BR09-01/02: Breuer used the Bauhaus laboratories to experiment with various objects, including different stools. This series of models, the smallest of which was originally used as a seat for school refectory tables, afterwards appears as a table in the photographs of Gropius’ house at the Bauhaus in Dessau. Standard-Möbel produced and marketed the design in various dimensions as a series of nesting tables.
Designed in 1928, this table was added to the Thonet catalogue with the code B14. A larger version, made in Berlin in 1930, can be seen in a photograph of the interior of Boroschek’s apartment and in the Lewin house’s studio. The table was used several times in Harnischmacher’s house, Wiesbaden, in 1932. In this case, however, it can be seen how mass-production had required some simplifications, such as the joint of the corner, to the great disadvantage of the only formally relevant element, namely the correspondence between the collar joint of the leg and the top. The table was distributed in Switzerland by the Wohnbedarf firm, and appeared together with “Cesca” chairs in some displays in the Zurich showroom in 1932, 1933 and 1936. This new edition is the only one currently in production.
CO09/19/29/39/49: These table designs by le Corbusier were all presented at the Paris Salon d'Automne des Artistes Décorateurs in 1929 as part of the "Equipement intérieur d'une habitation". CO09: For the structure, an elliptical-section draw piece of aeronautical origin was used. The difficulty of finding it and the complexity of the work were some of the reasons why the table was not included in the Thonet catalogue. Like the other designs by Le Corbusier, this one was "rediscovered" by Heidi Weber, too.
FL69-1/8/9: Developed in 1961, it was part of the new series of table desks designed for Knoll Associates. Made with frame and legs in heavy gauge welded steel and polished chrome finish, this project is influenced by the formal research brought into the field of office furniture by Italian designers such as Osvaldo Borsani.
FP09-1/09-2/19: The series of furnishings composed by table, side table and console with shelves was designed around 1930. The structure of the tables, realized by squared section frame, is composed by elements whose curved angles remind the "c" figures, joined one to each other with screws. The composition of equal elements, staggered and assembled, anticipates of two decades the solutions for the tables in metallic drawn tube adopted by Kjaerholm. Frankl used this squared section frame with this kind of curved angles for the console, too.
KI09: The influence of the figure of Kiesler on the twentieth-century design goes far beyond his creations in this field. Well-known for his methodological position aimed at taking design beyond the limits imposed on it by functionalism, he pursued the poetics of endlessness in an infinite spatial continuity, asserting through concise slogans that "form does not follow function, function follows vision, vision follows reality". Amongst his main works we can record the design of the first circular theatre in Vienna, the Wiener Konzerthaus, in 1924, the one for the Film Guild cinema in 1929, as well as his most important work, the "Shrine of the Book", the sanctuary built in Jerusalem to house the Dead Sea Scrolls. The table was part of the furniture designed for the apartment of the textile designer Alma Mergentine in New York. The existence of a previous design characterized by simple conical legs is known from a design of 1935. The final version, in a unique example, was anyway made between 1935 and 1936, the year when Kiesler showed the apartment to Philip Johnson and to John D. Rockfeller II.
This redesign of the traditional gate leg table was allegedly conceived for the country home of W. J. Basset Lowke, who apparently rejected the design. This table and other models of the series (see MA00, MA44, MA45) were never produced during the lifetime of Mackintosh.
MI69-1/2: This table, designed by Mies together with the chairs for his Berlin apartment in the early 1920s, represents the first illustrious example of a “Parsons table”, a type of square or rectangular table with square legs at the corners, which can be found in the same decade in some French interiors decorated by Jean Michel Frank, who must probably be given credit for having exported its concept to the United States when he taught at New York’s Parsons School of Design, a circumstance which also granted it its name. Rectangular and square versions of the Parsons table with glass top made by Breuer appear in the photographs of the interior of Gropius’ house and of one of Mart Stam’s rank-houses at the Weißenhof of Stuttgart in 1927, whereas a rectangular version of the Parsons table by Mies appears in the photographs of a home model designed by Lily Reich for the Bau-Austellung of Berlin in 1931. In 1930 the table was then represented, together with the couch, in Philip Johnson’s apartment in New York. The Parsons table, whilst not having given rise, at the time, to any mass-production, became quickly popular, particularly in the United States, and has often been sold without any designer attribution, with frequent modifications to thickness and proportions.
SA29-1/2: Between the end of the forties and the middle of the fifties Saarinen’s furniture design works were closely linked to his numerous architectural designs. Among these the project for the General Motors Technical Centre is outstanding. Developed between 1947 and 1956 the work included the detail design of all furnishings – fixed and movable – required for the organization and the functioning of the various building units completing the “campus”. For the reception spaces and for the lobbies of the buildings in particular, Saarinen designed a system of seats, benches and tables. Some original pieces of the seating collection, as well as some benches and tables are still present inside the lobbies of the General Motors Technical Center.
SA59-1/6/7: Saarinen developed four different planning variants of this table. The purpose was that one of giving a various key of reading to his idea of the table with central leg, to obtain through the transparency to the plan, in order to render visible the plastic continuity of the base in metal. This re-edition is based on the more "sophisticated" planning solution, with the steel slab inserted in the glass.
SA69-1/2/3/5/6/8/9: This series of tables, following the plans for the chair and the armchair, is part of the pedestal furniture program developed by Saarinen for Knoll Associates.
SH09/19/29: These tables come from a design dating back to about 1820, which unified the characteristics of the models produced by the New Lebanon Shaker community near New York.
SH39/49: In 1805 a mission left New Lebanon and reached Ohio in order to spread the Word in these territories. Between 1805 and 1830, four new communities were established here: Union Village, Watervliet, Whitewater and North Union. The models shown here are a Shaker re-interpretation of the tables of Ohio vernacular tradition.
WR19: The table was designed for Henry J. Allen’s residence situated in Wichita, Kansas. Austere and monumental, it recalls the tables of the American Arts and Crafts movement.