• Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner
  • Knoll Platner Arm Chair by Warren Platner

KnollStudio®

AVAILABLE ONLINE

Platner Arm Chair

Warren Platner 1966

Introduced in 1966, the Platner Collection of sculpted wire furniture captured the “decorative, gentle, graceful” qualities that were beginning to infiltrate the modern vocabulary. The Collection’s unique, harmonious forms are created by welding hundreds of curved vertical steel rods to circular frames, finished in either bright nickel or painted bronze metallic.

Details

Construction and Details
  • Seat cushion and back avilable in a wide range of KnollTextiles
  • Shell is molded fiberglass with molded latex foam cushion
  • Base constructed of nickel-plated or bronze-painted vertical steel rods welded to circular horizontal and edge-framing rods
  • Clear plastic extrusion ring on bottom of the base for a smooth bottom surface
Sustainable Design and Environmental Certification
  • GREENGUARD Indoor Air Quality Certified®

Downloads for Platner Arm Chair

General Info

Sustainable Design

Finishes

Available in a variety of KnollTextiles and Spinneybeck Leathers.

See approval matrices in the downloads section for more detail.

  • color Polished Nickel
  • color Metallic Bronze
VIEW ALL FINISHES

Dimensions

With his experience in the firm of Eero Saarinen and Associates, it is not surprising that the mantel for the second generation of pedestal and wire furniture fell on the creative shoulders of Warren Platner. Reflecting a dramatic shift in cultural values, modernism became more expressive in the 1960s. Platner felt there was an opportunity to merge the competing aesthetics of the time.

“I began to think about what I thought furniture, specifically a chair, really might be, starting with the philosophy that it isn’t going to be aggressively technological, or aggressively handicraft…I, as a designer, felt there was room for the kind of decorative, gentle, graceful kind of design that appeared in period style like Louis XV, but it could have a more rational base instead of being applied decoration…I thought why separate support from the object. Just make it all one thing. Starts at the floor and comes up and envelops me, supports me…What I wanted to achieve was a chair that, number one, was complementary to the person sitting in it, or to the person in the space between the wall and the chair — what the chair did for the person in respect to the scale of the person and the space.”