[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-knoll-classic-collections-vol1":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":562},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":557,"matched_pages":558,"match_count":559,"two_pages":560,"show_text":561},16853,"Classic Collections Vol.1","knoll-classic-collections-vol1","\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F67\u002F9adbf7c86ecfbbd40d06bc3d9e8e0c-287aabf000.pdf","Knoll",1649,"knoll","20.4 MB",[14,17,21,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,232,236,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504,508,512,516,520,524,528,532,536,540,544,548,552,555],{"image":7,"text":15,"number":16},"Vol.1\nModern\nAlways\nClassic\nCollections\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.2.png","",2,{"image":22,"text":19,"number":23},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.3.png",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.4.png","Modern Always®\n003\n002 −\nKnoll. The Original Design\nClassic Collections\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.5.png","005\n004 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen\nSaarinen Collection\nTulip Armchair\nTulip Side Chair\nTulip Stool\nSaarinen High Tables\nSaarinen Low Tables\nConference Collection\nConference Armchair\nConference Chair\nConference Stool\nWomb Collection\nWomb Chair \nWomb Ottoman\nWomb Settee\nMies van der Rohe\nBarcelona® Collection\nBarcelona® Chair\nBarcelona® Stool\nBarcelona® Couch\nBarcelona® Table\nBrno Chair\nMR Collection\nMR Adjustable Chaise \nLongue\nMR Chaise Longue\nMR Armchair\nMR Armless Chair\nMR Stool\nMR Table\nMR Armchair in Rattan\nMR Armless Chair in \nRattan\nMR Side Chair\nFour Seasons Barstool\nKrefeld Collection\nKrefeld Lounge Chair \nKrefeld Sofa\nFlorence Knoll\nFlorence Knoll Collection\nSofa\nLounge Chair\nBench\nCredenza\nSquare Tables\nRound Tables\nOval Tables\nHarry Bertoia\nBertoia Collection\nBertoia Side Chair\nBertoia Diamond\nArmchair\nBertoia Large Diamond \nArmchair\nBertoia Bird Armchair\nBertoia Ottoman\nBertoia Asymmetric\nChaise\nBertoia Bench\nBertoia Stool\nMarcel Breuer\nWassily\nTM Chair\nLaccio Tables\nCesca Chair\nWarren Platner\nPlatner Collection\nPlatner Lounge Chair\nPlatner Side Chair\nPlatner Easy Chair\nPlatner Ottoman\nPlatner Stool\nPlatner High Tables\nPlatner Low Tables\nCharles Pollock\nPollock Armchair\nPollock Executive Chair\nGeorge Nakashima\nNakashima Collection\nStraight Chair\nSplay-Leg Table\nTray\nFranco Albini\nAlbini Mini Desk\nAlexander Girard\nCoffee Table \nAntonio Bonet,\nJuan Kurchan & Jorge\nFerrari-Hardoy\nButterfly Chair\nCharles Pfister\nPfister Sofa\nJens Risom\nRisom Lounge Chair\nRichard Schultz\n1966® Schultz Collection\nAdjustable Chaise Longue\nContour Chaise Longue\nDining Chair\nLounge Chair\nDining Tables\nCoffee Tables\nPetal® Collection\nTechnical info\n010\n012\n026\n034\n046\n048\n062\n068\n084\n086\n088\n090\n120\n122\n154\n156\n160\n164\n168\n170\n186\n192\n196\n198\n202\n204\n208\n210\n214\n229\nIndex\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.6.png","007\n006 −\nModern Always®\nKnoll. The Original Design\nClassic Collections\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.7.png","Classic Collections\nClassic Collections\nAn item becomes classic\nwhen it changes the history\nof its time and continues\nto be always modern in any time. \nThe history of Knoll is rich in \nimportant references: the birth\nof the Modern Movement\nand its protagonists; the idea\nof innovation combined to \ntradition; the capacity to create \nhighly versatile pieces not only \nable to meet personal tastes, but \nage trends. Today that the change \nrequires a fast adaptation, Knoll \nanswers with its classic, always \nreliable and concrete products.\nAs value is something that \nanticipates necessities with vision, \nturning the need of the moment \ninto a timeless classic.\nUn objet devient classique \nlorsqu’il change le cours de son \ntemps, tout en restant moderne\nà chaque époque. L’histoire de \nKnoll est jalonnée de grands \névènements, comme la naissance \ndu mouvement moderne, qui mêle \nl’innovation et la tradition et qui\nse caractérise par sa volonté\nde créer des pièces extrêmement \npolyvalentes pour satisfaire les \ngoûts de chacun et suivre les \ntendances du moment. Face à \nl’évolution du monde actuel, il faut \npouvoir s’adapter rapidement. \nC’est pourquoi Knoll propose\ndes solutions classiques, toujours \nfiables et réalistes. La valeur\nd’un objet se mesure à sa capacité\nà anticiper les besoins avec \nclairvoyance, pour transformer \nune nécessité ponctuelle en \nvéritable classique intemporel.\nUn pezzo diviene un classico \nquando cambia la storia della sua \nepoca e continua ad essere sempre \nattuale in ogni tempo. \nLa storia di Knoll è ricca di riferimenti \nimportanti: la nascita del Movimento \nModerno e dei suoi protagonisti; \nl’idea di innovazione coniugata\nalla tradizione; la capacità di pezzi \nestremamente versatili, in grado di \nsoddisfare non solo gusti personali, \nma tendenze epocali. Oggi che\nil cambiamento richiede rapidità \nnell’adattamento, Knoll risponde\ncon i suoi classici sempre affidabili\ne concreti. Perché il valore\nè qualcosa che anticipa le necessità \ncon la visione, trasformando\nil bisogno del momento\nin un classico senza tempo. \nEin Gegenstand wird zum \nKlassiker, wenn er die Geschichte \nseiner Zeit verändert und zugleich \njederzeit modern bleibt.\nDie Geschichte von Knoll hat \nzahlreiche wichtige Referenzen; die \nEntstehung des Modern Movement \nund seiner Protagonisten; der \nInnovationsgedanke in Verbindung \nmit der Tradition einsatzbare die \nFähigkeit, äußerst Möbelstücke\nzu entwerfen, die nicht nur dem \npersönlichen Geschmack,\nsondern auch den Trends der Zeit \nentsprechen. Heutzutage erfordert \nder Wandel eine schnelle \nAnpassung und Knoll reagiert \ndarauf mit seinen klassischen, stets \nbewährten und gegenständlichen \nProdukten. Denn Wert ist etwas,\ndas Notwendigkeiten auf visionäre \nWeise vorwegnimmt und das \nBedürfnis des Augenblicks in einen \nzeitlosen Klassiker verwandelt.\nKnoll. The Original Design\nModern Always®\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.8.png","Classic Collections\nKnoll. The Original Design\nModern Always®\n009\n008 −\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.9.png","011\n010 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen\nSome of the most important \nworks of public architecture\nin the 1950s and 1960s in the \nUnited States were designed by \nEero Saarinen. His airport \nterminals, monuments, office \nbuildings and university facilities \nalways reflected the true spirit\nof the contemporary age, and \nbecame true landmarks.\nThanks to the collaboration with \nFlorence Knoll, he also designed \nfurnishings that have gone down\nin history. With the Pedestal \nCollection he created a lasting \nsymbol of an idea of decor that \ncombines the architectural scale \nwith that of furniture design, in\nan approach of continuity of form.\nEero Saarinen a conçu certains \nbâtiments publics majeurs des \nannées 50 et 60 aux Etats-Unis. \nSes terminaux d’aéroports, \nmonuments, bureaux et \nuniversités ont toujours intégré \nl’esprit de leur époque jusqu’à \ndevenir de véritables références. \nGrâce à sa collaboration avec \nFlorence Knoll, il a aussi créé des \nmeubles destinés à marquer \nl’histoire, à l’image de la collection \nPedestal, symbole éternel\nd’un concept mêlant échelle \narchitecturale et design sous le \nsigne de la continuité formelle.\nAlcune tra le più importanti \narchitetture pubbliche degli\nStati Uniti negli anni ’50 e ’60\nsono state firmate da Eero \nSaarinen. I suoi terminal \naeroportuali, monumenti,\nuffici, università hanno sempre \nrisposto allo spirito della \ncontemporaneità, divenendo\nveri e propri landmark.\nGrazie alla collaborazione\ncon Florence Knoll, egli progetterà \narredi destinati anch’essi a passare \nalla storia. Come nel caso della \nPedestal Collection, simbolo \nimperituro di un’idea di arredo\nche fonde scala architettonica\ne design sotto il segno della \ncontinuità di forma.\nEinige der bedeutendsten \nArbeiten in der öffentlichen \nArchitektur der Vereinigten \nStaaten der 1950er und 60er \nJahre stammten von Eero \nSaarinen. Seine Flughäfen, \nDenkmäler, Büro- und \nUniversitätsgebäude atmen stets\nden Geist des modernen Zeitalters \nund wurden zu bekannten \nWahrzeichen. So wie im Fall der \nPedestal Collection: ein bleibendes \nSymbol für eine Gestaltungsidee, \ndie mit dem Ansatz einer \ndurchgehenden Form die \narchitektonische Dimension mit \ndem Design der Möbel verbindet.\nTWA Flight Center,\nEero Saarinen & Associates\nFlorence Knoll\nand Eero Saarinen, 1957\nEero Saarinen and his wife Aline\nworking on a project\nEero Saarinen\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.10.png","013\n012 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\nWith the Pedestal Collection,\nEero Saarinen resolved the \"ugly, \nconfusing, unrestful world\" \nunderneath tables and chairs.\nAvec la collection Pedestal,\nEero Saarinen casse l’ambiance \n« hideuse, déroutante et \ntourmentée » qui règne sous les \ntables et les chaises.\nSaarinen High Table\nand Tulip Chairs\nEero Saarinen, 1957\nCon la Pedestal Collection, \nEero Saarinen ha eliminato \nl’antiestetico groviglio di gambe \ndelle sedie e dei tavoli tradizionali. \nMit seiner Pedestal Collection \nbereitete Eero Saarinen der \n„hässlichen, verwirrenden und \nunruhigen Welt“ zwischen \nTisch- und Stuhlbeinen ein Ende.\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.11.png","015\n014 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.12.png","017\n016 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\nSaarinen Tulip Armchair\nEero Saarinen, 1957\nSaarinen Tulip Chair\nEero Saarinen, 1957\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.13.png","019\n018 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\nSaarinen High Table\nand Tulip Chairs\nEero Saarinen, 1957\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.14.png","021\n020 −\nModern Always®\nKnoll. The Original Design\nA triumph of art and technology, \nthe Pedestal Collection combines \nSaarinen’s more sculptural \napproach with his understanding \nof the overall architectural vision.\nTriomphe artistique et \ntechnologique, la collection \nPedestal allie l’approche \nsculpturale de Saarinen avec sa \nvision globale de l’architecture.\nSaarinen Low Tables\nEero Saarinen, 1957\nUn trionfo di arte e tecnologia:\nla collezione Pedestal accosta \nl'approccio più scultoreo di \nSaarinen alla sua visione globale \ndell'architettura.\nEin wahres Meisterwerk der Kunst \nund Technologie: Die Pedestal \nCollection vereint den \nskulpturalen Ansatz von Eero \nSaarinen mit seiner visionären \nAuffassung von Architektur.\nEero Saarinen — Saarinen Collection\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.15.png","023\n022 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\nThe Collection is a defining\naccomplishment of modern\ndesign and a timeless addition\nto the home.\n \nCette collection\nintemporelle a marqué une étape\ndéterminante dans l’histoire\ndu design moderne.\nSaarinen High Table\nEero Saarinen, 1957\nPlatner Chairs,\nWarren Platner, 1966\nUna collezione che rappresenta\nun importante traguardo\nper il design moderno con\ncomplementi d'arredo senza\ntempo.\n \nDie Kollektion greift\ndiese Errungenschaft der\nmodernen Designgeschichte\nauf und bringt sie als zeitlose\nErgänzung in Ihr Zuhause.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.16.png","025\n024 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Saarinen Collection\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.17.png","027\n026 −\nModern Always®\nKnoll. The Original Design\nFeatured in nearly all Florence \nKnoll-designed interiors, the \nSaarinen Conference Chair has \nremained one of our most popular \ndesigns for more than 70 years. \nThe design, which is now found\nin dining rooms as often as it is\nin offices, transformed the notion\nof what seating could be with its \nsculptural form and modern \nfinishing.\nPrésent dans presque tous les\nintérieurs imaginés par Florence\nKnoll, le fauteuil Conference\nde Saarinen reste l’un des designs\nKnoll les plus demandés depuis\nplus de 70 ans. Ce fauteuil que\nl’on retrouve aujourd’hui aussi \nbien dans les univers résidentiels\nque professionnels a transformé \nla notion de ce qu’un siège pouvait \nêtre grâce à sa forme sculpturale \net ses finitions modernes.\nSaarinen Conference Armchair\nEero Saarinen, 1950\nLa sedia Saarinen Conference\nè presente in ogni ambiente \nprogettato da Florence Knoll \ned è uno dei modelli Knoll\npiù popolari da 70 anni.\nCon la sua forma scultorea e le\nfiniture moderne ha rivoluzionato\nil concetto di seduta e oggi la\npossiamo trovare sia nelle sale da \npranzo che negli uffici moderni.\nDer Saarinen Conference Chair\nist in fast allen von Florence Knoll \nentworfenen Innenräumen\nzu finden und ist seit mehr als 70 \nJahren eines unserer beliebtesten \nDesigns. Das Design, das heute\nin Esszimmern genauso oft zu \nfinden ist wie in Büroräumen,\nhat mit seiner skulpturalen Form \nund der modernen Ausführung \ndie Vorstellung dessen verändert, \nwas ein Sitzmöbel sein kann.\nEero Saarinen — Conference Chair\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.18.png","029\n028 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Conference Chair\nA soft Organic shape with\na subtle flex delivers exceptional \ncomfort. A variety of base options \nand finishes suit all spaces\nand match different styles.\nUne silhouette douce et organique \nempreinte d’une subtile souplesse \npour un confort exceptionnel.\nUn éventail d’options et de \nfinitions de base pour s’adapter\nà tous les styles et à tous les \nespaces.\nSaarinen Conference Chairs\nEero Saarinen, 1950\nLa forma organica e le linee delicate \ndella poltroncina Conference offrono \nun comfort eccezionale. Le diverse \nopzioni dei rivestimenti e delle \nfiniture della struttura si adattano \nad ambienti e stili diversi.\nDie organische Form der \nMöbelstücke mit ihrem sanften \nSchwung sorgt für \naußergewöhnlichen Komfort.\nDurch eine Auswahlverschiedener \nGrundformen und Ausführungen \npassen sie in alle Räume und zu \nunterschiedlichen Stilrichtungen.