Set of Westside Armchairs by Ettore Sottsass for Knoll, 1983

Born in Innsbruck, Austria in 1917, architect-designer Ettore Sottsass grew up in Milan. He studied architecture at the Polytechnic of Turin, graduating in 1939. As a member of the Italian army, Sottsass spent most of World War II in a Yugoslavian concentration camp. After the war, he returned to Milan and opened his first studio in 1947. Like most Italian designers in these years, he focused on activities to help the postwar reconstruction efforts, including exhibition design.

In 1958, he began working with Olivetti, for whom he designed multiple landmark objects—including Valentine, the brand’s iconic 1969 red plastic typewriter—and transformed the large, cold electronics and office machinery of the day into playful, accessible objects of desire.

During the 1960s, Sottsass spent time in both India, where he was deeply affected by the country’s vibrant colors and mythologies, and the U.S., where he embraced pop art culture. These influences can be seen in Sottsass's ceramic designs through the rest of his life.

In 1973, he cofounded Global Tools, an experimental design collective, alongside Gaetano Pesce, Alessandro Mendini, and others. During the ’70s, he collaborated with Alessi, Baccarat, and Knoll, designing everyday items like condiment sets and decanters. Other manufacturers that Sottsass designed for include Artemide, Bitossi, O-Luce, Poltronova, Skipper, Stilnovo, and Zanotta.

In 1980, he formed the architecture/design firm Sottsass Associati. In 1981, he founded the Memphis Group, an influential, flamboyant design firm known for its brightly colored post-modern furniture, ceramics, and lighting. He remained with the Group until 1985, at which point he turned his attentions again to architecture. He died at the age of 90.

Hans Knoll was born in 1914 in Stuttgart, Germany, into the successful manufacturing family behind Walter Knoll & Co. Early-20th-century Germany was an epicenter of modernist design theory—most notably expressed in the products and practices of the Deutscher Werkbund association of artists, architects, designers, and industrialists, as well as the influential Bauhaus school—which advocated for design rooted in the principles of rationality, functionalism, and mass production. This milieu had a profound influence on Hans and inspired him to produce furniture for the new age. In 1937, after a stint in London, he moved to the United States and brought his modernist vision with him.

Florence Knoll (neé Schust) was born in Saginaw, Michigan in 1917 and from an early age exhibited a strong interest in architecture. After graduating from the Kingswood School for Girls in 1934, she moved across campus to the newly formed, Bauhaus-inspired Cranbrook Academy of Art to study architecture under recent émigré, Finnish architect Eliel Saarinen. There she befriended future design luminaries Charles Eames and Eero Saarinen. She went on to Columbia University’s School of Architecture to study town planning. In 1937, she apprenticed under former-Bauhaus professors Walter Gropius and Marcel Breuer in Cambridge, Massachusetts, and a few years later, enrolled at the Illinois Institute of Technology, where German architect Ludwig Mies van der Rohe became a life-long mentor to her.

In 1938, Hans Knoll established The Hans G. Knoll Furniture Company as a furniture exporter in a small space on East 72nd Street in New York City. As the company quickly grew, it evolved into a manufacturing business. In 1941, he opened his first plant in a former dance hall in East Greenville, Pennsylvania and hired Danish designer Jens Risom, who eventually helped him develop the first, original Knoll furniture designs. That same year, Hans met Florence on an interior design project and, recognizing her exceptional taste and eye, hired her to bring in business with architects and interior designers and, later, to provide in-house planning and interior design expertise for a growing corporate clientele. In 1946, Hans and Florence married and renamed the company Knoll Associates. That same year, the Knolls formally established the Planning Unit, solidifying the company’s role in the design of interior spaces. In 1951, Knoll International was launched as the German and French arms of Knoll, producing Knoll designs for the European market. Sadly, Hans died in a tragic car crash in 1955, but Florence remained actively involved until she retired in 1965.

Knoll’s signature pieces include Breuer’s Wassily Chair (1925), Mies van der Rohe’s Barcelona Chair (1929/1948), Harry Bertoia’s Diamond Chair (1952), Eero Saarinen’s Tulip Armchair (1957), as well as Florence‘s own furniture collection developed through the 1950s. Knoll’s impressive catalogue includes a who’s-who list of midcentury modern and contemporary design figures, including Jens Risom, Alexander Girard, George Nakashima, Isamu Noguchi, Richard Schultz, Warren Platner, Charles Pollock, Andrew Morrison & Bruce Hannah, Vignelli Associates, Richard Sapper, Maya Lin, Frank Gehry, and Rem Koolhaas. As of this writing, Knoll’s most recent collaboration is with David Adjaye, who designed the Washington Collection for Knoll and the Adjaye Collection for KnollTextiles. Today, the company is particularly focused on meeting the evolving needs of the 21st-century workplace.

In 2011, Knoll received the National Design Award for Corporate and Institutional Achievement from the Cooper Hewitt, Smithsonian Design Museum in New York. The award recognized Knoll’s legacy in American modern design and the company’s commitment to promoting the relationship between good design and quality of life. Knoll designs can be found in the permanent design collections of institutions around the world, including more than 30 acquired by New York’s Museum of Modern Art.

* All images courtesy Knoll, Inc. The David Adjaye Skeleton Chair was photographed by Joshua McHugh.