He simplified the chair’s structure so that the sculpted backrest and arms form one continuous element. The turned legs rigidly support the deep seat rail and top piece without the need for stretchers, combining an expressive form that draws on Chinese precedents with natural materials and a rationally conceived design destined for the most exacting factory manufacture.
Saarinen faced the problem of trying to treat the leg structurally and visually as part of the reinforced-plastic moulded seat shell with the help of a research team from the Knoll firm led by Donald Petit. This issue had plagued him since he and Charles Eames conducted their first experiments with moulded seat shells.
The name “Za” was chosen by Naoto Fukasawa, an industrial designer from Tokyo, and it means “a place to sit” in Japanese. It is a term that alludes to the multi-functionality of a simple stool that can be used anywhere, indoors and outdoors, an object that people will intuitively choose to sit on.
Phillippe Starck is one of the most widely known artist‐designer ‘names’ in the late 20th and early 21st centuries, Starck is one of France’s most fêted designers who has worked across a wide range of media. His work epitomises the intersection of art and design, its often fanciful qualities attracting both critical approbation and criticism, particularly in such commissions as pasta for Panzani (1987).
Pollack invented a tubular steel stacking chair, model RP7, which was manufactured from c1932 and revolutionised auditorium seating with its stacking concept. Cox, a British furniture maker, was embroiled in a legal battle with rival Pel in 1934 over the Rp6 stacking chair, which Pel had bought the rights from Pollack.
Francis Jourdain (1876 – 1958), the son of architect Frantz Jourdain, was born on November 2, 1876. His father created the Salon d’Automne collection. He benefited from his parents’ friendships with prominent intellectuals (Émile Zola, Alphonse Daudet) and artists of the time (the circle of Alexandre Charpentier).