\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.19.png","031\n030 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Conference Chair\nSaarinen Conference Chair\nEero Saarinen, 1950\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.20.png","033\n032 −\nModern Always®\nKnoll. The Original Design\nExpanding the popular Saarinen \nConference Collection, the classic \ndesign has been extended with \nnew options in bar and counter\nheight stools.\nPour enrichir la fameuse\ncollection de sièges Saarinen \nConference, le modèle classique \nse décline désormais en \ntabourets de bar et de comptoir.\nSaarinen Stool\nEero Saarinen\nGli sgabelli altezza bar e counter \narricchiscono e completano\nla famosa collezione di sedute \nSaarinen Conference. \nDas klassische Design der \nbeliebten Saarinen Conference \nCollection wurde um neue \nAusführungen bei Bar- und \nCounterstühlen erweitert.\nEero Saarinen — Saarinen Stool \n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.21.png","035\n034 −\nModern Always®\nKnoll. The Original Design\nSaarinen’s work for Knoll,\nwhich includes the immensely \nsuccessful Womb chair has \nresulted in designs that have \nbecome major icons of the\npost war era.\nLe travail de Saarinen pour Knoll, \nnotamment le fauteuil Womb au \nsuccès retentissant, a donné lieu\nà des créations considérées \ncomme d’importantes icônes\nde l’après-guerre.\nWomb Chair and Ottoman\nEero Saarinen, 1946\nCon le sue creazioni per Knoll,\ntra cui la rinomata poltrona \nWomb, Saarinen ha dato origine\na progetti che sono divenuti vere\ne proprie icone.\nEtliche Arbeiten von Saarinen\nfür Knoll, zu denen auch der \nunglaublich erfolgreiche Womb \nChair gehört, gehören heute\nzu den bedeutendsten Ikonen\nder Nachkriegszeit.\nEero Saarinen — Womb Chair and Ottoman\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.22.png","037\n036 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen designed the \ngroundbreaking Womb Chair \nat Florence Knoll’s request.\nThe Womb Chair provides\na comforting sense\nof security - hence the name.\nC’est à la demande de Florence \nKnoll qu’Eero Saarinen a créé \nle fauteuil révolutionnaire Womb \nChair. Le Womb Chair invite à se \nblottir - d’où l’origine de son nom, \n« womb » signifiant « matrice ».\nWomb Chair & Ottoman \nEero Saarinen, 1946\nEero Saarinen ha progettato \nl’innovativa poltrona Womb\nsu richiesta di Florence Knoll.\nLa poltrona Womb garantisce\nun considerevole e avvolgente \ncomfort di seduta, dal quale \nderiva il suo nome.\nEero Saarinen entwarf auf \nAnfrage von Florence Knoll den \ninnovativen Womb-Chair. \nDer Womb Chair unterstütz das \nkomfortable Gefühl von \nSicherheit, daher der Name. \nEero Saarinen — Womb Chair and Ottoman\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.23.png","039\n038 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — Womb Chair and Ottoman\nSmooth curves and organic \nshapes invite to sit back, curl up\nor cuddle.\nDes courbes douces et des\nformes organiques invitent\nà se détendre, à se lover ou \nà se blottir.\nWomb Chair and Ottoman\nEero Saarinen, 1946\nLe forme organiche e le curve \navvolgenti della poltrona Womb \ninvitano al relax e permettono\ndi sedersi comodamente.\nSanfte Kurven und organische \nFormen laden dazu ein, sich \nzurückzulehnen, es sich gemütlich \nzu machen und sich einzukuscheln.\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.24.png","041\n040 −\nModern Always®\nKnoll. The Original Design\nThe sweeping form offers\nendless postures and extra room \nfor ebooks, books or tablet.\nSa forme large laisse libre cours\nà une infinité de positions et offre \nun espace supplémentaire pour \nles livres numériques, les livres\nou les tablettes.\nWomb Chair and Ottoman\nEero Saarinen, 1946\nSaarinen Low Tables \nEero Saarinen, 1957\nLa forma ampia consente  \ndi assumere infinite posizioni \nlasciando spazio extra per ebook, \nlibri o tablet.\nDie geschwungene Form erlaubt \nunbegrenzte Möglichkeiten bei \nder Sitzhaltung und bietet \nzusätzlichen Platz für Laptops, \nTablets oder Bücher. \nEero Saarinen — Womb Chair and Ottoman\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.25.png","043\n042 −\nModern Always®\nKnoll. The Original Design\nDesigned by Eero Saarinen in \n1948, the fit-for-two settee is the \nperfect modern refuge for the \nliving room, bedroom or office.\nConçu par Eero Saarinen en 1948,\nle Womb Settee, deux places,\nest la parfaite pièce de mobilier \n« refuge » pour le salon, \nla chambre ou le bureau.\nWomb Settee\nEero Saarinen, 1948\n \nSaarinen Low Table\nEero Saarinen, 1957\nProgettato da Eero Saarinen\nnel 1948, il Womb Settee\nè un elemento d’arredo ideale\nsia per la casa che per l’ufficio.\nEntworfen von Eero Saarinen \n1948, das Womb Settee ist der \nperfekte moderne Zufluchtsort\nim Wohnraum, Schlafzimmer\noder Büro.\nEero Saarinen — Womb Settee\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.26.png","045\n044 −\nModern Always®\nKnoll. The Original Design\nEero Saarinen — High Table\n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.27.png","047\n046 −\nModern Always®\nKnoll. The Original Design\nFarnsworth House - Plano, Illinois USA\nca.1945-1951\nBarcelona Pavilion – \nBarcelona, Spain - 1929\nVilla Tugendhat - Brno,\nCzech Republic - 1928-30\nHis “less is more” quotation is \none of the most famous mottos \nof 20th-century architecture. \nLudwig Mies van der Rohe was\nthe last director of the Bauhaus \nand one of the greatest rationalist \narchitects. His work embodies \nbalance between full and empty \nzones, in livable, rarified spaces, \nlike the pavilion for the Barcelona \nExpo in 1929. For this project, he \ndesigned the famous chair with a \nmetal structure (whose base is like \nan historical throne) and capitonné \ncushions: a perfect synthesis\nof past, present and future.\nSa phrase « Less is more »\nest devenue l’une des plus \ncélèbres devises de l’architecture \ndu XXe siècle. Ludwig Mies van \nder Rohe a été le dernier directeur \ndu Bauhaus et l’un de plus grands \narchitectes rationalistes.\nEn équilibre entre le plein et\nle vide, son travail tissait un \ndialogue entre l’intérieur et \nl’extérieur, les espaces à vivre et \nles lieux de plein air, comme dans \nle pavillon qu’il a conçu pour \nl’Exposition internationale à \nBarcelone en 1929. C’est pour\nce projet qu’il avait créé\nle fameux fauteuil à structure \nmétallique (dont la base évoque\nun trône antique) et coussins \ncapitonnés : une parfaite synthèse \ndu passé, du présent et du futur.\nIl suo “Less is more”\nè uno dei più celebri motti \ndell’architettura del XX secolo. \nLudwig Mies van der Rohe è stato \nl’ultimo direttore del Bauhaus\ne uno dei più grandi architetti \nrazionalisti. La sua architettura è \nequilibrio tra pieni e vuoti, dialogo \ntra interno ed esterno, spazi vivibili \ne ariosi, come nel padiglione per \nl’Expo di Barcellona del 1929. Per \nquesto progetto è stata disegnata \nla famosa poltrona con struttura \nmetallica (la cui base ricorda un \ntrono antico) e cuscini capitonné: \nuna sintesi perfetta di passato, \npresente e futuro.\nSein Leitgedanke „Less is more“ \nhat die Architektur des 20. \nJahrhunderts entscheidend \ngeprägt. Ludwig Mies van der \nRohe war der letzte \nBauhausdirektor und einer der \ngrößten Architekten des \nRationalismus. Seine Arbeit \nverkörpert das Gleichgewicht \nzwischen Fülle und Leere und fand \nAusdruck in wohnlichen, \nreduzierten Räumen wie dem \nPavillon, der 1929 für die \nWeltausstellung in Barcelona \nentstand. Für dieses Projekt \nentwarf er seinen berühmten Stuhl \naus Metallgewebe mit \nkapitunierten Polstern (dessen \nBasis wir ein antiker Thron wirkt): \neine perfekte Synthese der \nVergangenheit, Gegenwart und \nZukunft.\nLudwig Mies van der Rohe\nLudwig\nMies van der Rohe\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.28.png","049\n048 −\nModern Always®\nKnoll. The Original Design\nIn 1929, Ludwig Mies van der \nRohe designed a chair with\na single concept in mind.\nHis Barcelona® Chair stood for\nthe synthesis of old and new: \nit blended the comfort of home \nwith the thrill of innovation. \nEn 1929, Ludwig Mies van der \nRohe dessina un siège qui devait \nrépondre à un concept\nunique : la synthèse de l’ancien\net du nouveau, mariant le confort \net l’innovation.\nBarcelona® Collection \nLudwig Mies van der Rohe, 1929\nNel 1929 Ludwig Mies van der \nRohe disegnò una poltrona\nche rappresentò la sintesi tra il \nvecchio e il nuovo, armonizzando \nil comfort domestico con \nl’innovazione.\n1929 entwarf Mies van der Rohe \neinen Sessel in einem Konzept. \nSein Barcelona®-Chair,\nbedeutet die Synthese von alt\nund neu. Er verband den Komfort \ndes privaten Wohnens mit der \ntechnischen Innovation.\nLudwig Mies van der Rohe — Barcelona® Collection\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.29.png","051\n050 −\nModern Always®\nKnoll. The Original Design\nOne of the most recognized \nobjects of the last century, and an \nicon of the Modern Movement,\nthe Barcelona Chair exudes a \nsimple elegance that epitomizes \nMies van der Rohe's most famous \nmaxim–“less is more.”\nL’un des objets les plus reconnus \ndu siècle dernier, mais aussi une \nicône du mouvement moderne,\nle fauteuil Barcelona évoque une \nélégance sobre qui incarne \nparfaitement la maxime la plus \ncélèbre de Ludwig Mies van der \nRohe : « Less is more ».\nBarcelona® Collection \nLudwig Mies van der Rohe, 1929\nUno degli oggetti più riconoscibili \ndel secolo scorso e icona del \nMovimento Moderno, la poltrona \nBarcelona è simbolo di eleganza \nessenziale e rappresenta la frase \npiù famosa di Mies van der Rohe: \n\"less is more\".\nDer Barcelona Chair von Mies van \nder Rohe – eines der \nbekanntesten Designobjekte des \nletzten Jahrhunderts und ein \nMeilenstein der Moderne – \nversinnbildlicht mit seiner simplen \nEleganz die berühmteste Maxime \ndes Designers: „Weniger ist mehr.“\nLudwig Mies van der Rohe — Barcelona® Collection\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.30.png","053\n052 −\nModern Always®\nKnoll. The Original Design\nSofter cushions and new leathers \nhave contributed to provide\na greater residential feel to the \nundisputed ‘monument’ of the \ninternational history of design.\nDes coussins plus doux au \ntoucher et de nouveaux cuirs ont \ncontribué à donner un côté plus \nrésidentiel à ce « monument » \nincontesté de l’histoire \ninternationale du design.\nBarcelona® Collection – Relax\nLudwig Mies van der Rohe, 1929\nCuscini più morbidi e una rivisitata \ngamma di pelli hanno contribuito \na dare un tocco più residenziale \nalla collezione considerata \n‘monumento’ indiscusso della \nstoria internazionale del design.\nNoch weichere Polster und neue \nLederbezüge verleihen dem \nunangefochtenen Monument der \ninternationalen Designgeschichte \nein neues Wohngefühl.\nLudwig Mies van der Rohe — Barcelona® Collection\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.31.png","055\n054 −\nModern Always®\nKnoll. The Original Design\nKnoll products are produced \naccording to the original\nand exacting specifications\nof the designers and reflect the \nKnoll standard for quality and \ndurability.\nLes produits originaux de Knoll \nsont fabriqués selon les \nspécifications originales de son \ncréateur et reflètent la philosophie \nde Knoll en matière de qualité\net de durabilité.\nBarcelona® Relax Chair\nLudwig Mies van der Rohe, 1930\nSaarinen Low Table \nEero Saarinen, 1957\nI prodotti Knoll autentici sono \nrealizzati seguendo i disegni \noriginali e gli standard produttivi \nche da sempre caratterizzano \nKnoll per qualità e innovazione.\nJedes Original von Knoll\nwird bis ins kleinste Detail\nnach den Plänen des Designers \nhergestellt, die dem\nKnoll-Standard für Qualität\nund Dauerhaftigkeit entspricht.\nLudwig Mies van der Rohe — Barcelona® Collection\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.32.png","057\n056 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — Barcelona® Collection\nBarcelona® Stool\nLudwig Mies van der Rohe, 1929\nBarcelona® Table\nLudwig Mies van der Rohe, 1929\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.33.png","059\n058 −\nModern Always®\nKnoll. The Original Design\nThe Barcelona Couch shares the \nsame simple elegance as its \niconic Barcelona chair.\nLe sommier Barcelona affiche\nla même élégance et la même \nsimplicité que le fauteuil culte\ndu même nom.\nBarcelona® Couch\nLudwig Mies van der Rohe, 1930\nSaarinen Low Table \nEero Saarinen, 1957\nIl sommier Barcelona è \ncaratterizzato dalla stessa \nsemplice eleganza dell'iconica \npoltrona Barcelona.\nDie Barcelona Couch ist genauso\nschlicht und elegant, wie der\nlegendäre Barcelona Sessel.\nLudwig Mies van der Rohe — Barcelona® Collection\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.34.png","061\n060 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — Barcelona® Collection\nDesigned in 1930, the Barcelona \nCouch shares the same simple \nelegance as the iconic lounge \nchair of the same name. \nMies van der Rohe's command\nof line and material in all medium, \nfrom architecture to furniture, \nhelped define the modern \nvocabulary. \nCréé en 1930, le sommier\nBarcelona partage la même\nélégance sobre que l’iconique\nfauteuil du même nom.\nLa maîtrise de Ludwig Mies van\nder Rohe des lignes et des\nmatières sous toutes formes,\nde l’architecture au mobilier a\ncontribué à définir le vocabulaire\ndu Modernisme.\nBarcelona® Couch\nLudwig Mies van der Rohe, 1930\nSaarinen Low Table \nEero Saarinen, 1957\nProgettato nel 1930, il Sommier \nBarcelona condivide la stessa \neleganza lineare dell'iconica \npoltrona. La maestria di Mies van \nder Rohe, le linee e la scelta dei \nmateriali in tutte le loro forme, \ndall'architettura all'arredamento, \nhanno contribuito a definire\nil vocabolario moderno. \nDas 1930 entworfene Barcelona \nCouch verströmt dieselbe simple \nEleganz wie der gleichnamige \nKultsessel. Mies van der Rohes \nBeherrschung von Linie und \nMaterial in allen Medien, von der \nArchitektur bis zum Möbel, hat \ndas moderne Design \nentscheidend mitbestimmt.\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.35.png","063\n062 −\nModern Always®\nKnoll. The Original Design\nDesigned by Mies van der\nRohe for the renowned Tugendhat \nHouse in Brno, Czech Republic, \nthe Tubular and Flat Brno Chairs \nreflect the simplicity of their \noriginal environment.\nThe chairs are celebrated for their \nlean profile, clean lines and \nmeticulous attention to detail.\nConçus par Mies van der Rohe \npour la célèbre Villa\nTugendhat à Brno en République \nTchèque, les fauteuils Brno \ntubulaire et acier plat reflètent la \nsimplicité de leur environnement \nd’origine. Ils sont plébiscités pour \nla finesse de leur profil, leurs \nlignes épurées et l’attention \nméticuleuse portée à chaque \ndétail.