The minimalist LC1 Sling Chair (1928; Bas Armchair) was originally designed by French designer Le Corbusier for a villa and has exposed structural elements. The juxtaposition of the leather seat and back with a steel frame make for an aesthetically-pleasing design.
Danish-American furniture designer Jens Risom's penchant for Scandinavian modernism is apparent in elements of his designs such as in the Risom Lounge Chair (1941; Cross Lounge Chair and Cross Ottoman).
The Dutch master of design Friso Kramer’s molded plywood and steel Revolt Chair (1953; Krame Chair) is held up as being representative of the Dutch modernist style. It was considered very innovative when it was first introduced, garnering accolades at the 1954 Milan Triennale, the prestigious world design fair.
French metal worker and designer Jean Prouve was a fan of the properties of sheet metal and his modern classic chair, the Prouve Standard Chair (1930; Bo Chair), highlights that with its distinctive fin-shaped, durable rear spine legs that give the chair a robust, almost rugged look.
The Marshmallow Sofa (1954; Mallow Sofa) is generally thought to be the most iconic modernist sofa with its distinctively pop art look. Its whimsical design comprises of 18 round cushions ‘floating’ on its brushed steel frame. The idea of it came about when a plastics company salesman ......
The extraordinarily elegant and ingenious Ball Chair (1963; Orbit Lounge Chair) was birthed from Finnish interior designer Eero Aarnio’s designs for a new chair in his first home. It is instantly recognizable with a simple geometric design, perfect sphere with cutout and swivel base.
An ant marked the breakthrough of important Danish modern architect and designer Arne Jacobsen’s furniture design career- an Ant Chair (1955; Ann Chair), that is. It was originally designed for the canteen of pharmaceutical firm Novo Nordisk and is a study in minimalism.
Saarinen’s classic Tulip Chair, part of the Pedestal Collection, (1956; Lioden Chair/Elegante Armchair and Jacob Dining Table) went where no chair had ever gone before on the television series Star Trek’s starship U.S.S. Enterprise in the 1960s, due to its futuristic looks tempered by the organic tulip form.