffi ciently substantial to push the vocabulary beyond even down-siz- ing, although perhaps falling short of restructuring. Others are still swamped with work, while still others are completing strategic additions. FULL STORY ON PG.19 Pratt Career Night Serves Up Cautious Optimism at HBF Every spring, HBF and HBF Textiles hosts Pratt Institute Department of Interior Design Career Night in its Michael Vanderbyl designed, New CITED: York Design Center showroom.
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Seating Suites Brochure
FRONT COVER Aeron® Chair, Sayl® Chair with Upholstered Back, Eames® Molded Wood Side Chair, Mirra® 2 Chair INSIDE FRONT COVER Embody® Chair, Eames Aluminum Group Management Chair, Nelson™ Pedestal Table BACK COVER Eames Wire Side Chair, Eames Soft Pad Chair, Caper® Stacking Chairs, Eames Walnut Stool INSIDE BACK COVER Setu® Chair, Celle® Chair with Suspension Back, Sit Well, Do More Since the 1946 introduction of the Eames Molded Plywood Chair—recognized by Time magazine as the Best Design of the 20th Century—Herman Miller has consistently designed and manufactured the world’s best chairs. Every Herman Miller chair begins with you in mind. We don’t set out to design chairs that are worthy of museum collections, although many of our chairs are. We set out to provide you with a great place to think, to create, to share. We want you to sit well, so you can do more. Aeron Chair with Mineral 8Z Pellicle™ back and seat, Mineral armpads, PostureFit SL™, and Polished Aluminum base. Additional featured product: AGL Table Group™. Designed Around You Our human-centered approach to design starts with a simple premise: When you feel better, you work better. By putting people at the center of every Herman Miller chair design, we help millions of individuals around the world to thrive at work every day. Chairs for Working 5 The evolution of an ergonomic revolution Aeron Designed by Bill Stumpf and Don Chadwick, 1994 Remastered by Don Chadwick, 2016 Since Aeron debuted in 1994, we at Herman Miller have learned a great deal more about how best to support people in the varied postures they adopt throughout the workday.
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Mid-Century Modernism
MID-CENTURY MODERNISM modernism101.com rare design books Ever since Cara Greenberg may—or may not have—coined the term Mid-Century Modern to coincide with the publication of her classic book, people have argued nonstop whether or not some house- hold item has truly earned the honorific “MCM.” The rise of social media has exacerbated these differences of opinion, with escalating levels of vituperation unmatched since the Roundheads squared off against the Royalists, or (a more period correct example) the Sharks against the Jets over whether Russell Wright’s early work qualifies as Mid-Century Modern or is merely unadorned Depression Moderne. The correct answer to this question is—of course—“who cares?” As we enter the final throes of Late Capitalism every person with a camera-enabled phone can get in on the fun by posting thrift store images to Facebook with the query “MCM??????,” adding the necessary pro- pellant to the never-ending cycle of condemnation or exoneration. I used to engage in these threads with a variant of Marcel Breuer’s maxim “mod- ernism is not a style—it is an attitude.” That response went over about as well as one might expect. This catalog doesn’t presume to define Mid-Century Modernism. We have assembled titles that adhere to a defined time-line and present a specific point of view that is optimistic, educational and forward-looking. We present this catalog not to argue about Mid-Century Modernism, but to celebrate it. Cover detail and left: Full-page ad from the Chicago Daily News dated Tuesday, March 27, 1951 announcing the arrival of lamps pro- duced for the 1950 Museum of Modern Art Competition at Carson, Pirie, Scott & Co.
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September 2013
Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES September 2013 Global Brand Standards Page 1 hermanmiller.com/brandstandards © 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Table of Contents FOUNDATION COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Mission Statement Context Logomark Evolution Corporate Typefaces Photography Pop Up Shop Print Definition Design Tenets Principles Logomark Usage Trademark Symbols Illustration Shop in Shops Three-Dimensional Metaphor Program Logomark Restrictions Pattern Digital Examples Lifestyle Philosophy Wordmark Usage Style Design Values Logo Clearzone Resources Logo Sizes Nomenclature Brand Color Naming Trademark and Copyright Page 2 hermanmiller.com/brandstandards © 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Mission Statement Design Tenets Foundation The Herman Miller brand is one of our most valuable assets. We want you to become advocates for our brand and to help us use it consistently. Our brand is expressed in many ways—our behavior, our products, our communications. We are asking you to pay special attention to all the ways we express our brand. Page 3 hermanmiller.com/brandstandards © 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Mission Statement Design Tenets Foundation Mission Statement INSPIRING DESIGNS TO HELP PEOPLE DO GREAT THINGS Our mission: Makes clear our reason for existing. Gives purpose to our actions. Guides the organization forward. Demonstrates our values. Inspires everyone. Page 4 hermanmiller.com/brandstandards © 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Mission Statement Design Tenets Foundation Design Tenets Our design tenets guide everything we do.
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