\nBrno Collection\nLudwig Mies van der Rohe, 1930\nDisegnate da Mies van der\nRohe per la celebre Casa \nTugendhat a Brno, nella \nRepubblica Ceca, le sedie Brno \ncon struttura in piatto o tubolare \nd'acciaio riflettono l'essenzialità \ndel loro ambiente originale. \nQueste sedie si distinguono per\nil profilo slanciato, le linee pulite\ne la minuziosa attenzione\nper i dettagli.\nDie Brno Stühle in Flachstahl\nund Rundrohr wurden \nursprünglich von Mies van der \nRohe für das renommierte Haus \nTugendhat im tschechischen \nBrünn entworfen und verkörpern \nnoch heute die Einfachheit ihrer \neigentlichen Umgebung. Für ihr \nschlankes Profil, die klare \nLinienführung und ihre Liebe zum \nDetail genießen sie besondere \nWertschätzung.\nLudwig Mies van der Rohe — Brno Chair\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.36.png","065\n064 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — Brno Chair\nBrno Chair\nLudwig Mies van der Rohe, 1930\nFlorence Knoll Mini-Desk \nFlorence Knoll, 1954\nPlatner Stool\nWarren Platner, 1966\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.37.png","067\n066 −\nModern Always®\nKnoll. The Original Design\nBrno Chair\nLudwig Mies van der Rohe, 1930\nLudwig Mies van der Rohe — Brno Chair\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.38.png","069\n068 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\nMR Adjustable Chaise Longue\nLudwig Mies van der Rohe, 1927\n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.39.png","071\n070 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.40.png","073\n072 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.41.png","075\n074 −\nModern Always®\nKnoll. The Original Design\nThe MR Collection represents \nsome of the earliest steel furniture \ndesigns by Mies van der Rohe.\nThe material choice was\ninspired by fellow Bauhaus\nmaster Marcel Breuer, while the \nforms are undeniably modern.\nLa collection MR présente\ncertains des premiers meubles\nen acier conçus par Mies van\nder Rohe. Le choix de matériau\nlui avait été inspiré par\nMarcel Breuer, un autre maître\ndu Bauhaus, alors que les formes \nsont indéniablement modernes.\nMR Lounge Collection\nLudwig Mies van der Rohe, \nca. 1927\u002F1931\nLa collezione MR è tra le prime\nin acciaio create da Mies van der \nRohe. La scelta dei materiali\nè stata influenzata dal collega\ne maestro del Bauhaus Marcel \nBreuer, mentre le forme sono \nd’ispirazione moderna.\nDie MR Collection umfasst\neinige der frühesten Entwürfe\nfür Stahlrohrmöbel von Mies van\nder Rohe. Die Auswahl des \nMaterials wurde von Marcel \nBreuer inspiriert, einem ebenfalls \nnamhaften Bauhausvertreter.\nDie Formensprache orientierte\nsich an der Gegenwart.\nLudwig Mies van der Rohe — MR Collection\n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.42.png","077\n076 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.43.png","079\n078 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\nMR Chaise Longue\nLudwig Mies van der Rohe,\nca. 1927\u002F1931\nMR Armchair\nLudwig Mies van der Rohe, \nca. 1927\u002F1931\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.44.png","081\n080 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.45.png","083\n082 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — MR Collection\nMies first showed the MR10\nand MR20 at the Stuttgart \nWeissenhof Estate — a seminal \nWerkbund exhibition, which first \nbrought modernist works to the \npublic. Over the next five years, \nMies would develop an entire \nseries of tubular steel designs \nnow presented by Knoll as the\nMR Collection.\nLudwig Mies van der Rohe a \nprésenté pour la première fois\nles modèles MR10 et MR20 à la \ncité de Weißenhof de Stuttgart, \nlors d’une exposition phare du \nWerkbund, qui a dévoilé au grand \njour des œuvres modernistes.\nAu cours des cinq années qui \nsuivirent, l’architecte a élaboré \nune série complète de modèles\nen acier tubulaire, aujourd’hui \nprésentée par Knoll dans la \nCollection MR.\nMR Side Chair\nLudwig Mies van der Rohe, 1927\nMies presentò per la prima volta\nla MR10 e la MR20 al Weissenhof \ndi Stoccarda, la mostra\ndel Werkbund che ha fatto scuola\ne che per prima ha portato\nle opere moderniste al pubblico.\nNei cinque anni seguenti,\nMies svilupperà un'intera serie\ndi prodotti in acciaio tubolare, \noggi presentate da Knoll con\nla MR Collection.\nMies Van der Rohe stellte seinen \nMR10 bzw. MR20 in der \nWeißenhofsiedlung in Stuttgart \nvor, einer zukunftsweisenden \nAusstellung des Deutschen \nWerkbundes, die erstmals \nmodernes Design der \nÖffentlichkeit zugänglich machte. \nIn den folgenden fünf Jahren \nentwarf er eine komplette Serie \nvon Stahlrohrmöbeln, die heute \nvon Knoll unter dem Namen\nMR Collection angeboten werden.\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.46.png","085\n084 −\nModern Always®\nKnoll. The Original Design\nThe Four Seasons Barstool was \ncreated for the Four Seasons \nRestaurant in the Seagram \nBuilding in New York. \nThe cantilevered chrome frame, \nlean profile and meticulous \ncraftsmanship complement Mies \nvan der Rohe’s Flat Bar Brno \nChair, which was also specified \nfor the restaurant. \nLe tabouret Four Seasons a été\nconçu pour le restaurant du\nmême nom situé dans le Seagram\nBuilding à New York. Sa structure\nchromée en porte-à-faux, la\nfinesse de son profil et le\nsavoir-faire méticuleux dont\nil résulte font écho au fauteuil Flat\nBar Brno que Mies van der Rohe\na également créé pour ce\nrestaurant.\nFour Seasons Barstool\nLudwig Mies van der Rohe, 1958\nLo sgabello Four Seasons è stato \nrealizzato per il ristorante Four \nSeasons nel Seagram Building\ndi New York. La struttura in piatto \nd'acciaio cromato, il profilo \nslanciato e la minuziosa \nmanifattura di questa seduta\na sbalzo sono in perfetta armonia \ncon le sedie Brno di Mies van der \nRohe, anch'esse disegnate \nappositamente per il ristorante. \nDer Four Seasons Barstool wurde \nursprünglich für das Four \nSeasons Restaurant im New \nYorker Seagram Building \nentworfen. Das freischwingende \nChromgestell, die schlanke \nGestalt und die akribische \nFertigung ergänzen den Brno \nStuhl in Flachstahl von Mies van \nder Rohe, der ebenfalls für das \nRestaurant konzipiert wurde.\nLudwig Mies van der Rohe — Four Seasons Barstool\n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.47.png","087\n086 −\nModern Always®\nKnoll. The Original Design\nLudwig Mies van der Rohe — Krefeld Collection\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.48.png","089\n088 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll and\nEero Saarinen, 1957\nFlorence Knoll\nFlorence Knoll\nAn architect mentored\nby great masters of the 20th \ncentury (from Eliel Saarinen to \nMies van der Rohe), and a \nclassmate of some of the most \ntalented American designers\nof the 1950s (Saarinen, Bertoia, \nEames, Noguchi), Florence Schust \nKnoll contributed some of the \nprinciples of Knoll together with \nher husband Hans. Her intuition \nmade the company great: the \npoised mixture of architectural\nand sculptural furnishings, ideal\nfor both residential and contract \ninteriors, and the creation of the \nPlanning Unit, the in-house division \nthat offered clients qualified \ndesign consulting services.\nArchitecte formée auprès\ndes grands maîtres du XXe siècle\n(d’Eliel Saarinen à Mies van der\nRohe) et camarade d’études des\nplus célèbres designers\naméricains des années 50\n(Saarinen, Bertoia, Eames,\nNoguchi), Florence Schust Knoll\na établi les fondements de Knoll\navec son mari Hans. Ses intuitions\nont fait le succès de l’entreprise :\nnotamment le savant mélange\nentre meubles architecturaux\net sculpturaux, répondant aux\nattentes des univers résidentiels\net professionnels, ainsi que la\ncréation de la Planning Unit,\nun département interne\nqui offrait à ses clients des \nsolutions alliant architecture, \ndécoration intérieure et design. \nArchitetto, formatasi con\ni grandi maestri del ‘900 (da Eliel\nSaarinen a Mies van der Rohe)\ne compagna di studi dei più\ntalentuosi designer americani\ndegli anni ’50 (Saarinen, Bertoia, \nEames, Noguchi), Florence Schust \nKnoll ha determinato alcuni \nprincipi fondamentali di Knoll, \ninsieme al marito Hans, fondatore \ndell’azienda. Sue alcune tra le \nintuizioni che renderanno grande \nKnoll: il sapiente mix tra arredi \narchitettonici e scultorei, adatto\nsia all’interior domestico che\nal contract, e la creazione della \nPlanning Unit, divisione interna\nche offriva al cliente consulenza \nprogettuale qualificata.\nAls von den größten Meistern\ndes 20. Jahrhunderts (von Eliel\nSaarinen bis Mies van der Rohe)\nbeeinflusste Architektin und\nKommilitonin von einigen der\ntalentiertesten amerikanischen\nDesigner (Saarinen, Bertoia, Eames,\nNoguchi) hat Florence Schust\nKnoll mit Ihrem Ehemann Hans einige \nPrinzipien der Firma Knoll geprägt. \nEinige ihrer Entwürfe trugen maßgeblich \nzum Erfolg des Unternehmens bei:\netwa die ausgewogene Mischung\naus architektonischen und skulpturalen\nEinrichtungselementen, die sich\nsowohl für private als auch\nöffentliche Inneneinrichtungen\neignet und die Gründung einer\nhauseigenen Planungsabteilung,\ndie den Kunden eine qualifizierte\nDesignberatung bot.\nFlorence Knoll\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.49.png","091\n090 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.50.png","093\n092 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.51.png","095\n094 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll Sofa-Relax\nFlorence Knoll, 1954\n \nFlorence Knoll Coffee Table\nFlorence Knoll, 1954\nBertoia Large Diamond Chair \nHarry Bertoia, 1952\nSaarinen Low Tables \nEero Saarinen, 1957\nFlorence Knoll — Florence Knoll Collection\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.52.png","097\n096 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.53.png","099\n098 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll’s attention\nto detail, eye for proportion,\nand command of the modern \naesthetic resulted in some\nof the most celebrated furniture\nof the modern era.\nLe souci du détail de Florence \nKnoll, sa vision des proportions\net sa maîtrise de l’esthétique \nmoderne ont donné naissance à \ndes meubles qui figurent parmi les \nplus appréciés de l’ère moderne.\nFlorence Knoll Sofa \nFlorence Knoll, 1954\nFlorence Knoll Coffee Table\nFlorence Knoll, 1954\nL'attenzione ai dettagli e alle \nproporzioni di Florence Knoll\ned il suo senso estetico hanno \ndato vita ad alcuni degli arredi più \nriconosciuti dell’era moderna.\nFlorence Knolls Liebe zum Detail, \nihr besonderes Auge für \nProportionen und ihre \nBeherrschung der modernen \nÄsthetik brachte einige der \nberühmtesten Möbelstücke\nder Moderne hervor.\nFlorence Knoll — Florence Knoll Collection\n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.54.png","101\n100 −\nModern Always®\nKnoll. The Original Design\nPerfectly proportioned and \nimmaculately detailed, the iconic \nFlorence Knoll low credenza \nworks as well in the dining room \nas it does in the office.\nEntre ses proportions parfaites\net ses détails impeccables, le \ncélèbre rangement bas Florence \nKnoll trouve aussi facilement sa \nplace dans la salle à manger que \ndans un bureau.\nFlorence Knoll Credenza\nFlorence Knoll, 1954\nCaratterizzata dalla perfezione \ndelle proporzioni e la minuziosità \ndei dettagli, l'iconica credenza \nbassa Florence Knoll è perfetta \nsia in sala da pranzo che in ufficio.\nPerfekt proportioniert und \nmakellos detailliert.\nDas Sideboard Credenza von \nFlorence Knoll passt genauso gut \nins Esszimmer wie ins Büro.\nFlorence Knoll — Florence Knoll Collection\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.55.png","103\n102 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.56.png","105\n104 −\nModern Always®\nKnoll. The Original Design\nThe Florence Knoll Credenza\nwith its increased dimensions \noffers greater storage space. \nIt is available in a wide range\nof finishes and storage options.\n \nLa crédence Florence Knoll\navec ses nouvelles dimensions \noffre plus d’espace de rangement. \nElle est disponible en une large \ngamme de finitions et avec \ndifférentes options de rangement.\nFlorence Knoll Credenza\nFlorence Knoll, 1954\nLa Credenza Florence Knoll con\nle sue nuove dimensioni offre\nmaggiore capienza ed è \ndisponibile in una vasta gamma\ndi finiture e soluzioni.\nDas Sideboard Credenza von\nFlorence Knoll bietet mit seinen\nneuen Dimensionen noch mehr \nStauraum und ist in einer \numfassenden Palette an \nAusführungen und \nAblagemöglichkeiten verfügbar.\nFlorence Knoll — Florence Knoll Collection\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.57.png","107\n106 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.58.png","109\n108 −\nModern Always®\nKnoll. The Original Design\nConsistent with all of Knoll’s \ndesigns, the Florence Knoll \nCollection in a softer version\nhas deeper proportions\nfor a more relaxed sit.\nEn cohérence avec toutes les \ncréations Knoll, la version relax\nde la collection Florence Knoll \nprésente des proportions plus \nprofondes pour un confort accru.\nFlorence Knoll Sofa - Relax\nFlorence Knoll, 1954\nSaarinen Low Table \nEero Saarinen, 1957\nIn linea con tutti i prodotti Knoll,\nla collezione Florence Knoll Relax \nha linee più morbide e proporzioni \npiù profonde per una seduta\npiù rilassata.\nWie alle Entwürfe von Knoll \nbesitzt auch die weichere \nAusführung der Florence Knoll \nKollektion eine tiefe Konstruktion \nfür tiefenentspanntes Sitzen.\nFlorence Knoll — Florence Knoll Collection\n",58,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.59.png","111\n110 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll — Florence Knoll Collection\n",59,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.60.png","113\n112 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll Table\nFlorence Knoll, 1954\nSaarinen Conference Chair\nEero Saarinen, 1950\nFlorence Knoll — Florence Knoll Collection\n",60,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.61.png","115\n114 −\nModern Always®\nKnoll. The Original Design\nFlorence Knoll’s designs are \nreserved, severe and elegant and \nangular, reflecting the objective \nperfectionism of the early 1960s. \nBased on dimensions from the \narchive, the Florence Knoll Dining \nTable can also be used as\na meeting table.