This simply elegant end table was designed by Florence Knoll in 1954. Like so many of her groundbreaking designs, this table has made it’s way into the pantheon of modern classics. It was designed to furnish the new interiors of postwar America, and it truly 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. With polished chrome plated steel base and a 5/8″ thick clear glass top, these simple, modern tables are timeless.
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About Florence Knoll
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 humanizing them through color and texture. Her occasional table collection, designed in 1954 to complement her eponymous lounge collection, is a perfect example of her restrained, geometric approach to furniture, clearly derived from her favorite mentor, Mies van der Rohe.