The Herman Miller Collection is not an entirely new concept or range of furniture. Instead it is a design approach or way of thinking about our collection, collated to provide a portfolio able to solve any furnishing brief. It was inspired by the forward thinking George Nelson, who in our 1952 catalog wrote of the importance of continuing the creation of a permanent collection “designed to meet fully the requirements for modern living” and we're excited to bring it to you today.

The Collection comprises of many of our classic pieces designed by Charles and Ray Eames and George Nelson, to which we have added a range of contemporary pieces to complement the classics. The partners and designers we've chosen to include in the Collection include Geiger and Mattiazzi, who all share in our design values to create furniture that is as purposeful as it is beautiful. This ensures the Herman Miller Collection presents as a complete solution for designing any space from the boardroom to the backyard, providing a palette from which to select myriad of furnishings to suit any environment. We will continue to add pieces in the future that further enhance the 'requirements for modern living' as George Nelson so aptly put it. The images above and below include just some of the pieces that make up the collection. To view the complete Collection and learn more about it, visit our website. 

*Magis range available in Asia via business dealers only.

Posted by Lauren Evans

Ronan and Erwan Bouroullec are the well known designers behind the Osso Chair by Mattiazzi that has recently become part of the Herman Miller collection. For those of you who aren't familiar with the chair, here are five things that are good to know about Osso.

1. Mattiazzi's fine craftmanship and sophisticated machining skills were the inspiration behind the chair. Erwan says their aim was "…to let the sensuality of the wood express itself" and that “The chair invites people to touch or even caress it, as it is extremely sculpted and polished.”

2. The high-tech assembling system of geometrical wood panels allows a quite singular strength while preserving a design balance of the object. The chair is comprised of just eight pieces (see image below).

3. Erwan and Rowan were particularly impressed by Mattiazzi's environmental credentials. All the equipment used to manufacture the Osso chair is solar powered and the timber locally sourced, without the use of any chemical treatments.

4. Osso means bone in Italian. The chair is highly sculptural and polished like it's namesake.

5. A sophisticated palette of colours in various timbers complete Osso - it comes in black, blue, green, dark grey, pink, white, natural ash, natural maple, and natural oak.

Posted by Lauren Evans

The documentary Eames: The Architect and The Painter debuted in New Zealand last week (see our previous post) and to pay homage to the film our New Zealand dealer Matisse held a fabulous party which also marked the launch of their Eames inspired pop-up shop. Fans of the film will find all sorts of Herman Miller goodies available at the store which will stay open until the 29th April. New Zealand readers can head on down to 254 Broadway, Newmarket and snaffle up a little piece of Eames history for themselves.

That's the time it takes for us to build an Aeron Chair at our American based production line. FastCompany were so impressed by this that they recently profiled us as a model of modern American manufacturing and featured this video of the Aeron's production on their design blog. Aeron used to take 82 seconds to come off the line, today we're down to 17 due to the little changes we make to the assembly process every year. We're really proud to be recognised for the level of efficiency we've achieved as we work very hard at it. Check out their video to see for yourself.

Sam Hecht is one half of Industrial Facility, the studio behind the widely acclaimed Branca chair for Mattiazzi that takes its inspiration from the wooden branches of a tree. As regular readers will know, we are very pleased to have recently added the Mattiazzi range of products to the Herman Miller Asia Pacific collection. We caught up with Hecht who revealed his own design story and his experiences working with the Mattiazzi family to create Branca. Enjoy our interview below.

What led you to pursue a career in design?
My father sold electrical products like radios and toasters. Sometimes customers would return them and for pocket money he would ask me to have a go at repairing them. He knew nothing about how things worked – he was a salesman – and so I took everything apart. I started to see why things were made they way they are. Some products – particularly from Braun – were very cleverly put together. This interest led me to design – but design were the workings of it can influence the way it looks and feels.

My father still asks me to fix things!

How would you describe your design philosophy?
Simplicity that is inspirational – why have something complicated!

How did you come to work with Mattiazzi and what was it about the company that appealed to you in partnering with them?
Mattiazzi had invited me to design a wooden product for their second collection – the first being by Nitzan Cohen. I visited them with my colleague of the last 15 years – the Japanese designer Ippei Matsumoto. I warned them that I had not designed a lot of furniture, and certainly not a chair, and this was the reason they had asked me. I think they were interested in me because of my innocence and naivety. Perhaps what I would be suggesting would push them further than they had gone before.

We inspected their factory, smelt the air and tasted the food. I loved it.