\nSobres, austères, élégantes et \nangulaires, les créations de \nFlorence Knoll reflètent le \nperfectionnisme objectif du début \ndes années 1960. Basée sur les \ndimensions retrouvées dans les \narchives, la table Florence Knoll \npeut également être une table\nde réunion.\n \nFlorence Knoll Table\nFlorence Knoll, 1954\nI progetti di Florence Knoll hanno \nlinee rigorose, eleganti e angolari, \nper perseguire l'obiettivo del \nperfezionismo dei primi anni \nSessanta. Fedele alle dimensioni e \nalle specifiche originali, il tavolo da \npranzo Florence Knoll può essere \nanche impiegato come tavolo \nriunioni.\nDie Entwürfe von Florence Knoll \nzeichnen sich durch Strenge, \nZurückhaltung und scharfkantige \nEleganz aus; sie spiegeln den \nPerfektionismus der frühen 1960er \nJahre. In den Abmessungen seines \narchivierten Vorbildes kann der \nFlorence Knoll Dining Table sogar \nals Besprechungstisch dienen.\nFlorence Knoll — Florence Knoll Collection\n",61,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.62.png","117\n116 −\nModern Always®\nKnoll. The Original Design\nThe elegant and perfectly \nproportioned 1961 Florence Knoll \nDesk is the perfect solution for the \noffice or the dining room.\n \nElégante et parfaitement \nproportionnée, la table Florence \nKnoll de 1961 est la solution idéale \npour le bureau ou la salle à \nmanger.\nFlorence Knoll Table\nFlorence Knoll, 1961\nPollock Armchair \nCharles Pollock, 1963\nIl tavolo Florence Knoll realizzato \nnel 1961 è caratterizzato da \neleganza e proporzioni perfette \ned è la soluzione ideale per \nl'ufficio o la sala da pranzo.\nDer elegante und ausgewogen \nproportionierte Florence Knoll \nDesk von 1961 macht im Büro und \nim Esszimmer eine hervorragende \nFigur.\nFlorence Knoll — Florence Knoll Collection\n",62,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.63.png","119\n118 −\nModern Always®\nKnoll. The Original Design\nDesigned in 1954, the Florence \nKnoll Bench now stands as a \ndefining example of modern \ndesign. Consistent with all of her \ndesigns, the bench has a spare, \ngeometric profile that reflects\nthe objective perfectionism\nand rational design approach \nFlorence Knoll learned from\nher mentor, Mies van der Rohe.\nConçu en 1954, le Florence Knoll \nBench est aujourd’hui l’exemple \nachevé du design moderne. Fidèle \nà l’esprit créateur de Florence \nKnoll, le banc adopte un profil \ngéométrique minimaliste.\n Il reflète le perfectionnisme \nobjectif et la démarche créatrice \nrationnelle qu’elle apprit de son \nmentor Mies van der Rohe.\nFlorence Knoll Bench – Relax\nFlorence Knoll, 1954\nDisegnata nel 1954, la panca \nFlorence Knoll è considerata uno \ndegli esempi più rappresentativi \ndel design moderno. Coerente \ncon lo stile che caratterizza tutti\ni suoi prodotti, la panca ha una \nlinea pulita e geometrica che \nriflette il perfezionismo e il design \nrazionale che Florence Knoll ha \nereditato dal suo mentore,\nMies van der Rohe. \nObwohl die Florence Knoll Bank \nbereits 1954 entworfen wurde,\nist sie heute eine unbestrittene \nReferenz für modernes Design. \nWie alle Entwürfe von Florence \nKnoll hat auch diese Bank ein \nzurückhaltendes, geometrisches \nProfil, in dem sich der \ngegenständliche Perfektionismus \nund rationale Designansatz ihres \nMentors Mies van der Rohe \nausdrückt.\nFlorence Knoll — Florence Knoll Collection\n",63,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.64.png","121\n120 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia\nHarry (Arieto) Bertoia, born\nin Italy and residing in America,\nwas a great 20th-century sculptor \nand designer. A classmate\nof Florence Schust Knoll at \nCranbrook Academy, at her \nbidding he entered the field of \nproduct design with the Diamond \nChair (also known as the Bertoia \nChair). This unique project \nlaunched him into the stratosphere \nof the most iconic design of all \neras. The chair’s curved grid \nstructure makes it a perfect blend \nof rationalism and organic form, \nmade possible by the productive \nprowess of the company.\nItalien de naissance et\naméricain d’adoption, Harry\n(Arieto) Bertoia compte parmi les\nplus grands sculpteurs et\ndesigners du XXe siècle.\nCamarade d’études de Florence\nSchust Knoll à la Cranbrook\nAcademy, c’est grâce à elle qu’il\ns’essaye au design de produits\nen dessinant le fauteuil Diamond\n(aussi connu sous le nom\nde « fauteuil Bertoia »).\nCe projet unique l’a lancé dans la \nstratophère des designs les plus \ncélèbres de tous les temps.\nLa structure du fauteuil Diamond\nen tiges d’acier grillagées et \ncourbées incarne l’union\nparfaite entre forme rationaliste et \norganique, rendue possible par \nune prouesse de production de \nl’entreprise.\nHarry (Arieto) Bertoia, italiano  \ndi nascita e americano di adozione, \nè stato un grande scultore  \ne designer del secolo scorso. \nCompagno di studi alla Cranbrook \nAcademy di Florence Schust Knoll, \ngrazie a quest’ultima approda al \nprodotto di design con la Diamond \nChair (nota anche come Bertoia \nChair). Questo progetto unico lo \nproietta nell’empireo del design \npiù iconico di ogni tempo.  \nLa sua struttura reticolare curvata \nrappresenta l’unione perfetta tra \nrazionalismo e organicismo, resa \npossibile grazie all’alta capacità \nproduttiva dell’azienda.\nDer in Italien geborene und\nin Amerika lebende Harry (Arieto) \nBertoia war einer der größten \nBildhauer und Designer des 20. \nJahrhunderts. Als Kommilitone von \nFlorence Schust Knoll an der \nCranbook Academy stieg er auf ihre \nBitte hin mit dem Diamond Chair \n(auch bekannt als Bertoia-Stuhl) ins \nProduktdesign ein. Dieses \neinzigartige Projekt wurde sofort\nzu einem der größten Designikonen \naller Zeiten. Die gebogene \nGitterkonstruktion ergab die \nperfekte Verschmelzung von \nRationalismus und Organisismus,\ndie mithilfe der fortschrittlichen \nFertigungsprozesse des \nUnternehmens realisiert werden \nkonnte.\nSonambient Barn, Barto PA \nThe cafeteria at the General Motors Technical Center in Warren, \nMichigan, with Saarinen Executive Armless Chairs in front of Bertoia's \n37-foot wall separator.\nHarry Bertoia\n",64,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.65.png","123\n122 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Collection\nHarry Bertoia, 1952\n",65,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.66.png","125\n124 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nThe Bertoia Side Chair is an icon \nof mid-century modern design. \nBertoia found sublime grace\nin an industrial material, creating\na design that works with every \ndecor, in every room.\nLa chaise Bertoia est une icône du \ndesign moderne des années 50. \nBertoia a su déceler la grâce dans \nun matériau industriel pour créer \nun design qui fonctionne dans \nn’importe quel décor et n’importe \nquelle pièce.\nBertoia Side Chairs\nHarry Bertoia, 1952\nSaarinen High Table \nEero Saarinen, 1957\nLa sedia Bertoia è un cult del \ndesign della metà del XX secolo. \nBertoia ha realizzato una seduta \ndalla grazia sublime con un \nmateriale industriale, creando\nuna linea che si adatta a ogni tipo \ndi ambiente e arredamento.\n \nDer Bertoia Side Chair ist eine \nIkone des „Mid-Century Modern“: \nBertoia entdeckte die Grazie \neines industriellen Werkstoffs\nund schuf ein Design, das in \njedem Raum und jeder \nInneneinrichtung funktioniert.\n",66,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.67.png","127\n126 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\n",67,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.68.png","129\n128 −\nModern Always®\nKnoll. The Original Design\nThe Bertoia Chair with shell in \ncowhide is extremely comfortable \nand perfect in any environment, \nfrom residences to the workplace.\nLa chaise Bertoia avec la coque \nen cuir sellier est extrémement \nconfortable et convient aux \nespaces résidentiels tout comme \nprofessionnels.\nBertoia Side Chair in Cowhide\nHarry Bertoia, 1952\nLa sedia Bertoia con la scocca\nin cuoio è estremamente comoda, \nmoderna e perfetta in ogni tipo\ndi ambiente, dal residenziale \nall’ufficio moderno.\n \nDas Bertoia Side Chair mit \nKernlederschale ist höchst\nkomfortabel und fügt sich perfekt \nin jedes Ambiente - vom\nWohn- bis zum Objektbereichen.\nHarry Bertoia — Bertoia Collection\n",68,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.69.png","131\n130 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Side Chair\nHarry Bertoia, 1952\n",69,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.70.png","133\n132 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Side Chairs\nHarry Bertoia, 1952\n",70,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.71.png","135\n134 −\nModern Always®\nKnoll. The Original Design\nThe Bertoia Barstool is the perfect \ncomplement to the kitchen or café \nwhile the counter stools are best \npaired with tables and counters.\nLe tabouret de bar Bertoia est \nidéal dans une cuisine ou un café, \nalors que le tabouret de comptoir \ns’utilise de préférence autour \nd’une table ou d’un plan de travail.\nBertoia Stools\nHarry Bertoia, 1952\nLo sgabello Bertoia è un\ncomplemento perfetto per diversi\nambienti: dalla cucina, al\nbancone di un bar e, nella\nversione counter, anche negli\nuffici moderni.\nDer Barstuhl von Bertoia ist die \nideale Ergänzung für Ihre Küche \noder Ihr Café und passt an Tische \noder Theken.\nHarry Bertoia — Bertoia Collection\n",71,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.72.png","137\n136 −\nModern Always®\nKnoll. The Original Design\nMaster sculptor Harry Bertoia’s \nseating collection is a \ngroundbreaking study in form\nand function.\nLa collection de sièges du maître \nsculpteur Harry Bertoia est une \nétude révolutionnaire en forme\net fonction.\nBertoia Bird Armchair\nHarry Bertoia, 1952\nBertoia Ottoman\nHarry Bertoia, 1952\nLa collezione di sedute del \ncelebre scultore Harry Bertoia è \nuno studio rivoluzionario di forma \ne funzione.\nDie Harry Bertoia \nSitzmöbelkollektion ist eine \nbahnbrechende Studie in Form \nund Funktion.\nHarry Bertoia — Bertoia Collection\n",72,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.73.png","139\n138 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Bird Armchair\nHarry Bertoia, 1952\nBertoia Ottoman\nHarry Bertoia, 1952\nSaarinen Low Table \nEero Saarinen, 1957\n",73,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.74.png","141\n140 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Diamond Chair\nHarry Bertoia, 1952\n",74,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.75.png","143\n142 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nThe graceful Diamond Chair is\nan astounding study in space, \nform and function by one of the \nmaster sculptors of the last \ncentury. \nL’élégant fauteuil Diamond est une \nétude renversante sur l’espace,\nla forme et la fonction signée par \nl’un des plus grands sculpteurs\ndu siècle dernier.\nBertoia Diamond Chair\nHarry Bertoia, 1952\nSaarinen Low Tables\nEero Saarinen, 1957\nL’elegante poltroncina Diamond\nè il risultato di un eccezionale \nstudio di spazio, forma e funzione \nda parte di uno dei maggiori \nscultori del secolo scorso. \n \nEine bemerkenswerte Studie über \nRaum, Gestalt und Funktion aus \nder Hand eines großen Bildhauers \ndes letzten Jahrhunderts:\nder elegante Diamond Chair.\n",75,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.76.png","145\n144 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\n",76,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.77.png","147\n146 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nBertoia Collection\nHarry Bertoia,1952\n1966 Schultz High Table\nRichard Schultz, 1966\n",77,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.78.png","149\n148 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nTeak slats and outdoor-ready\nbase finishes mean the Bertoia\nBench is ready to join the other\nclassics on the patio. The\nversatile design, which can be\nused as a bench or table,\nis perfect for flexible outdoor\nspaces.\nGrâce à ses lattes en teck et les \nfinitions spéciales outdoor de son \npiètement, le banc Bertoia prend \nmaintenant place dans le patio\nauprès des autres classiques de la\ncollection. Son design polyvalent\npermettant de l’utiliser en\nbanc ou en table est idéal pour \nl’extérieur.\nBertoia Bench\nHarry Bertoia, 1952\nLa panca Bertoia, con i suoi listoni \nin teak e la struttura in materiale \nper esterni, è perfetta per essere \nabbinata agli altri classici Knoll\nda esterno. Può essere utilizzata \ncome panca o come tavolino, \ngrazie al suo design versatile \nperfetto per gli spazi esterni.\nMit ihren Teakholzlatten und der \nfür den Außenbereich geeigneten \nOberflächenbehandlung passt die \nBertoia Bench hervorragend zu \nden übrigen Klassikern auf der \nTerrasse. Das vielseitige Design \nkann als Bank oder Tisch benutzt \nwerden und eignet sich perfekt \nfür variable Außenflächen.\n",78,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.79.png","151\n150 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\n",79,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.80.png","153\n152 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia — Bertoia Collection\nSculptural, airy and breathtaking \nin shape and form, the \nAsymmetric Chaise is considered \nto be a masterpiece of mid-\ncentury design.\nSculpturale, aérienne et \nspectaculaire, la chaise longue \nAsymétrique est considérée \ncomme un chef d’oeuvre\ndu mobilier du milieu du 20ème \nsiècle.\nBertoia Asymmetric Chaise\nHarry Bertoia,1952\nGrazie alla sua forma leggera\ne scultorea, la poltrona \nAsimmetrica è considerata uno \ndei capolavori del design \nmoderno. \nWegen seiner skulpturellen, \nluftigen und atemberaubender \nGestaltung der Form gilt der \nAsymmetrische Liegesessel als \nMeisterstück des Möbeldesigns \nder Jahrhundertmitte.\n",80,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.81.png","155\n154 −\nModern Always®\nKnoll. The Original Design\nMarcel Breuer\nFirst a student and then a \nteacher at the Bauhaus, Marcel \nBreuer was one of the pioneers\nof the use of metal tubing.\nThis feature – synonymous with \nrationalism in the history of design \n– made it possible to create light \nfurnishings, in terms of both \nphysical weight and visual impact. \nThe result is versatile, mobile \nelegance, capable of enhancing \nthe legibility and livability\nof architectural space. Breuer’s \nfurniture projects are among \nthe most coveted pieces by \ncontemporary architects. \n \nPremier étudiant puis\nprofesseur au Bauhaus, Marcel\nBreuer a été l’un des pionniers\nde l’usage du métal tubulaire.