George Nelson Swag-Leg Coffee Table for Herman Miller

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The authentic George Nelson Pedestal Table (1954), produced by HERMAN MILLER, embodies its designer’s signature hallmarks: simplicity, clean lines, and … Read more The authentic George Nelson Pedestal Table (1954), produced by HERMAN MILLER, embodies its designer’s signature hallmarks: simplicity, clean lines, and a form that highlights the beauty of the materials. This versatile piece, featuring a laminate top set upon a sculptural aluminum base, is ready to serve in all sorts of practical capacities and in an array of settings—from living room to waiting room. Its pedestal base seems to rise organically from the floor. With a height of 16", this version can work well as a coffee table. Its "dome of silence" glides can be adjusted to uneven floor surfaces.

GEORGE NELSON (1908–1986) was a ground-breaking American designer and architect, recognized as a pivotal figure in the development of US modernism. A prolific author and speaker, his focus on the holistic nature of his field has influenced generations of designers. In like manner, his view of design as an integral component of a company’s overarching vision has had a lasting impact on corporate identity management. Nonetheless, he is best remembered today for the iconic mid-century pieces that were created for the HERMAN MILLER furniture company under his auspices.

Born in Hartford, Conn., Nelson studied at Yale University, graduating with degrees in architecture (1928) and Fine Arts (1931). He won a creative fellowship at the American Academy in Rome in 1932, which allowed him to travel in Europe. He met and interviewed such modernist pioneers as Ludvig Mies van der Rohe (1886–1969), Walter Gropius (1883–1969), Gio Ponti (1891–1979), and Le Corbusier (1887–1965), publishing articles in Pencil Points, an avant-garde architectural journal, to introduce their ideas to an American audience. Upon his return to the US, Nelson became a writer and editor for Architectural Forum.

Nelson’s views on modern living were further developed in his book, Tomorrow’s House. The work introduced such innovative concepts as the “family room” and the “storage wall” (a built-in, recessed shelving system that took advantage of underused wall space) and was published in 1945. It so impressed the president of HERMAN MILLER, D.J. DePree (1891–1990), that he appointed Nelson as the firm’s Director of Design—a position he held until 1972. His unique contract granted him the freedom to work with and bring into the studio other designers (who were not always individually credited), allowing for a broad diversity of creativity that positioned the company at the forefront of mid-century American design.

During Nelson’s tenure, the HERMAN MILLER catalog would include some of the most iconic home furnishings of the 20th century. Renowned architects and designers such as Ray (1912–1988) and Charles (19072–1978) Eames, Harry Bertoia (1915–1978), Isamu Noguchi (1904–1988), Richard Schultz (1926–2021), Donald Knorr (1922–2003), and Don Chadwick (b. 1936) were recruited to contribute to the firm’s success. Nelson developed several influential office furniture systems during this period and continued to inspire modern design practices.

In 1947, Nelson founded a personal studio in New York City, which was incorporated in 1955 as George Nelson Associates. A true collective, it was successful in bringing together many of the top designers of the era to design for HERMAN MILLER under Nelson’s label. Among the most noted were Irving Harper (1916–2015), George Mulhauser (1916–2002), Robert Brownjohn (1925–1970), Gordon Chadwick (1915–1980), Tomoko Miho (1931–2012), and John Pile (1924–2007). By the time the company closed in the mid-80s, it had partnered with practically every Fortune 500 company.

KEY DESIGNS:

The Platform Bench (1946), slatted, solid-wood top on a sturdy base. Clean, rectilinear lines and multifunctional use as seating or
table reflect Nelson’s architectural background.

The Ball clock (1949), twelve wooden balls on metal spokes radiate from a central face, replacing traditional numbers. Celebrated
for its playful, sculptural form.

The Bubble lamp series (1952), lightweight steel frames, in various shapes, are covered in translucent plastic, producing a soft,
diffused light. Inspired by Swedish silk-covered pendants.

The Coconut chair (1956), one-piece foam cushions set inside fiberglass shells, inviting freedom of movement. The striking form
makes an eye-catching accent piece.

The Marshmallow sofa (1956), eighteen colorful, round cushions attached to an exposed steel frame designed by Irving Harper. A
masterstroke of pop-art furniture.

The Action Office series (1964), a modular, open-plan office system, precursor to the modern workstation. Introduced the world’s
first L-shaped desk.

Nelson’s natural focus was the design process, and his 1977 treatise, How to See, was offered as a guide to visual literacy. In 1984, he became a scholar-in-residence at Manhattan’s Cooper Hewitt, Smithsonian Design Museum. Nelson retired with the closing of his New York studio in the mid-80s and died in 1986. His archives are housed at the Vitra Design Museum in Weil am Rhein, Germany.

The simple joy of taking an idea into one’s own hands and giving it proper form, that’s exciting. – GEORGE NELSON

HERMAN MILLER was founded in 1905 as the Star Furniture Co. in Zeeland, a town near Grand Rapids in western Michigan. Zeeland had been settled primarily by Dutch immigrants, many of whom had brought with them legacy skills in the crafting of fine furniture. By 1900, Grand Rapids and environs had become a hub for its production.

In 1919, Star Furniture was renamed the Michigan Star Furniture Co., and Dirk Jan “DJ” DePree (1891-1990), originally hired as a clerk, became its new president. Along with a small group of local businessmen, DePree and his father-in-law, Herman Miller, purchased 51% of the company in 1923 and rechristened it HERMAN MILLER.

The company had historically been a manufacturer of high-end, traditional-style home furnishings based on modified European designs. With the arrival of the Great Depression, DePree was forced to consider new products to survive in a shrinking market. In 1931, he was approached by the industrial designer Gilbert Rohde (1894-1944), who reportedly entered the showroom unannounced. DePree listened to Rohde’s ideas and, attracted by his straightforward approach, hired him to design a new line of furniture. Rohde speculated that the decreasing size of modern homes would inspire a demand for a smaller, simpler, and lighter furniture style that DePree referred to as “more honest” than that of traditional pieces. So began the transformation of HERMAN MILLER into the modern furniture juggernaut it would become.

HERMAN MILLER debuted its new line at the Century of Progress exposition in Chicago. In 1941, the company opened showrooms in Chicago and New York City. Under Rohde’s supervision, HERMAN MILLER entered the office furniture market in 1942 with the introduction of the modular Executive Office Group (EOG).

Rohde died in 1944 and was replaced by architect George Nelson (1908-1986), who joined the firm as its director of design in 1945. Nelson was to have enormous influence upon HERMAN MILLER, not only for his personal design contributions, but also for the talented designers he recruited to its ranks—Isamu Noguchi (1904–1988), Charles (1907–1978) & Ray (1912–1988) Eames, Robert Propst (1921–2000), and textile designer Alexander Girard (1907–1993). HERMAN MILLER was incorporated in 1960 and is in business to this day as one of the top producers of office furniture in the world. See less