Florence Knoll Rectangular and Square High Tables

Designed by Florence Knoll, 1954

The Florence Knoll  Tables, designed to furnish the new interiors of postwar America, is a scaled-down translation of the lines, gestures and materials of modern architecture. Consistent with all of her designs, the table has a spare, geometric presence that reflects the rational design approach Florence Knoll learned from Mies van der Rohe.

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Florence Knoll High Rectangular and Square Tables
  • Florence Knoll square table marble top
  • Florence Knoll Square Table
  • High table Rectangular Tables
  •  High table Rectangular
  • Knoll High table Rectangular and Square Tables
  • High table Rectangular and Square Tables
  • High table Rectangular

Details

FEATURES

A range of square and rectangular tables for use in the home or office.

KnollStudio logo and Florence Knoll's signature are stamped on the inside of leg.


CONSTRUCTION

Rectangular and square welded steel frame, glass, wood or marble top.

Marble coated with transparent polyester finish to help eliminate use associated stains.

Dimensions

FLORENCE KNOLL SQUARE AND RECTANGULAR HIGH TABLES

Square 140cm W x 140cm D x 72cm H.

Rectangular 200/240cm W x 90/100cm D x 72cm H

Mini Desk 122cm W x 66cm D x 72cm H


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Product Story image

As head of the Knoll Planning unit, Florence Knoll always approached furniture design with the larger space in mind. Most important to her was how a piece fit into the greater design — the room, the floor, the building. Every element of a Knoll-planned space supported the overall design and complemented the existing architecture.

Never one to compromise, Florence would often design furniture when she, “needed the piece of furniture for a job and it wasn’t there.” And while she never regarded herself as a furniture designer, her quest for harmony of space and consistency of design led her to design several of Knoll’s most iconic pieces of furniture—all simple, none plain.

As skyscrapers rose up across America during the post-war boom, Florence Knoll saw it as her job to translate the vocabulary and rationale of the modern exterior to the interior space of the corporate office. Thus, unlike Saarinen and Bertoia, her designs were architectural in foundation, not sculptural. She scaled down the rhythm and details of modern architecture while humanising them through colour and texture.

Designer image

While a student at the Kingswood School on the campus of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, Florence Knoll Bassett (née Schust) became a protegée of Eero Saarinen. She studied architecture at Cranbrook, the Architectural Association in London and the Armour Institute (Illinois Institute of Technology in Chicago). She worked briefly for Walter Gropius, Marcel Breuer and Wallace K. Harrison. In 1946, she became a full business and design partner and married Hans Knoll, after which they formed Knoll Associates. She was at once a champion of world-class architects and designers and an exceptional architect in her own right. As a pioneer of the Knoll Planning Unit, she revolutionised interior space planning. Her belief in "total design" – embracing architecture, manufacturing, interior design, textiles, graphics, advertising and presentation – and her application of design principles in solving space problems were radical departures from the standard practice in the 1950s, but were quickly adopted and remain widely used today. For her extraordinary contributions to architecture and design, Florence Knoll was accorded the National Endowment for the Arts' prestigious 2002 National Medal of Arts.


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