\nCet élément identifiant tous les\nmeubles d’essence rationaliste\ndans l’histoire du design permet\nde créer des pièces légères en \nterme de poids et d’impact visuel.\nLe résultat est un design \npolyvalent, mobile, élégant,\ncapable de renforcer la lisibilité\net la qualité de vie d’un espace \narchitectural. C’est pour cette \nraison que le mobilier conçu par \nBreuer figure parmi les pièces \npréférées des architectes \nd’aujourd’hui. \nPrima studente e poi docente\nal Bauhaus, Marcel Breuer\nè stato uno dei pionieri nell’uso\ndel tubolare metallico. Questo \nelemento - che identificherà nella \nstoria del design tutto l’arredo\ndi matrice razionalista - permette \ndi ottenere mobili leggeri,\nsia a livello di peso fisico, sia per \nimpatto visivo. Il risultato\nè un design versatile e mobile,\ncapace di esaltare al meglio\nla lettura e la vivibilità dello spazio \narchitettonico; elemento, \nquest’ultimo, che renderà i mobili \ndi Breuer tra i più amati dagli \narchitetti contemporanei. \nMarcel Breuer, erst Student und \nspäter Dozent am Bauhaus, war \neiner der Pioniere im Gebrauch \nvon Metallrohren. Dieses Merkmal, \ndas in der Designgeschichte zum \nSynonym für den Rationalismus \nwurde, ermöglichte die \nHerstellung von Möbeln, die \nsowohl physisch als auch optisch \neine besondere Leichtigkeit \nbesaßen. Das Ergebnis war eine \nvielseitige, bewegliche Eleganz, \ndie in der Lage war, die \nWahrnehmung und die \nWohnlichkeit architektonischer \nRäume zu verstärken. Breuers \nMöbel zählen bis heute zu den \nbegehrtesten Stücken unter \nzeitgenössischen Architekten. \nWoman wearing an Oskar Schlemmer\nMask, sitting on Marcel Breuer’s Wassily Chair, ca.1926\nMarcel Breuer's\nCentral Library in Atlanta, 1966\nMarcel Breuer\nMarcel Breuer\n",81,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.82.png","157\n156 −\nModern Always®\nKnoll. The Original Design\nWhile an apprentice at the\nBauhaus, Marcel Breuer\nconceived the first tubular chair,\nwhich he based on the frame\nof a bicycle. The construction of\nstrips suspended on steel tubes,\nbecame immediately a symbol\nof Modernism.\n \nAlors qu’il était apprenti du\nBauhaus, Marcel Breuer a conçu\nce fauteuil tubulaire, basé sur le\ncadre d’une bicyclette. L’utilisation\nde sangles en cuir suspendues\nsur des tubes d’acier était unique\nen son genre et est\nimmédiatement devenue un\nsymbole du Modernisme.\nWassily TM Chair\nMarcel Breuer, 1925\nSaarinen Low Table \nEero Saarinen, 1957\nDurante il periodo di\napprendistato presso la scuola\nBauhaus, Marcel Breuer crea\nla prima seduta con struttura\ntubolare ispirandosi al telaio\ndi una bicicletta. La realizzazione\ndella poltrona con struttura\ntubolare e cinghie in cuoio diventa\nimmediatamente un simbolo del\ndesign moderno\n \nWährend seiner Lehrjahre am\nBauhaus erdachte Marcel Breuer\nseinen ersten Stahlrohrsessel, der\nauf dem Rahmen eines Fahrrads\nbasierte. Die Konstruktion aus\nLederstreifen, die am Stahlrohr\naufgehängt sind, war die erste\nihrer Art. Sie wurde sogleich zum\nSymbol der Moderne.\nMarcel Breuer — Wassily TM Chair\n",82,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.83.png","159\n158 −\nModern Always®\nKnoll. The Original Design\nLater named after the artist \nWassily Kandinsky, the classic \nicon is made of tubular steel \nfinished, with upholstery\nstraps in a range of leather\nor canvas.\nBaptisée ensuite selon l’artiste \nWassily Kandinsky, cette icône \nclassique est composée de tubes \nen acier et habillée de sangles\nen cuir ou en toile.\nWassily TM Chair\nMarcel Breuer, 1925\nSuccessivamente denominata \nWassily in onore dell'artista \nWassily Kandinsky, l’iconica \npoltrona è realizzata con struttura \ntubolare in acciaio e cinghie\nin cuoio o canvas.\nDer Designklassiker – später\nnach dem Künstler Wassily \nKandinsky benannt – besteht aus \neinem Stahlrohrgestell, das mit \nStreifen aus Leder oder Canvas \nbespannt ist.\nMarcel Breuer — Wassily TM Chair\n",83,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.84.png","161\n160 −\nModern Always®\nKnoll. The Original Design\nMarcel Breuer — Laccio Table\nWassily TM Chairs\nMarcel Breuer, 1925\n \nLaccio Tables\nMarcel Breuer, 1925\n",84,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.85.png","163\n162 −\nModern Always®\nKnoll. The Original Design\nMarcel Breuer — Laccio Table\nLike his Wassily and Cesca chairs, \nMarcel Breuer's Laccio Tables\nare critical to the story\nof 20th-century design. \nComme ses sièges Wassily\net Cesca, les tables Laccio\nde Marcel Breuer sont\nincontournables dans l’histoire\ndu design du XXe siècle.\nLaccio Tables\nMarcel Breuer, 1925\nCome le sue sedute Wassily e\nCesca, i tavolini Laccio di Marcel\nBreuer sono delle vere e proprie\nicone della storia del design del\nXX secolo.\nWie seine Stühle Wassily und \nCesca war auch der Laccio Table \nvon Marcel Breuer prägend für \nden Stil des 20. Jahrhunderts.\n",85,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.86.png","Modern Always®\nKnoll. The Original Design\n165\n164 −\nAs a leader of the Bauhaus, \nMarcel Breuer used the \ntechnological advances of his day \nin the service of a better way\nof living. His 1928 Cesca chair \nmarries traditional craftsmanship \nto industrial materials, combining \na cantilevered tubular steel frame \nwith a seat and back made\nof traditional wood and caning. \nThe quintessential office and \ndining chair, Cesca is offered in \narm and armless versions with a \nfully upholstered seat and back, \nor inset on a wood frame with \nhandwoven cane.\nL’un des chefs de file du Bauhaus, \nMarcel Breuer a utilisé les \navancées technologiques de son \népoque pour améliorer notre \nmode de vie. La chaise Cesca, \ncréée en 1928 marie la fabrication \ntraditionnelle aux matériaux \nindustriels, avec une structure\nen acier tubulaire en porte-à-faux \nsupportant une assise et un \ndossier traditionnels en bois et \nrotin. La Cesca est proposée avec \nou sans accoudoirs, avec assise \net dossier intégralement \nrembourrés, ou avec un cadre\nen bois et rotin tressé.\nMarcel Breuer, uno tra i principali \nesponenti della scuola Bauhaus, \nutilizza le tecnologie del suo \ntempo per ottenere delle \nprestazioni migliori. Nel 1928 \nrealizza la sedia Cesca in cui \nriesce magistralmente ad \narmonizzare i tradizionali\ndettagli artigianali con i materiali \nindustriali, utilizzando una \nstruttura tubolare in acciaio a \nsbalzo che sostiene lo schienale\ne la seduta in legno. La sedia è \ndisponibile con o senza braccioli, \ncompletamente rivestita, o con \nseduta e schienale impagliati a \nmano.\n \nAls Leiter des Bauhauses setzte \nMarcel Breuer den technischen \nFortschritt seiner Zeit ein,\num der Verbesserung des \ntäglichen Lebens zu dienen. \nSein 1928 fertig gestellter\nCesca Stuhl vereint traditionelle \nHandwerkskunst mit \nIndustriematerial, indem er den \nStahlrohrrahmen eines \nFreischwingers mit traditioneller \nSitz- und Rückenlehne aus\nHolz oder Geflecht miteinander\nverbindet. Cesca wird in \nVersionen mit und ohne \nArmlehnen angeboten, mit und \nohne Lederkissen auf den \nArmlehnen und außerdem mit \nVollpolster bei Rückenlehne und \nSitz. Beide Modelle werden auch \nin einer Holzrahmenkonstruktion \nmit handgeflochtener Sitz- und \nRückenfläche angeboten.\nMarcel Breuer — Cesca Chair\nCesca Chairs\nMarcel Breuer, 1928\nCesca Chairs cannot\nbe sold in Germany\n",86,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.87.png","167\n166 −\nModern Always®\nKnoll. The Original Design\nMarcel Breuer — Cesca Chair\nCesca Chairs\nMarcel Breuer, 1928\nCesca Chairs cannot\nbe sold in Germany\n",87,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.88.png","169\n168 −\nModern Always®\nKnoll. The Original Design\nWarren Platner\nWarren Platner was one\nof the closest collaborators\nof Eero Saarinen, and a \nprotagonist of Knoll’s production \nstarting in the 1960s. His famous \nfurniture series – including seating \nand tables of various sizes – is an \ninimitable sculptural presence \nthanks to the base composed of\na dense array of thin metal wires,\na remarkable manufacturing \nchallenge. It demonstrates that \nhigh technology and the finest \ncraftsmanship are fundamental \nallies in an industrial context where \nquality is the central focus.\nWarren Platner était l’un des \nplus proches collaborateurs\nd’Eero Saarinen. Il a conçu\ndes meubles pour Knoll à partir \ndes années 60. Sa collection la \nplus célèbre, qui inclut des sièges \net des tables aux dimensions\ndiverses, révèle la présence \nsculpturale inimitable d’une\nbase constituée de tiges d’acier \ncintrées, un véritable défi de \nproduction. Elle prouve\ncombien la haute technologie\net le plus grand savoir-faire\nartisanal restent les alliés\nfondamentaux d’une industrie\nqui place la qualité au cœur de \ntoutes ses activités.\nWarren Platner è stato\nuno dei più stretti collaboratori di \nEero Saarinen e protagonista della \nproduzione Knoll fin dagli anni ‘60. \nLa sua famosa collezione di arredi \n- che include sedute e tavoli\ndi diverse grandezze - trae \nl’inconfondibile presenza scultorea \ndalla base, costituita da un fitto \ninsieme di sottili tubolari metallici, \nvera e propria sfida produttiva. \nEssa è la dimostrazione che l’alta \ntecnologia e la più grande abilità \nartigianale sono alleati \nfondamentali nell’industria che \npone la qualità al centro del suo \noperato.\nWarren Platner gehörte zu\nden engsten Mitarbeitern von\nEero Saarinen und war in den \n1960er Jahren eine Hauptfigur \nbeim Produktionsstart von Knoll. \nSeine berühmte Möbelserie \numfasste Sitzmöbel und Tische in \nverschiedenen Größen, die eine \nunnachahmliche skulpturale \nPräsenz besaßen – dank ihrer \nBasis, die aus einer dichten \nAnordnung von schlanken \nMetallrohren bestand und eine \nechte Herausforderung in der \nHerstellung darstellte. Sie zeigen, \ndass Spitzentechnologie und \nfeinste Handwerkskunst im \nindustriellen Kontext Hand in Hand \ngehen müssen, sobald Qualität im \nzentralen Fokus steht.\nWarren Platner\n \nWarren Platner, The American Restaurant, \nKansas City, 1974\nPlatner Chair production detail\nWarren Platner and Eero Saarinen \nfor University Yale, 1945\n",88,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.89.png","171\n170 −\nModern Always®\nKnoll. The Original Design\nWarren Platner’s elegant \ncollection for Knoll captures the \n\"decorative, gentle, graceful\" \nshapes that have become part\nof the mid-century modern \nvocabulary.\nL’élégante collection de Warren\nPlatner chez Knoll révèle les\nformes “décoratives, douces, \net gracieuses“ qui maintenant font\npartie du vocabulaire moderne\ndu demi-siècle.\nPlatner Collection\nWarren Platner, 1966\nL’elegante collezione di Warren \nPlatner per Knoll cattura le forme \n\"decorative e aggraziate\" tipiche \ndel vocabolario moderno di metà \nsecolo.\nWarren Platner’s elegante \nKollektion für Knoll, setzte \ndekorative, sanft anmutenden \nFormen ein, die zur Sprache des \nmittleren Jahrunderts gehörte.\nWarren Platner — Platner Collection\n",89,{"image":369,"text":370,"number":371},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.90.png","173\n172 −\nModern Always®\nKnoll. The Original Design\nWarren Platner — Platner Collection\n",90,{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.91.png","175\n174 −\nModern Always®\nKnoll. The Original Design\nPlatner Collection\nWarren Platner, 1966\nWarren Platner — Platner Collection\n",91,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.92.png","177\n176 −\nModern Always®\nKnoll. The Original Design\nOriginally introduced by Knoll\nin 1966, the Platner Collection \nrepresents the designers’ attempt \nto infuse modernism with\n“decorative, gentle, graceful kind \nof Design.”\nInitialement lancée par Knoll en \n1966, la collection Platner illustre \nla volonté des designers \nd’insuffler une touche moderne à \ntravers des formes « décoratives, \ndouces, gracieuses ».\nPlatner Collection\nWarren Platner, 1966\nIntrodotta originariamente\nda Knoll nel 1966, la collezione \nPlatner rappresenta il tentativo \ndei designer di infondere al \nmodernismo un tipo di design \ndecorativo ed aggraziato. \nDie Platner Kollektion wurde \nerstmals 1966 von Knoll \nvorgestellt und verkörpert das \nBemühen des Designers, der \nModerne einen dekorativen, \nsanften und anmutigen Charakter \nzu verleihen.\nWarren Platner — Platner Collection\n",92,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.93.png","179\n178 −\nModern Always®\nKnoll. The Original Design\nThe 18 Carat gold version \ncelebrates the remarkable Platner \nCollection, something that Platner \nhimself had always intended. \nLa version en or 18 carats rend \nhommage à la remarquable \ncollection Platner, finition dont le \ndesigner avait toujours eu envie.\nPlatner Collection\nWarren Platner, 1966\nPer celebrare la rinomata \nCollezione Platner, è stata \nintrodotta una versione placcata \nin oro 18 carati che realizza oggi\nil desiderio originale di Platner. \nDie Ausführung in 18 Karat Gold \nist eine Hommage an die \nbeeindruckende Platner \nCollection. Ein Modell, das Platner \nselbst in Planung hatte.\nWarren Platner — Platner Collection\n",93,{"image":385,"text":386,"number":387},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.94.png","181\n180 −\nModern Always®\nKnoll. The Original Design\nThe Platner armchair, which can \nbe used as a dining or guest chair, \nis created by welding curved steel \nrods to circular and semi-circular \nframes, simultaneously serving as \nstructure and ornament.\nLe fauteuil Platner qui peut être\nutilisé comme chaise de salle\nà manger autour d’une table\nou chaise de salon a été créé\nen soudant des tiges d’acier\ncourbées sur des cadres\ncirculaires et semi-circulaires\nservant à la fois de structure\net d’ornement.\nPlatner Collection\nWarren Platner, 1966\nLa poltroncina Platner, adatta sia \nper il tavolo da pranzo che come \nseduta d’attesa, è realizzata con \nfili d'acciaio saldati ad un telaio \ncircolare o semicircolare, che \nfungono sia da elementi strutturali \nche decorativi.\nDer Platner Armlehsessel für den \nEss- oder Besprechungstisch \nentsteht aus dem Verschweißen \ngebogener Stahlrohre an runde \nund halbkreisförmige Rahmen, \ndie gleichermaßen Konstruktion \nund Zierde sind.\nWarren Platner — Platner Collection\n",94,{"image":389,"text":390,"number":391},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.95.png","183\n182 −\nModern Always®\nKnoll. The Original Design\nThe Platner Collection was \nintroduced by Knoll and has been \nin continous production ever \nsince. The Collection is now \nconsidered a design icon of the \nmodern era.