
Jasper Morrison Air-Chair
Air-Chair began with a small manufacturing sample: a piece of plastic tube. Jasper Morrison worked from the legs upwards, turning hollow structural paths and thin surfaces into a familiar one-piece chair.
Objects · people · ideas
Discover the objects, people and ideas that shaped furniture, from historic pieces to modern designs.

Air-Chair began with a small manufacturing sample: a piece of plastic tube. Jasper Morrison worked from the legs upwards, turning hollow structural paths and thin surfaces into a familiar one-piece chair.

Meet Jean Prouvé through three scales of work: the unequal legs of the Standard Chair, a wall-mounted lamp and a demountable house.

Jeroen Verhoeven’s furniture gives creative collaboration a visible form, from the people in Lectori Salutem’s curves to a wider practice connecting design and making.

Jeroen Wand’s paper, veneer and aluminium work traces a method moving between materials. A 2023 interview adds the people and daily making behind that exchange.

Jieldé’s round elbows are more than a strong industrial look. They belong to a lamp designed to move repeatedly around workshop tasks, with electrical contact carried through the joints instead of a cable bending at every articulation.

Discover how Joaquim Tenreiro used contrasting woods and curved forms in the Three-legged Chair, then carried rhythm into his later reliefs.

Boby puts several kinds of storage within arm’s reach: open shelves, upright compartments and pivoting trays. Joe Colombo’s compact trolley turns the tools around a desk into a small workspace that can move.

Read John Hemmings through his joinery, an 1825 letter and a lost writing desk, recognising the skilled labour behind famous furnished rooms.

Jólan van der Wiel designs tools and experiments that make natural forces visible. Furniture, water-related work and magnetic ceramics reveal a broader working method.

Read Jørgen Høj’s 1951 side chair through its two visual systems: a slender timber frame and broad woven rattan seat and back planes.

Joris Laarman’s practice brings programmers, engineers and craftspeople into furniture making. A Pixel chair shows how digital cutting and hand finishing meet.

Jurgen Bey finds furniture ideas in existing surroundings and social situations. A trunk or a chair’s extended sides can change how a place is read.

Explore how Kaare Klint connected body and room measurements, historical furniture, material, craftsmanship and teaching—and what that method tells a collector.

Anna Castelli Ferrieri’s Componibili storage, the round sliding door and its space-saving movement, plus why current fixed units are not freely stackable modules.

A drinks trolley can spend more time waiting than serving. Gastone treats that quiet interval as part of the design: its surfaces fold, reducing the space the trolley claims once the occasion is over.

Louis Ghost is easy to recognise and easy to see through. Philippe Starck kept the oval back, arms and upright presence of a historical chair, then gave those familiar signals a transparent plastic body.

Maui can disappear into a meeting room or around a kitchen table. Look closely at its plastic shell and it becomes more interesting: the smooth curves are carrying structural work that other chairs give to visible ribs.

Hella Jongerius’s 1999 Kasese Sheep Chair at MoMA pairs a lightweight folding fibre frame with felt. Its source stool and separate museum versions retain their own identities.

Kho Liang Ie moved between chairs, interiors and design direction, connecting a person’s immediate surroundings with the larger arrangement and the work of collaborators.

Kiki van Eijk carries the character of a sketch across wood, clay and textiles, working with specialist workshops while keeping the hand close to the result.

Discover how the Knotted Chair combines familiar hand knotting with carbon, aramid and resin, and why its dates differ between collection records.

MoMA’s Kokon table-chair brings a table and chair under one PVC skin. The shared covering gives the familiar furniture a combined silhouette.

Explore Korean soban through the short journey from kitchen to room, lightweight wood, regional forms and the craft knowledge of Kim Chun-sik.

Sebastian Brajkovic’s Lathe VIII appears to stretch a familiar chair into a love seat, giving an image-editing idea a spatial and sociable form.