
IKEA POEM and POÄNG chairs
The history of IKEA POEM and POÄNG, Noboru Nakamura’s bentwood frame, its separate cushions, and how a familiar armchair uses flexibility as part of its comfort.
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Furniture models and individual historic pieces.

The history of IKEA POEM and POÄNG, Noboru Nakamura’s bentwood frame, its separate cushions, and how a familiar armchair uses flexibility as part of its comfort.

IKEA PS brought the metal locker into the living room by changing its proportions. The low cabinet owes as much to a Danish sideboard and a friend’s record collection as it does to changing-room furniture.

Look inside the idea of Isokon’s minimum flat, from fitted storage and a screened sleeping place to the shared facilities beyond the apartment.

Explore Niels O. Møller’s 1968 Model 80 as a precise timber outline holding two upholstered planes rather than hiding beneath them.

See how Børge Mogensen's 1947 J39 turns four plain legs, a curved back and a woven seat into a Danish classic whose modesty is carefully designed.

Read Jane Austen’s small writing table through its twelve-sided walnut top, the provenance note beneath it and the working life of the Chawton years.

Open British Secretary Cabinet 2014.186 to see how practical storage, imported lacquer, substitute varnishes and printed patterns met on one red surface.

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.

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.

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

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.

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.

Richard Hutten’s Layers Cloud Chair builds its body from cut textile layers. The Divina project lets colour and material form the furniture instead of merely covering it.

Discover Esben Klint’s 1948 Model 307, where a slender brass stand lets a hand-folded Model 2 shade create volume, stiffness and softened light.

Jeroen Verhoeven’s Lectori Salutem desk combines flowing metal surfaces with contours of his creative partners and a visibly constructed open end.

See how one pull transforms Jean François Leleu's c. 1775–85 cylinder-top desk from a restrained mahogany case into a fitted place for writing.