\nLa production de la collection \nPlatner n’a jamais été interrompue \ndepuis son lancement par Knoll. \nElle est aujourd’hui considérée \ncomme une icône du design de \nl’ère moderne.\nPlatner Collection\nWarren Platner, 1966\nKnoll produce senza interruzione \nla Collezione Platner, considerata \nun'icona del design dell'era \nmoderna, dal 1966 ad oggi.\nDie Platner Collection wurde von \nKnoll eingeführt und befindet sich \nseitdem ununterbrochen in der \nProduktion. Mittlerweile gilt die \nKollektion als Designikone der \nModerne.\nWarren Platner — Platner Collection\n",95,{"image":393,"text":394,"number":395},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.96.png","185\n184 −\nModern Always®\nKnoll. The Original Design\nWarren Platner — Platner Collection\n",96,{"image":397,"text":398,"number":399},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.97.png","187\n186 −\nModern Always®\nKnoll. The Original Design\nCharles Pollock — Pollock Armchair\nOriginally manufactured from\n1964-79 and reintroduced in\n2014, the steel and leather\n'sling chair' offers a refined\ncombination of materials and\nfinishes, exemplifying Pollock’s\nhonest approach to design.\nFabriqué entre 1964 et 1979 \npuis réintroduit en 2014,\nle fauteuil en acier et cuir marie \navec élégance plusieurs \nmatériaux et finitions, mettant\nen exergue la démarche sincère \nde Pollock vis-à-vis du design.\nProdotta originariamente\nnel periodo tra il 1964 e 1979\ne reintrodotta nella collezione nel \n2014, la poltroncina con struttura \nin acciaio cromato e cinghie\nin cuoio offre una raffinata \ncombinazione di materiali\ne finiture e ben rappresenta \nl’approccio di Pollock al design.\nUrsprünglich zwischen 1964 \nund 1979 gefertigt und 2014 neu \naufgelegt, bietet der Sling Chair \nmit Stahl-Gestell und Lederbezug \neine edle Kombination der \nMaterialien - ein wunderbares \nBeispiel für Pollocks ehrlichen \nDesignansatz.\nPollock Armchair\nCharles Pollock, 1960\n",97,{"image":401,"text":402,"number":403},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.98.png","189\n188 −\nModern Always®\nKnoll. The Original Design\nCharles Pollock — Pollock Armchair\n",98,{"image":405,"text":406,"number":407},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.99.png","191\n190 −\nModern Always®\nKnoll. The Original Design\nCharles Pollock’s dialogue \nbetween structure and materials \nexudes timeless sophistication.\nLe dialogue de Charles Pollock \nentre la structure et les matériaux \nfait preuve d’une sophistication \nintemporelle.\nPollock Armchairs \nCharles Pollock, 1960\nPlatner Low Table \nWarren Platner, 1966\nIl dialogo di Charles Pollock tra\nla struttura e i materiali evidenzia \nuna raffinatezza senza tempo.\nCharles Pollocks Dialog zwischen \nStruktur und Materialien strahlt \nzeitlose Raffinesse aus.\nCharles Pollock — Pollock Armchair\n",99,{"image":409,"text":410,"number":411},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.100.png","193\n192 −\nModern Always®\nKnoll. The Original Design\nIntroduced in 1946, the Straight \nChair is George Nakashima’s \nmodernist interpretation of the \ntraditional Windsor chair. \nFeaturing low-sheen finishes that \namplify the natural grain patterns, \nthe Straight Chair epitomizes \nNakashima’s sensitivity to nature \nand his legendary craftsmanship.\n \nLa chaise Straight de \nNakashima, dessinée pour Knoll \nen 1946 interprète le style de la \nchaise Windsor. Avec sa finition \nmat qui valorise le grain naturel \ndes bois utilisés la chaise Straight \nillustre parfaitement le talent de \nNakashima.\nLa sedia Straight di Nakashima, \nintrodotta nella collezione\nKnoll nel 1946, riflette e combina \ngli elementi tipici del design della \nsedia Windsor. La sua finitura \nnaturale evidenzia le \ncaratteristiche proprie dei legni\ne sottolinea l’unicità del pensiero \ncreativo di Nakashima.\n \nDer Straight Chair von \nNakashima, der er ursprünglich in \n1946 für Knoll entwarf, reflektiert \nElemente des Windsor Chair. \nMit seinen natürlichen, matt \nglänzenden Oberflächen ist der \nStraight Chair ein Sinnbild für \nNakashima und seine \nKunstfertigkeit.\nGeorge Nakashima — Nakashima Collection\nStraight Chair\nGeorge Nakashima, 1946\n",100,{"image":413,"text":414,"number":415},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.101.png","195\n194 −\nModern Always®\nKnoll. The Original Design\nGeorge Nakashima — Nakashima Collection\nStraight Chair\nSplay-leg Table\nGeorge Nakashima, 1946\n",101,{"image":417,"text":418,"number":419},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.102.png","197\n196 −\nModern Always®\nKnoll. The Original Design\nFranco Albini\nFranco Albini\nFranco Albini was one\nof the great masters of Italian \narchitecture. His work combines \n“rigor and poetic fantasy” (as \nGiuseppe Pagano wrote), striving \nfor elimination of all superfluous \nelements. From his exhibit designs \nwith their graphic, linear spaces, to \nhis interiors with their modern \nemphasis on openness, the goal \nwas an essential synthesis of form \nin space. The Albini Desk reflects \nthis perspective, where the \ntransparency of the glass \nenhances the opaque, absolute \nvolume of the drawer unit, held in \nplace by the lustre of the metal \nstructure.\nFranco Albini a été l’un\ndes plus grands architectes\nitaliens. Son travail alliait\n« rigueur et fantaisie poétique »\n(pour reprendre les termes de \nGiuseppe Pagano) s’efforçant \nd’éliminer tout élément superflu.\nQu’il s’agisse de son travail \nmuséographique intégrant le \ngraphisme, d’espaces linéaires\nou d’architecture intérieure \ninsistant sur l’ouverture,\nson objectif était toujours le\nmême : la synthèse indispensable \nde la forme dans l’espace.\nLe bureau Albini reflète cette \nvision, la transparence du plateau \nen verre met en valeur l’opacité\ndu volume du caisson à tiroirs,\nrehaussé par la brillance de la \nstructure métallique.\nFranco Albini è stato uno\ndei Maestri dell’architettura \nitaliana. Il suo è un progetto che \nsposa “rigore e fantasia poetica” \n(come disse Pagano), ottenuto per \nvia di eliminazione del superfluo. \nDagli allestimenti museali, spazi \ngrafici e lineari, agli interni, \nmodernamente improntati \nall’apertura, il suo obiettivo è la \nsintesi essenziale delle forme nello \nspazio. Come nel suo scrittoio, \ndove la trasparenza del vetro \nmette in risalto il volume opaco\ne assoluto della cassettiera, \nsostenuta dalla lucentezza della \nstruttura metallica.\nFranco Albini war einer der \ngrößten Meister der italienischen \nArchitektur. Sein Arbeit vereinte \nlaut Giuseppe Pagano „strenge und \npoetische Fantasien“, die danach \nstrebten, auf alle überflüssigen \nElemente zu verzichten. Sein Ziel \nwar stets die essentielle Synthese \nder Form im Raum – von seinen \nAustellungsdesigns mit ihren \ngrafischen, linearen Räumen bis hin \nzu seinen Inneneinrichtungen mit \nihrem modernen Schwerpunkt auf \nOffenheit. Dieser Ansatz zeigt sich \nauch in seinem Schreibtisch, bei \ndem die Transparenz des Glases \ndas undurchsichtige, absolute \nVolumen das Schubladenelements \nverstärkt, das vom Glanz der \nMetallkonstruktion gehalten wird.\nFranco Albini Desk\nInstallation at the Triennale di Milano\nby Franco Albini and Giovanni Romano – 1936\n",102,{"image":421,"text":422,"number":423},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.103.png","199\n198 −\nModern Always®\nKnoll. The Original Design\nFranco Albini — Albini Mini Desk\nThe Albini Mini Desk derives its \nappeal through simplicity of form \nand celebration of material.\nLe mini-bureau Albini doit son \ncharme à une simplicité formelle \nqui sublime les matériaux.\nAlbini Mini Desk\nFranco Albini, 1949\nBertoia Side Chair \nHarry Bertoia, 1952\nLo scrittoio Albini deve il suo \nfascino alla semplicità delle forme \ne all'esaltazione dei materiali.\nDie Ausstrahlung des Albini Mini \nDesk beruht auf seiner schlichten \nForm und der Inszenierung der \nMaterialien. \n",103,{"image":425,"text":426,"number":427},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.104.png","201\n200 −\nModern Always®\nKnoll. The Original Design\nFranco Albini — Albini Mini Desk\nAlbini Mini Desk\nFranco Albini, 1949\nSaarinen Conference Chair \nEero Saarinen, 1950\n",104,{"image":429,"text":430,"number":431},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.105.png","203\n202 −\nModern Always®\nKnoll. The Original Design\nAlexander Girard — Coffee Table\nThe Coffee Table, introduced\nto the Knoll catalogue in 1948, \nreflects the playful spirit \nAlexander Girard injected into\nthe often austere modern \nvocabulary.\nCette table basse introduite \ndans le catalogue Knoll\nen 1948 reflète l’esprit ludique \nqu’Alexander Girard a injecté \ndans un vocabulaire moderne \nsouvent austère.\nIl tavolino di Alexander Girard,\nintrodotto da Knoll nel 1948,\nriflette lo spirito ludico\ndel designer che si inserisce\nnel contesto spesso austero\ndell'arredamento moderno.\nDer Coffee Table wurde \nerstmals 1948 von Knoll \neingeführt und offenbart den \nverspielten Charakter von \nAlexander Girard – ein \nGegenstück zur oft strengen \nFormsprache der Moderne.\nCoffee Table\nAlexander Girard, 1948\n",105,{"image":433,"text":434,"number":435},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.106.png","205\n204 −\nModern Always®\nKnoll. The Original Design\nAntonio Bonet, Juan Kurchan & Jorge Ferrari-Hardoy — Butterfly Chair\nEighty years later, Knoll returns\nto this timeless armchair to\nreinvent it with some important \nimprovements today made\npossible thanks to modern \ntechnological know-how and\ncraftsmanship. It is the quality\nof the materials that makes\nthe lines even more sinuous\nand dynamic. \nQuatre-vingts ans plus tard,\nKnoll revient à cette chaise\nindémodable et la propose\nà nouveau avec d’importantes\naméliorations rendues possibles\ngrâce à son savoir-faire\nartisanal et technologique.\nLa qualité des matériaux rend\nles lignes encore plus sinueuses \net dynamiques.\nA ottant’anni di distanza,\nKnoll torna a questa poltroncina \nintramontabile per riproporla\ncon alcune importanti migliorie \nrese possibili dal proprio knowhow\ntecnologico e artigianale. \nÈ la qualità dei materiali a rendere \nle linee ancora più sinuose\ne dinamiche.\nAchtzig Jahre später kehrt Knoll\nzu diesem zeitlosen Sessel zurück, \num ihn mit einigen wichtigen \nVerbesserungen ausgestattet zu \npräsentieren, die durch das eigene \ntechnologische und handwerkliche \nKnow-how ermöglicht wurden. \nEs ist die Qualität der Materialien, \ndie die Linien noch geschmeidiger\nund dynamischer macht. \nButterfly Chair\nAntonio Bonet, Juan Kurchan \n& Jorge Ferrari-Hardoy, 1938\n",106,{"image":437,"text":438,"number":439},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.107.png","207\n206 −\nModern Always®\nKnoll. The Original Design\nAntonio Bonet, Juan Kurchan & Jorge Ferrari-Hardoy — Butterfly Chair\n",107,{"image":441,"text":442,"number":443},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.108.png","209\n208 −\nModern Always®\nKnoll. The Original Design\nCharles Pfister — Pfister Sofa\n",108,{"image":445,"text":446,"number":447},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.109.png","211\n210 −\nModern Always®\nKnoll. The Original Design\nJens Risom — Risom Lounge Chair\nJens Risom's designs were the \nfirst pieces conceived for and \nmanufactured by Knoll. Due to \nwartime material restrictions, \nthe lounge chair was originally \nconstructed of simple maple \nframes and discarded parachute \nwebbing. Described as good, \nhonest furniture design, the \ncollection helped establish Knoll \nas an early source of modern \ndesign in America.\nLes créations de Jens Risom\nont été les premières pièces\nconçues et fabriquées par Knoll.\nEn raison des restrictions\nmatérielles en temps de guerre,\nla chaise longue était à l'origine\nconstruite avec de simples cadres\nen érable et des sangles de\nparachute jetées. Décrite comme\nd’une bonne et honnête \nconception, la collection\na contribué à établir Knoll comme\nl'une des premières sources de\ndesign moderne en Amérique.\nI modelli di Jens Risom sono \nstati i primi pezzi concepiti  \ne prodotti da Knoll. A causa delle \nrestrizioni sui materiali in tempo  \ndi guerra, la poltrona era \noriginariamente costruita con \nsemplici telai in acero e cinghie  \ndi paracadute scartate. \nLa collezione ha contribuito\na stabilire Knoll come una delle \nprime fonti di design moderno\nin America.\nJens Risoms Entwürfe waren \ndie ersten Stücke, die von Knoll \nentworfen und hergestellt \nwurden. Aufgrund von \nMaterialbeschränkungen \nwährend des Krieges wurde\nder Loungesessel ursprünglich \naus einfachen Ahornrahmen\nund weggeworfenem \nFallschirmgewebe hergestellt.  \nDie Kollektion wurde als gutes, \nehrliches Möbeldesign \nbeschrieben und trug dazu bei, \nKnoll als frühe Quelle für \nmodernes Design in Amerika  \nzu etablieren.\nRisom Lounge Chairs\nJens Risom , 1943\nSaarinen Low Table\nEero Saarinen, 1957\n",109,{"image":449,"text":450,"number":451},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.110.png","213\n212 −\nModern Always®\nKnoll. The Original Design\nJens Risom — Risom Lounge Chair\nRisom Lounge Chair\nJens Risom , 1943\n",110,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.111.png","215\n214 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz worked\nwith Harry Bertoia during the \ndevelopment of Bertoia’s iconic \ncollection of wire chairs.\nSome years later, Florence Knoll \nspecifically asked Schultz\nto create a collection of furniture \nthat could be used outdoors.\nThe result was the “Leisure \nCollection” (now sold as the\n“1966 Collection”) which became \nan instant classic.\nRichard Schultz a travaillé avec \nHarry Bertoia au développement \nde la célèbre collection Bertoia\nen tiges d’acier. Quelques années \nplus tard, Florence Knoll demanda \nà Richard Schultz de créer une \ncollection de mobilier d’extérieur \nrésistant aux intempéries.\nLe résultat fut la « Leisure \nCollection » (maintenant appelée\nla Collection 1966), qui s’imposa \nimmédiatement comme un grand \nclassique.\nRichard Schultz collaborò\ncon Harry Bertoia nello sviluppo \ndella collezione iconica di sedute\nin filo di acciaio. Alcuni anni\npiù tardi, Florence Knoll chiese \nespressamente a Schultz di creare \nuna collezione di arredi per \nesterno che potesse resistere \nall’aria aperta. Nacque così\nla “Collezione Leisure”, ora \nconosciuta come “Collezione \n1966”, che divenne subito\nun classico di design.