Danish furniture designer Ib Kofod-Larsen’s Shell Chair (1950; Napoli Lounge Chair) is uniquely aesthetically pleasing to the eye, with a one-piece curved backrest extending into small winged armrests. The chair itself is slightly tilted to increase the comfort level of the user further and looks especially arresting from the side, resembling an easel of sorts. In contrast, the back view of the chair is almost austere in looks.
Danish designer Johannes Andersen’s Allegra Bar Stool (1961; Bridget Bar Stool in bar and counter heights)’s appeal lies in its honesty of design. The wood shines in its simple, almost charmingly rustic, design; that coupled with the comfortable leather seat make it an easy, chic fit for all homes and entertainment areas.
Furniture designer Jesper Holm's perfectly balanced Biotop Sofa (1992; Koln Sofas) has an aesthetic purity about it with its lightweight stainless steel geometric base apposed with leather upholstery in parts. It is a striking choice, appearing both classic and stylish at the same time.
Austrian architect and designer Josef Hoffmann had an inclination to geometry and this is exemplified in many of his designs. His upholstered armchair, the Kubus (1910; Adela Sofa) is predicated on the square. The Kubus is an extraordinarily handsome, even formal, design.
American architect and furniture designer Florence Knoll's characteristic polished silhouettes and geometrics are evident in the Florence Knoll Sofa (1954; Mendosa Sofa and Marco Sofa), which is a scaled-down reinterpretation of the mid-century modern building.
Irish-born furniture designer and architect Eileen Gray’s E1027 Table (1929; Jean Adjustable Side Table) is a popular 20th century design icon and was designed for her vacation house in France with her then-lover Jean Badovici. The codes they used for the house and furnishings were derived from both their names.
Eric Pfeiffer’s Magazine Table (2000; Mag Table) is a sleek, sensuous table with a modified S-curve form made from bent plywood, which further accentuates its inviting warmth. Aesthetically-pleasing form aside, the designer’s love of functionality can be seen in the dual use of the hybrid table.
Harry Bertoia was Italian-born but moved to the United States after visiting his older brother and studied art and design and jewellery-making there (he actually designed and created wedding rings for Charles and Ray Eames), even opening his own metal workshop.
The grandfather of Danish design Hans Jorgensen Wegner’s prototype of “The Chair” led to “The Round Chair” (1949; Roly Armchair), which achieved critical attention when it was bought by CBS to be used in the studio in which candidates John F. Kennedy and Richard Nixon faced off in the 1960 televised presidential debates.
Danish furniture designer Poul Volther is celebrated most for his Corona Chair with its accompanying ottoman (1961; Summit Lounge Chair and Ottoman) and long history. Volther faced the accompanying post-war problems of the period that his peers did- the challenge of cannily and fully utilizing the potential of their limited resources.
French furniture and interior designer Pierre Paulin’s Orange Slice Chair (1960; Swing Lounge Chair) comprises of two curved pads and is simple, playful and inviting, taking on a new shape from different angles. Its ‘slices’ are two identical shells of pressed beech foam-covered shells perched together on a tubular steel frame.
Danish designer Poul Kjaerholm's PK11 Dining Chair (1957; Triople Chair) resulted from his personal challenge to create “a chair of nothing less than visual beauty”. He succeeded admirably; the chair is nothing less than a visual treat from every angle.