Could you tell us a little of the design story behind your Branca chair for Mattiazzi?
Branca was my first chair design. I had waited some 20 years to gather the courage to imagine what a modern and relevant chair could be. To respect comfort and lightness, but also to respect Mattiazzi and the knowledge they had built up over many years. It was a real team effort, and much of my role was making a series of careful decisions both functional and sculptural. There were no pre-conditions, and so I made my own. I wanted a chair that was fluid because I knew Mattiazzi could do this. Like a tree that forms a branch through growth rather than construction. I wanted a chair that had armrests but could also stack, and to fit under a table. I wanted a chair to be comfortable to the body and to the eye. When it was finally completed, we all stood back and said it was quite something. Within a year it had been selected by 4 museum permanent collections, had been honoured as Design of the Year 2011 and won many awards. It meant that the conditions that were self-made were correct because they had become universal – and that is no easy accomplishment.

Mattiazzi have disproved the modern myth that mechanised manufacturing is not a craft. How did their approach to manufacturing differ from other companies you have worked with in the past?
The difference with Mattiazzi that people seem to forget is that they apply a craftsmen’s attitude to everything. Anyone can buy a machine for manufacturing, but Mattiazzi use the machine like a they would a hand tool. They craft the mechanization. With this commitment to quality, they have pioneered a new typology for craft.

Can you tell us a secret about the chair? Perhaps a less well-known fact?
A chair with not a single screw!! It seems not possible. Also, the arms are parallel with the floor, so you can rest it upside down on a table for cleaning.

There are a few colour options with the product - which is your preferred?
I like two – natural ash (which reminds me of pasta with only olive oil – simple and classic!) and Green which is based on a tree colour we found in a forest in the south of England.

What’s your favourite piece of furniture (if you can choose just one!)
Such a difficult question – it changes all the time…..I would say the Landi Chair by Swiss designer Hans Coray.

What’s next, anything you’re excited about?
Some projects for Herman Miller [stay tuned! - ed.] – and a ‘Tent’ for Louis Vuitton.

Which is your favourite city in Asia Pacific and why?
Tokyo -  it’s where I lived and it influenced me a lot. In fact, it’s energy still surprises me whenever I go back.

Posted by Lauren Evans

We are pleased to announce the launch of the Mattiazzi Collection throughout Herman Miller Asia Pacific. Mattiazzi are a family owned Italian producer of contemporary timber furniture, renowned for its in-house production methods. By using sophisticated CNC tools, Mattiazzi has perfected the art of allowing wood to take the complex shapes associated with injection-moulded plastic. Operating such a machine is an art and Mattiazzi disproves the modern myth that mechanised manufacturing is not a craft. The complete Mattiazzi collection will be available though Herman Milller, including pieces designed by Studio Nitzan Cohen, Sam Hecht of Industrial Facility, and Ronan and Erwan Bouroullec. Keep an eye out for our interviews with these fabulous designers whom we are thrilled will be joining the Herman Miller family.  

(image above, from left) He Said chair by Studio Nitzan Cohen, Branca by Sam Hecht/Industrial Facility and Osso by Ronan and Erwan Bouroullec

Posted by Lauren Evans

Herman Miller has a long association with museums and galleries. Some of you may not know that in 1988 we established the Herman Miller Consortium to share our historical furniture collection with a wider audience. This consortium collection is now held between 13 museums across the United States of America and comprises of over 750 pieces of furniture and a range of product documentation (such as the brochure above, from 1960). The good news for those of us outside of the States is that you can also browse through the collection and records online via The Herman Miller consortium online database. We thought it might be interesting to explore some museums that hold the consortium collction in the coming months as well as have a closer look at some of the ourstanding museums and galleries from around the Asia Pacific region. We hope you'll join us on our travels... stay tuned! 

Posted by Lauren Evans

For those interested in how things are made, there's a fantastic slide-show showing the step by step processes involved in making a Select Nelson Tray Table over at the Discover blog. The table is made from moulded plywood, a process Herman Miller helped to pioneer. The original tray table was designed by George Nelson in 1955 as a solution to smaller modern living spaces. It is collapsible and portable with the idea that it could brought out when entertaining guests and packed away again. Anyone purchasing it today may not want to hide it away in a cupboard, particularly the 2011 limited edition version, reworked as part of the Herman Miller Select range. It has a decorative timber inlay based on George Nelson's Flock of Butterflies clock, in walnut and santos palisander veneers and white ash. Visit the discover blog to tour the workshop and learn just what is involved in bringing it to life.

Posted by Lauren Evans

The above offering is by design retailer Moss and it comes with some fine pedigree. The two lounge and ottomans are original vintage Eames in Brazilian rosewood veneer as specified by Charles and Ray themselves, but a timber we stopped using for the lounges in 1992, when it became listed on the endangered species list. Moss have upholstered them in the Maharam fabric 'Repeat Dot' by Hella Jongerius. Personally, I'm a great fan of Hella and Maharam, so crossed with Eames it's a happy combination for me (I'll take the one on the left please!). What are your thoughts on them?