\nMit Harry Bertoia zusammen \narbeitete Richard Schultz am \nDesign von Bertoias \nwegweisender Kollektion an \nStühlen aus Drahtgeflecht. \nFlorence Knoll trat einige Jahre \ndarauf mit einem spezifischen \nWunsch an Richard Schultz heran: \nEr sollte eine Kollektion an Möbeln \nentwerfen, die im Freien auch \nsalziger Seeluft standhalten \nkonnten, die “1966 Kollektion”.\nRichard Schultz\nRichard Schultz with Collection 1966\n1966 Schultz Collection®\nRichard Schultz, 1966\nPetal Tables and Diamond Armchairs\nRichard Schultz\n",111,{"image":457,"text":458,"number":459},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.112.png","217\n216 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz — 1966 Schultz Collection\n1966 Schultz Collection®\nRichard Schultz, 1966\n",112,{"image":461,"text":462,"number":463},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.113.png","219\n218 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz — 1966 Schultz Collection\n",113,{"image":465,"text":466,"number":467},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.114.png","221\n220 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz — 1966 Schultz Collection\n1966 Schultz Collection®\nRichard Schultz, 1966\n",114,{"image":469,"text":470,"number":471},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.115.png","223\n222 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz — 1966 Schultz Collection\n1966 Schultz\nAdjustable Chaise Longue\nRichard Schultz, 1966\nSaarinen Low Table\nEero Saarinen, 1957\n",115,{"image":473,"text":474,"number":475},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.116.png","225\n224 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz's adjustable \nChaise Longue has been \npunctuating the patios, porches \nand pools of modern homes \naround the world for over 50 \nyears.\nLa Chaise Longue réglable de \nRichard Schultz orne les patios, \nles terrasses et les piscines des \nmaisons modernes du monde \nentier depuis plus de 50 ans.\n1966 Schultz\nAdjustable Chaise Longue\nRichard Schultz, 1966\nSaarinen Low Table\nEero Saarinen, 1957\nLa Chaise Longue regolabile\ndi Richard Schultz arricchisce \nesterni, terrazze e piscine delle \nabitazioni moderne di tutto\nil mondo da oltre 50 anni.\nDie verstellbare Chaise Longue \nvon Richard Schultz ist seit über\n50 Jahren weltweit das \nGlanzstück moderner Heime und \nschmückt Terrassen, Veranden \nund Pools.\nRichard Schultz — 1966 Schultz Collection\n",116,{"image":477,"text":478,"number":479},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.117.png","227\n226 −\nModern Always®\nKnoll. The Original Design\nRichard Schultz — 1966 Schultz Collection\n",117,{"image":481,"text":482,"number":483},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.118.png","229\nModern Always®\nKnoll. The Original Design\n228 −\nTechnical info \n",118,{"image":485,"text":486,"number":487},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.119.png","Florence Knoll presenting\nher designs\nIdeas are the greatest heritage \nfor a designer just like reliability\nis for a company. This is why Knoll \nhas always protected author \ndesign ensuring the adherence\nto the original projects of great \nmasters that, over time, have \nshaped the history of the company \nas well as that of the global design. \nPresent in the most important \nMuseum collections in the world, \nKnoll icons are synonyms\nof authenticity.\nLes idées sont l’héritage le plus\nprécieux du designer, tout comme\nla fiabilité pour une entreprise.\nC’est pourquoi Knoll a toujours\npréservé le design de ses\ncréateurs et veillé au respect des\nprojets originaux de ces maîtres\néminents qui, au fil du temps,\nont façonné l’histoire de\nl’entreprise ainsi que celle du\ndesign international. Exposées\ndans les plus grands musées du\nmonde, les pièces Knoll iconiques\nsont un gage d’authenticité.\nIl patrimonio più grande per\nun progettista sono le sue idee e \nper un’azienda è la sua affidabilità.\nPer questo Knoll da sempre tutela \nil design d’autore garantendo \nla fedeltà al progetto originale dei \ngrandi maestri che hanno formato \nnel tempo la storia dell’azienda e, \ncontemporaneamente, quella\ndel design mondiale. Presenti nelle \npiù importanti collezioni museali\ndel mondo, le icone di Knoll sono \nsinonimo di autenticità.\nIdeen sind das größte \nVermächtnis für einen Designer, \ngenauso wie Zuverlässigkeit für \nein Unternehmen. Deshalb sorgt \nKnoll seit Anbeginn für den Schutz \ndes Autorendesigns und stellt das \nFesthalten an die ursprünglichen \nProjekte jener großen Meister \nsicher, die im Laufe der Zeit sowohl \ndie Geschichte des Unternehmens \nals auch die des globalen Designs \ngeprägt haben. Die Ikonen von \nKnoll, vertreten in den wichtigsten \nMuseumssammlungen der Welt, \nsind ein Synonym für Authentizität.\nModern Always®\nThe Original Design\n03\n02 −\n",119,{"image":489,"text":490,"number":491},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.120.png","Modern Always®\nKnoll. The Original Design\n05\n04 − \n1925\nLaccio Tables\nWassily Chair\nMarcel Breuer\n1927\nMR Side Chair\nMR Table\nKrefeld™ Lounge\nMies van der Rohe\n1927-31\n1928\nCesca Collection\nMarcel Breuer\n1929\nBarcelona® \nChair and Stool\nMies van der Rohe\n1930\n1938\nButterfly Chair\nAntonio Bonet, Juan Kurchan \n& Jorge Ferrari-Hardoy\n1943\nRisom Chairs\nJens Risom\n1958\nFour Seasons Barstool\nMies van der Rohe\n1960\nPollock Armchair\nCharles Pollock\n1961\nFlorence Knoll Table Desk\nFlorence Knoll Credenza\nFlorence Knoll\n1962\nBastiano Sofa\nTobia Scapa\n1963\nExecutive Chair\nCharles Pollock\n1965\nJumbo Table\nGae Aulenti\n1966\nPlatner Chair\nPlatner Table\nWarren Platner\n1966 Collection®\nPetal® Table \nRichard Schultz\n1970\nLunario Table\nCini Boeri\n1971\nPfister Lounge Collection\nCharles Pfister\n1982\nStump Table\nLucia Mercer\n1983\nHandkerchief Chair\nVignelli Designs \n1985\nConference Table\nPascal Mourgue\n1986\nEastside Lounge\nSottsass Associates\n1990\nGehry Chair Collection\nFace Off Table\nFrank Gehry\n1993\nPaperClip Table\nVignelli Designs\n2007\nLovegrove Table\nRoss Lovegrove\n2008\nLounge Collection\nCini Boeri\n2015\nPilot Collection, Stool\nPiton Stool, Table\nEdward Barber & Jay Osgerby \n \n \n2016\nKrusin Collection 016\nMarc Krusin \nAvio Sofa System\nMatrioska Credenza\nPiero Lissoni\n2017\nGrasshopper Table\nPiero Lissoni\n2009\nSpark® Chair\nDon Chadwick\nLounge Collection\nJehs + Laub\n2011\nKrusin Chairs and Tables\nMarc Krusin\n2012\nSofa Collection\nArchitecture & Associés\n2013\nSofa Collection\nEdward Barber & Jay Osgerby\nMR Armless Chair, MR Armchair \nMR Chaise Longue, MR Stool\nMR Adjustable Chaise Longue\nMies van der Rohe\nBrno Chair\nBarcelona® Table, Barcelona® Day Bed\nMies van der Rohe\n1946\nStraight Chair \nSplay Table\nGeorge Nakashima\nWomb Chair\nEero Saarinen\n1948\nCoffee Table\nAlexander Girard\n1949\nMini Desk\nFranco Albini\n1950\nConference Chairs\nEero Saarinen \n1952\n1954\nFlorence Knoll\nLounge Collection,Tables\nFlorence Knoll\n1957\nPedestal Table\nTulip Chairs\nEero Saarinen\nDiamond Chair, Side Chair, Stool, High Back Chair,\nAsymmetric Chaise, Bertoia Bench\nHarry Bertoia\n2018\nKN01, KN02, KN03 KN04, \nKN05\nPiero Lissoni\nRed Baron\nPiero Lissoni\nAluminium Chair\nMarc Newson\n2019\nGould Sofa Collection\nPiero Lissoni\nSmalto Table\nEdward Barber & Jay Osgerby\n2020\nMatic Collection\nKN06, KN07\nPiero Lissoni \n2022\nPanoramic Sofa\nPanoramic Low Table\nPiero Lissoni \n2022\nMatic Credenzas\nPiero Lissoni\nMatic Storage Units\nPiero Lissoni\nKlismos Collection by Knoll\nAntonio Citterio\nCitterio Table Collection\nAntonio Citterio\n2023\nOutdoor Collection\nPiero Lissoni\n",120,{"image":493,"text":494,"number":495},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.121.png","Modern Always®\nKnoll. The Original Design\n07\n06 −\nThe Production\nManufacturing thanks \nto the skilful hands of man and \nproducing through the machine \nartificial intelligence are not \ncontrasting actions. On the \ncontrary, the whole Knoll history is \ncharacterised by the integration \nbetween artisanship and \ntechnology, separated, though \nnever opposing. The difference\nis made by the experience in \nunderstanding when to use a \nproduction instrument or another, \nin an integrated process.\nFabriquer grâce au savoir-faire \nde mains expertes et produire \ngrâce à l’intelligence artificielle \ndes machines ne sont pas des \nprocessus incompatibles.\nTout au long de son histoire,\nKnoll a favorisé l’association de\nl’artisanat et de la technologie,\nsans jamais les opposer.\nLeur point de divergence vient\ndu fait qu’il faut déterminer dans\nun processus intégré quand \nutiliser tel outil de production\nou tel autre.\nRealizzare con le mani sapienti \ndell’uomo e produrre tramite \nl’intelligenza artificiale delle \nmacchine non sono modi del fare \nin opposizione. Anzi, tutta la storia \ndi Knoll è quella dell’integrazione \ntra artigianalità e tecnologia, \ndistinte, ma mai opposte.\nA fare la differenza è l’esperienza \nnel riconoscere quando utilizzare \nun mezzo produttivo o l’altro, \nin un processo integrato.\nDank der geschickten Hände \nder Menschen und der Produktion \ndurch die maschinelle künstliche \nIntelligenz gibt es keine \ngegensätzlichen Handlungen in \nder Fertigung. Ganz im Gegenteil: \nDie gesamte Geschichte von Knoll \nist geprägt von der Integration \nzwischen Handwerk und \nTechnologie, die zwar geteilt, aber \nniemals gegensätzlich sind.\nDen Unterschied macht die \nErfahrung im Verständnis dafür, \nwann das eine oder andere \nProduktionsmittel in einem \nintegrierten Prozess eingesetzt \nwerden sollte.\n",121,{"image":497,"text":498,"number":499},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.122.png","Modern Always®\nKnoll. The Original Design\n09\n08 −\nBertoia Chair and Platner Table production line\nBertoia Chair production detail\n",122,{"image":501,"text":502,"number":503},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.123.png","11\n10 −\nModern Always®\nKnoll. The Original Design\nKnoll Planning Department\nMetal production detail\nKnoll Factory in Foligno – Italy\nProduction line\n",123,{"image":505,"text":506,"number":507},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.124.png","13\n12 −\nModern Always®\nKnoll. The Original Design\nPlatner Easy Chair production detail\nBarcelona cushion production detail\n",124,{"image":509,"text":510,"number":511},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.125.png","Modern Always®\nKnoll. The Original Design\nMarble hand finishing process\nSkilled craftsmen hand-finish the table edges \n \n15\n14 −\n",125,{"image":513,"text":514,"number":515},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.126.png","17\n16 −\nModern Always®\nKnoll. The Original Design\nInnovation\nFlorence Knoll presenting\nher project\nThe true innovation is the \ncapacity to continuously \nrenovate. We certainly innovate \nusing cutting edge machines\nand technologies, but also always \nbuilding a new dialogue with \ndesigners and listening to the \nneeds of the public that change \nover time. A foundation that\nwas given by Hans and Florence \nKnoll since the beginning and that \nnow continues in the increasingly \nwide and versatile offers for\na rapidly changing world.\nLa véritable innovation, c’est \nêtre capable de se renouveler \nsans cesse. Nous favorisons \nl’innovation en utilisant des des \ntechnologies  et des machines\nde pointe, mais aussi en nouant \nun dialogue toujours nouveau \navec les designers et en écoutant \nles besoins du public en \nperpétuelle évolution. Un principe\nfondamental prôné par Hans et\nFlorence Knoll dès le départ, qui\nse perpétue aujourd’hui à travers\nnos offres toujours plus larges \npour s’adapter à l’évolution rapide \nde notre monde.\nLa vera innovazione è la \ncapacità di rinnovarsi sempre. \nCertamente si innova utilizzando \nmacchinari e tecnologie \nall’avanguardia, ma anche \ncostruendo sempre un nuovo \ndialogo con i progettisti\ne ascoltando le esigenze del \npubblico che mutano nel tempo. \nUn’impostazione, questa,\ndata da Hans e Florence Knoll\nsin dagli albori e che oggi \nprosegue nelle offerte sempre \npiù ampie e versatili per un \nmondo in rapido cambiamento.\nDie wahre Innovation liegt\nin der Fähigkeit zur ständigen \nErneuerung. Ganz sicher sind\nwir innovativ beim Einsatz \nmodernster Maschinen und \nTechnologien, aber wir sind es \nauch, wenn es um den Aufbau \neines neuen Dialogs mit \nDesignern und um die Beachtung \nder sich im Laufe der Zeit \nändernden Bedürfnisse der \nKunden geht. Eine Grundlage,\ndie von Hans und Florence Knoll \nvon Anfang an gegeben war und \ndie sich nun in den immer breiter\nund vielseitiger werdenden \nAngeboten für eine sich schnell \nverändernde Welt fortsetzt.\n",126,{"image":517,"text":518,"number":519},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.127.png","19\n18 −\nModern Always®\nKnoll. The Original Design\nHarry Bertoia\nEdward Barber\nJay Osgerby\nRoss \nLovegrove\nWarren Platner\nRobert and Trix\nHaussmann\nPascal Mourge\nRichard \nSchultz\nMarcel Breuer\nLucia Mercer\nCini Boeri\nCharles Pfister\nGeorge \nNakashima\nEttore Sottsass\nFlorence Knoll\nBassett\nAlexander \nGirard\nMarkus Jehs\nJürgen Laub\nMarc Krusin\nLella and Massimo\nVignelli\nFrank Gehry\nFranco Albini\nPierre Beucler\nJean-Christophe\nPoggioli\nLudwig\nMies van der Rohe\nEero Saarinen\nTobia Scarpa\nCharles Pollock\nJens Risom\nDon Chadwick\nRichard Sapper\nGae Aulenti\nMarc Newson \nTurning to the biggest \ncontemporary talents in design \nand architecture is not enough\nto obtain a rich and varied \ncatalogue. You must identify \nthose who are able to form\na true vision and share it.\nWhat unites all the masters\nin the present and past Knoll \ncatalogue is the aptitude to go \nbeyond the present, identifying\na timeless modernity; the same \nthat is at the origin of the \ncompany history.\nPour proposer un catalogue\nriche et varié, il ne suffit pas de\nfaire appel aux meilleurs talents\ncontemporains en design et\nen architecture. Il faut choisir\nceux qui sont capables d’offrir\nune véritable vision et de la\npartager. Ce qui rassemble tous\nles créateurs au sein du\ncatalogue Knoll actuel et\nantérieur, c’est leur faculté à\ndépasser le moment présent\npour créer des pièces d’une\nmodernité intemporelle ; \nla même philosophie qu’à l’origine \nde la création de l’entreprise.