Posted by Lauren Evans

Norman + Quaine are true pioneers of Australian design. Since they began to work together in 1989, Katherine Norman and Caroline Quaine have paved the way for today's generation of designers. They designed a furniture range that developed a loyal following by interior designers and architects and along the way defined Australian style. They did this at a time when Australian design was a relatively new concept and the industry was a male dominated one. Their furniture is intelligent, playful and beautifully detailed with nostalgic references to the past and has featured in many a design magazine interior. However what is less known about N+ Q is their multi-disciplinary approach to design and the interiors, events and advertising they have designed and directed. Their long-association with Living Edge is testament to this as they were responsible for all showroom interiors, advertising and photographic shoots during their time there. More recently they've tuned their talents to 'upcycling' by taking old pieces of furniture and giving them the Norman and Quaine treatment, with delightful results. Norman + Quaine tend to quietly get on with things, so you may not have heard all that much about them - they don't tend to blow their own trumpet so to speak. That's why we're thrilled to bring you our interview with Kath Norman and shed a little more light on their creative and enduring partnership.

(above) Grace, a stallwart of the Norman + Quaine range

How did you come together as Norman and Quaine, can you tell us the story?
Caroline and I first met In 1984 working for the American based company Mitchell Giurgola + Thorpe architects on the New Parliament House project in Canberra. Our work involved designing the custom furniture for the building-we formed part of a team of four.  Our involvement with this project lead to a wide variety of contracts within the industry including manufacturers, some of which we would secure longstanding relationships(with) in the future years. After traveling abroad and working for architects and designers, Norman +Quaine was established in 1989 in a shared studio in Surry Hills Sydney working alongside architects and interior designers. In 1993 we relocated to  a Surry Hills warehouse/ showroom to showcase our designs as Norman + Quaine.

(above) Oliver Lounge

What changes have you noticed in the design industry in Australia since you began?
It's hard to talk of the design industry in the past 25- 30 years we have been involved, after all design stretches back for centuries and there is always change. As with many industries the design industry responds to the political, economic, environmental, and social fabric of the times. The Australian design industry has expanded with the advent of accessibility to travel and international projects, media and sophisticated communication technologies. In the past Australian designers looked towards European and US furniture and design. When we first started there were only a handful of Australian furniture designers emerging. The growth and acceptance of the new face of Australian product design with manufacturers, the design community, suppliers and retailers is a credit to our industry.

(above) Louie, the newest addition to the N+Q range

You strive to produce Norman and Quaine products in Australia, has this become more difficult with an increase in offshore production?
N+Q maintain our belief in supporting local manufacture in the country or region to whom we are selling. This remains our goal, however, if change is required to maintain the quality we require we would review our manufacture policy. Currently we manufacture in Sydney and regional NSW for the Australian market and China for the Asian/Pacific region.

Do you each have a personal favourite, in the Norman + Quaine furniture range?
The Demille Chair (see below) is one of our favorites and comfortably fits in to both commercial and domestic interiors. The combination of the elegant timber frame with the contrasting chunky seam detailing and scale of the upholstered seat are very compatible. The expressed finger-jointing to the arm adds a beautiful detail. Comfortable and classic!

As well as your furniture range, the Norman and Quaine philosophy has been applied to interiors, exhibitions, advertising and styling. What ties it all together?
Our combined skills in interior and industrial design, allows us to delve in to all areas of design. It is a natural progression for us to expand into other areas of design (other than furniture). For us trying to adhere to a budget whilst producing exciting and stimulating visuals is always a challenge.

(above and below) One of each from a series of ads created for Living Edge, creative direction by Norman + Quaine

Recently you have begun working with vintage pieces, giving them a new life through restoration and combining old elements with new. Can you tell us what inspired this side of the business?
Norman +Quaine have always been interested in vintage pieces – a lot of our designs utilise the proportions of a bygone era. So it comes naturally to us to produce the combination of old with new - revitalising + recreating.

In a world which is ostensibly dependent on mass production, these individual pieces become collectors items and personalize the home.

(above) Edwardian Tea Trolley

Without revealing too many secrets, where do you find your treasures and what’s been your most exciting find?
Auctionhouses mainly, sometimes discards on the side of the road, they are usually not treasures in totality but in part can be reused as part of a table top or base for example. Our latest coffee table we love – an old tiled top incorporated with timber slats and metals base (see below).

What are you most proud of?
I guess we are proud to have had the architectural and interior designers embrace our furniture in lieu of imported product, which has allowed our business to flourish for 20 years.

Who are your design heroes?
Any designer/creator who has pushed the boundaries which existed in their time, and succeeded.

(above) Stool/side table

What inspires you?
A design solution which is so rational, so simple but immensely clever and effective.
OR a fabulous market !

How do you want your work to be remembered?
To be amongst the first few to design and produce Australian furniture in a European dominated market and to still be in business 20 years later.

Visit the Norman and Quaine website normanquaine.com.au for more information.

Posted by Lauren Evans