\nNon basta rivolgersi ai più \ngrandi talenti del design e \ndell’architettura del proprio \ntempo per ottenere un catalogo \nricco e variegato. È necessario \nindividuare coloro che sono \ncapaci di una vera visione e \ncondividerla. Quello che unisce \ntutti i Maestri del catalogo Knoll\ndi ieri e di oggi è l’attitudine\nad andare oltre il presente, \nidentificando una modernità \nsenza tempo; la stessa che è \nall’origine della storia dell’azienda.\nEs reicht nicht aus, sich an\ndie größten zeitgenössischen \nTalente in Design und Architektur\nzu halten, um einen reichhaltigen \nund vielfältigen Katalog\nzu erstellen. Wichtig ist es, \ndiejenigen zu erkennen, die in\nder Lage sind, eine wahre Vision \nzu formen und sie zu teilen.\nWas alle Meister des \nvorliegenden und der \nvergangenen Knoll-Kataloge\neint, ist ihre Fähigkeit, über die \nGegenwart hinauszugehen\nund eine zeitlose Modernität\nzu schaffen; dieselbe, die am \nUrsprung der Firmengeschichte \nsteht.\nDesigners\nAntonio \nCitterio\nPiero Lissoni\n",127,{"image":521,"text":522,"number":523},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.128.png","Modern Always®\nKnoll. The Original Design\n229\nModern Always®\nKnoll. The Original Design\n228 −\nTechnical info \nModern Always®\nKnoll. The Original Design\n",128,{"image":525,"text":526,"number":527},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.129.png","231\n230 −\nModern Always®\nKnoll. The Original Design\nTechnical info \nMies van der Rohe Collection\nTubular Brno Chair\nL 55 x D 63 x H 79 cm\np. — 062, 065\nFlat Bar Brno Chair \nL 58 x D 59 x H 79 cm\np. — 062, 067\nFour Seasons Barstool\nL 43 x D 43 x H 76 cm\np. — 084\nBarcelona® Stool\nL 59 x D 59.5 x H 39 cm\np. — 048, 051\nBarcelona® Stool – Relax\nL 59 x D 59.5 x H 39 cm\np. — 055, 056\nBarcelona® Stool\nL 58.5 x D 59.5 x H 31 cm\nBarcelona® Couch\nL 196 x D 98 x H 44 cm\np. — 060\nBarcelona® Couch – Relax\nL 196 x D 98 x H 44 cm\np. — 059\nBarcelona® Chair\nL 75 x D 77 x H 77 cm\np. — 048, 051\nBarcelona® Chair – Relax\nL 75 x D 77 x H 77 cm\np. — 052, 053, 055\nConference Armchair - Relax\nL 65.5 x D 63 x H 81.5 cm\np. — 014-015, 024-025,\n027, 112-113\nConference Chair - Relax\nL 57 x D 51.5 x H 80 cm\np. — 014-015, 024-025, \n031, 112-113\nConference Barstool\nL 57 x D 49.5 x H 114 cm\nConference Armchair - Relax\nSwivel 5 Star Base\nL 66.5 x D 64 x H 79\u002F85.5 cm\nConference Chair - Relax\nSwivel 4 Star Base\nL 62 x D 62 x H 78\u002F84.5 cm\nSaarinen Collection\nTulip Chair \nL 49 x D 53 x H 81 cm\np. — 013, 016, 018-019, 184-185\nTulip Stool \nØ 40 x H 45 cm\nWomb Chair \nL 105 x D 94 x H 92 cm\np. — 035, 036, 039, 040, 128\nOttoman\nL 64 x D 51.5 x H 40 cm\np. — 035, 036, 039, 040\nWomb Settee\nL 159 x D 94 x H 92 cm\np. — 043\nConference Chair - Relax\nL 57 x D 51.5 x H 79 cm\np. — 028\nConference Counter Stool\nL 57 x D 49.5 x H 101.5 cm\np. — 032\nTulip Armchair \nL 68 x D 59 x H 81 cm\np. — 017, 184-185\nWomb Chair Medium\nL 89 x D 79 x H 79 cm\nOttoman Medium\nL 53 x D 44 x H 35 cm\nMR Armchair \nL 65 x D 92 x H 87 cm\np. — 070-071, 072-073, \n075, 078\nMR Armless Chair\nL 60 x D 88 x H 87 cm\np. — 070-071, 072-073\nMR Armless Chair in Rattan \nL 49 x D 69 x H 79 cm\np. — 080-081\nMR Armchair in Rattan\nL 53 x D 82.5 x H 79 cm\np. — 080-081\nMR Side Chair\nL 49 x D 69 x H 79 cm\np. — 083, 115\nMR Adjustable Chaise Longue\nL 65 x D 179 x H 68\u002F90 cm\np. — 068, 072-073, 076-077\nMR Chaise Longue \nL 62 x D 120 x H 95 cm\np. — 072-073, 075, 079\nMR Stool\nL 60 x D 57 x H 46 cm\nConference Armchair - Relax\nSwivel 4 Star Base\nL 66.5 x D 64 x H 82\u002F88.5 cm\nConference Armchair - Relax\nL 65.5 x D 63 x H 82.5 cm\nConference Chair - Relax\nSwivel 5 Star Base\nL 62 x D 62 x H 78\u002F84.5 cm\np. — 200\n",129,{"image":529,"text":530,"number":531},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.130.png","233\n232 −\nModern Always®\nKnoll. The Original Design\nTechnical info \nBertoia Collection\nSide Chair\nL 54 x D 58 x H 73 cm\np. — 122-123, 125, 130, 133\nSide Chair in Plastic\nL 52.3 x D 54.6 x H 77 cm\np. — 044-045, 144-145, 146 \nSide Chair in Cowhide\nL 54 x D 58 x H 73 cm\np. — 126-127, 128, 199\nStool\nL 54 x D 58 x H 104\u002F100\u002F105\u002F101 cm\nStool in Plastic\nL 52.3 x D 55.4 x H 107\u002F104\np. — 134\nStool in Cowhide\nL 54 x D 58 x H 104\u002F100 cm\nBird Armchair \nL 98 x D 89 x H 101 cm\np. — 137, 138, 139\nOttoman \nL 62 x D 44 x H 39 cm\np. — 137, 138\nDiamond Armchair\nL 85\u002F86 x D 75\u002F76 x H 75\u002F76 cm\np. — 044-045, 092-093, 141, 143, \n150-151, 208-209, 218-219\nLarge Diamond Armchair\nL 114 x D 82 x H 71 cm\np. — 096-097, 122-123\nAsymmetric Chaise\nL 116\u002F115 x D 107\u002F106 x H 103\u002F102\np. — 122-123, 152\nBench\nL 183 x D 48 x H 39 cm\np. — 149, 218-219\nBreuer Collection\nWassilyTM Chair\nL 79 x D 69 x H 73 cm\np. — 157, 158, 159, 160-161\nCesca Chair\nL 56 x D 58 x H 80 cm\nCesca Chair\nL 46 x D 58 x H 80 cm\nCesca Chair\nL 56 x D 58 x H 80 cm\np. — 165, 167\nCesca Chair\nL 46 x D 58 x H 80 cm\np. — 165, 167\nCesca Stool\nL 58 x D 46 x H 96.5\u002F106.5 cm\nFlorence Knoll Collection\n2 Seat Bench\nL 92 x D 50 x H 42 cm\np. — 181\n2 Seat Bench – Relax \nL 96 x D 48 x H 42 cm\np. — 118, 119\nSquare Bench – Relax \nL 96 x D 96 x H 35 cm\np. — 118\nStool – Relax \nL 48 x D 48 x H 42 cm\nSquare Bench – Relax \nL 144 x D 144 x H 35 cm\np. — 118\n3 Seat Bench\nL 154 x D 50 x H 42 cm\n3 Seat Bench – Relax \nL 144 x D 48 x H 42 cm\np. — 118\nSquare Bench – Relax \nL 128 x D 128 x H 35 cm\n",130,{"image":533,"text":534,"number":535},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.131.png","235\n234 −\nModern Always®\nKnoll. The Original Design\nTechnical info \nRichard Schultz 1966 Collection®\nLounge Armchair\nL 66 x D 72 x H 66 cm\nDining Armchair\nL 59 x D 61.5 x H 79 cm\np. — 216, 218-219, 221\nArmless Chair\nL 48 x D 62 x H 79 cm\np. — 218-219, 221\nContour Chaise\nL 62 x D 147 x H 85.5 cm\nAdjustable Chaise\nL 64.5 x D 193 x H 36.5\u002F91.5 cm\np. — 128, 191, 222-223, 225, \n226-227\nButterfly Chair\nL 82 x D 76 x H 90 cm\np. — 204, 206-207\nButterfly Chair-Anniversary Edition\nRisom Collection\nLounge Chair\nL 51 x D 71 x H 77 cm\np. — 210, 213\nSide Chair\nL 44 x D 54 x H 77.5 cm\nLounge Chair\nL 95 x D 65 x H 77 cm\np. — 090-091, 119, 174-175,\n181, 182\nSide Chair\nL 73 x D 58 x H 76 cm\np. — 023, 059, 171,\n172-173, 177, 179, 182\nPlatner Collection\nEasy Chair\nL 100 x D 95.5 x H 99.5 cm\np. — 184-185\nOttoman\nØ 66.5 x H 41 cm\np. — 184-185\nStool\nØ 43.5 x H 54.5 cm\np. — 065, 171, 172-173,\n182, 199\nPollock Armchair\nPollock Armchair\nL 64 x D 66 x H 70.5 cm\np. — 186, 188-189, 191\nPollock Executive Chair\nPollock Armchair\nL 66 x D 70 x H 78\u002F87 cm\np. — 116\nNakashima Collection\nStraight Chair\nL 57 x D 51 x H 75.5 cm\np. — 192, 194\nKrefeld™ Collection\nLounge Chair \nL 83 x D 69 x H 76 cm\np. — 086-087\n2-seat Sofa\nL 145 x D 69 x H 76 cm\n3-seat Sofa \nL 207 x D 69 x H 76 cm\np. — 086-087\nOttoman \nL 66 x D 52 x H 43 cm\nPfister Collection\nArmchair\nL 83 x D 83 x H 70 cm\n2-seat Sofa\nL 152 x D 83 x H 70 cm\n3-seat Sofa\nL 220 x D 83 x H 70 cm\np. — 188-189, 191, 208-209\n",131,{"image":537,"text":538,"number":539},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.132.png","237\n236 −\nModern Always®\nKnoll. The Original Design\n5-seat sofa - Relax\nL 238 x D 238 x H 80 cm\nFlorence Knoll Collection\nLounge Chair\nL 81 x D 82 x H 80 cm\nLounge Chair – Relax\nL 81 x D 81 x H 80 cm\n2-seat Sofa\nL 159 x D 82 x H 80 cm\np. — 098\n3-seat Sofa\nL 230 x D 82 x H 80 cm\n4-seat Sofa – Relax\nL 310 x D 88 x H 80 cm\np. — 096-097\n4-seat Sofa – Relax\nL 310 x D 88 x H 80 cm\n2-seat Sofa – Relax\nL 159 x D 88 x H 80 cm\n2-seat Sofa – Relax\nL 159 x D 88 x H 80 cm\n3-seat Sofa – Relax\nL 230 x D 88 x H 80 cm\np. — 052, 090-091, 094-095 \n106-107, 108, 206-207\n3-seat Sofa – Relax\nL 230 x D 88 x H 80 cm\np. — 110-111\nLounge Chair – Relax\nL 81 x D 81 x H 80 cm\nTechnical info \n6-seat sofa - Relax\nL 238 x D 310 x H 80 cm\np. — 092-093\n7-seat sofa - Relax\nL 310 x D 310 x H 80 cm\nMies van der Rohe Collection\nBarcelona® Table\nL 100 x D 100 x H 35\u002F46 cm\np. —057, 092-093, 110-111\nMR Table \nØ 72.5 x H 35\u002F52 cm\np. — 110-111, 184-185\nSaarinen Collection\nOval Dining Table\nL 198 x D 121 x H 74\u002F73 cm - L 244 x D 137 x H 74\u002F73 cm\np. — 018-019, 023, 024-025, 044-045\nRound Low Table\nØ 51 x H 37\u002F36 cm\np. — 086-087, 094-095, 138, \n150-151,157, 177, 210\nRound Dining Table\nØ 91\u002F107\u002F120\u002F137\u002F152 x H 73\u002F72 cm\np. — 013, 125, 133, 165, 204\nRound Low Table\nØ 51 x H 52\u002F51 cm\np. — 020-021, 035, 040, 094-095, 096-097\n141, 204, 206-207, 222-223, 225\nRound Low Table\nØ 41 x H 52\u002F51 cm\np. — 043, 051, 055, 059, 060, \n086-087, 090-091, 108, 138, 143\nOval Low Table\nL 57 x D 38 x H 52\u002F51 cm\nRound Low Table\nØ 91 x H 39\u002F38 cm\np. — 021, 040, 048, 090-091, 106-107, 143\nRound Low Table\nØ 107 x H 39\u002F38 cm\np. — 141\nOval Low Table\nL 107 x D 70 x H 39\u002F38 cm\np. — 020\nSide Table\nØ 40 x H 46 cm\np. — 036, 090-091, 106-107, \n177, 184-185\nDining Table\nØ 135 x H 70 cm\np. — 171, 179\nDining Table\nØ 152\u002F180 x H 70 cm\np. — 172-173\nCoffee Table\nØ 107 x H 38.5 cm\np. — 036, 070-071, 094-095,\n174-175, 181, 191, 206-207\nCoffee Table\nØ 91.5 x H 38.5 cm\np. — 188-189\nPlatner Collection\nLaccio Table Collection\nSquare Table\nL 55 x D 48 x H 45 cm\np. — 160-161, 163, 186\nRectangular Table\nL 136 x D 48 x H 34 cm\np. — 160-161, 163\n",132,{"image":541,"text":542,"number":543},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.133.png","239\n238 −\nModern Always®\nKnoll. The Original Design\nTechnical info \nRound Table\nØ 137 x H 71 cm\nOval Table\nL 198\u002F244 x D 121\u002F137 x H 71 cm\np. — 116\nRectangular Table\nL 122 x D 66 x H 72 cm\np. — 065\nRectangular Table\nL 200\u002F240 x D 90\u002F100 x H 72 cm\np. — 080-081, 112-113, 126-127, 128\nRectangular Table\nL 114 x D 57 x H 43 cm\np. — 098\nRectangular Table\nL 114 x D 57 x H 35 cm\nSquare Table\nL 140 x D 140 x H 72 cm\np. — 114, 115\nSquare Table\nL 60 x D 60 x H 43 cm\nSquare Table\nL 75\u002F90 x D 75\u002F90 x H 48 cm\nSquare Table\nL \u002F D 60\u002F75\u002F90\u002F120\u002F140 x H 35 cm\np. — 096-097,208-209\nAlbini Mini Desk\nMini Desk\nL 122 x D 67 x H 70 cm\np. — 031, 199, 200, 201\nFlorence Knoll Collection\nSplay-leg Table \nL 96 x D 86.7 x H 45 cm\np. — 195\nNakashima Collection\nTray\nL 54.5 x D 40 cm\nCoffee Table\nL 150 x D 66 x H 35\u002F41 cm\np. — 086-087, 137, 202\nAlexander Girard Coffee Table\nRichard Schultz 1966 Collection®\nCoffee Table\nL 45.5 x D 45.5 x H 39 cm\np. — 044-045\nSquare Table\nL 71 x D 71 x H 72 cm\nSquare Table\nL 96.5 x D 96.5 x H 72 cm\np. — 216, 221\nRectangular Table\nL 152 x D 96.5 x H 72 cm\nRectangular Table\nL 228 x D 96.5 x H 72 cm\np. — 144-145, 146, 218-219\nFlorence Knoll Collection\nCredenza \nL 95 x D 46.5 x H 65 cm\nCredenza \nL 90 x D 45 x H 109.9 cm\np. — 105, 126-127\nCredenza \nL 190\u002F210 x D 46.5 x H 65 cm\np. — 080-081, 098, 101,\n102, 103, 104, 208-209\nCoffee Table\nØ 107 x H 38 cm\nDining Table\nØ 107 x H 71 cm\nRichard Schultz Petal® Collection\n",133,{"image":545,"text":546,"number":547},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.134.png","241\n240 −\nModern Always®\nKnoll. The Original Design\n",134,{"image":549,"text":550,"number":551},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.135.png","KnollStudio Customer Service\nKnoll International\nVia S. Colombano, 67\nI – 26813 Graffignana – Lodi – Italy\ncustomerservice@knolleurope.com\nBenelux\nKnollStudio Customer Service\nTel: +32 (0)2 715 13 03\nFrance\nKnollStudio Customer Service\nTel: +33 (0)1 44 18 19 92\nGermany\nKnollStudio Customer Service\nTel: + 39 0371 2069 262\nAustria & Switzerland\nKnollStudio Customer Service\nTel: +39 0371 2069 270\nItaly\nKnollStudio Customer Service\nTel: +39 0371 2069 272\nScandinavia\nKnollStudio Customer Service\nTel: +39 0371 2069 271\nUnited Kingdom\nKnollStudio Customer Service\nTel: +39 0371 2069 266\nSpain & Portugal\nKnollStudio Customer Service\nTel: +39 0371 2069 266\nKnoll International EMEA\n(excluding above mentioned \ncountries)\nKnollStudio Customer Service\nTel: +39 0371 2069 271\nAsia – Pacific\nKnollStudio Customer Service\nTel: +39 0371 2069 208\nKnoll Showrooms\nParis\n268 Boulevard Saint Germain\nF - 75007 Paris\nTel: +33 (0)1 44 18 19 99\nMilano\nPiazza Bertarelli 2\nI - 20122 Milano\nTel: +39 02 7222 291\nLondon\n91 Goswell Road\nUK - EC1V7EX London\nTel: +44 (0) 20 7236 6655\nUSA\nKnoll Inc.\n1330 Avenue of the Americas\n10019 New York\nU. S. A.\nTel: +1 212 343 40 00\nThanks to\nAlidem\nAltai\nAlberto Levi Gallery\nAmleto Missaglia\nAmini Carpets\nAntichità San Marco\nArik LEVY\nAstep\nBarbara Schweizer\nBarovier&Toso\nB.F.A. Benedetto Fasciana\nBernard Pages\nBooks Import\nEdizioni Design\nÉmile Gilioli\nFederica Bubani ceramics\nFlos\nGlas Italia\nGolran\nGood Morning Studio\nIsabella Nurigiani\nLaboratorio Paravicini\nLoro Piana\nMarco Solzi paintings\nMassimo Micheluzzi\nMetalli Filati\nMingardo\nNemo\nOfficine Saffi\nOluce\nPescetta Antichità\nPotafiori\nSabine Pagliarulo\nSabrina Landini les beaux objects\nSahrai Milano Luxury Rugs\nSalvadori\nSalvatori\nSociety Limonta\nStudio Dimore Collection\nStudio 2046\nThe Silk Road Collection\nUso Interno\nVenetia Studium\nWunderkammer Studio\nYali Glass\nArt direction \nand graphic design\nDesignwork\nPhotography\nBeppe Brancato\nSanti Caleca\nFederico Cedrone\nMassimo Gardone\nKnoll archive\n©Joshua McHugh\nAlessandro Paderni\nEzio Prandini\nIlan Rubin\nGionata Xerra\nStyling\nVandersandestudio\nSimona Silenzi Studio\nColour separation\nLucegroup\nSet in Helvetica Now Display\nmedium \u002F medium italic \u002F bold\nPrinted in Italy\nBy Poligrafiche San Marco\nFebruary 2024\nknolleurope.com\nKnoll. The Original Design\n",135,{"image":553,"text":19,"number":554},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.136.png",136,{"image":556,"text":19,"number":557},"\u002Fmedia\u002Fimages\u002F87\u002F7dfd3bc020e1b93d44f75ccc0622c9-287aad4f7f.137.png",137,[],0,false,true,{"success":561,"data":563,"meta":772,"count":773,"next":774,"previous":775,"results":807,"brand_chips":868},[564,577,586,595,604,613,622,632,642,653,665,678,687,700,712,722,732,741,751,763],{"id":565,"title":566,"slug":567,"image":568,"source":569,"brand_name":570,"brand":571,"brand_slug":572,"file_size":573,"pages":574,"pages_count":575,"matched_pages":576,"match_count":559,"two_pages":560,"show_text":561},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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