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Florence Knoll Credenza

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Florence Knoll Credenza

Florence Knoll

As Shown

Florence Knoll 1954

When Florence Knoll revolutionized private office design by replacing the typical executive desk with a table desk, she needed a place for all the filing and storage that had traditionally lived in desk drawers. Her solution, executed in typical Florence Knoll elegance, was the low credenza. Perfectly proportioned and immaculately detailed, the iconic design works as well in the dining room as it does in the office.

Updated for today's needs, Florence Knoll 2 and 4 position credenzas are now available in a larger size with proper ventilation cutouts to accommodate AV racks and equipment.  The generous new dimensions will ensure that all equipment and cords are hidden in style yet easily accessible, perfect for any high end conference room.


Construction and Details
  • Available in two and four positions
  • Credenza tops are available in wood, coated and natural marble, in a wide range of colors and finishes
  • Sides, back, drawer and door fronts are wood veneer
  • 2545M available in white lacquer
  • Base available in polished or satin chrome
  • Optional central locking system available
  • KnollStudio logo and Florence Knoll’s signature is stamped onto the base frame
Sustainable Design and Environmental Certification
  • Certified Clean Air GOLD


Prior to the pioneering approach of Florence Knoll and the Knoll Planning Unit, executive offices in America were nearly all planned the same way.

Florence Knoll described this standard layout in her 1964 “Commercial Interiors” entry for the Encyclopedia Britannica: “In such an office there was always a diagonally-placed desk, with a table set parallel behind it, a few chairs scattered around the edge of the room, and a glassed in bookcase. The table behind the desk generally became an unsightly storage receptacle.”

Seeking to create a space better suited to the executive’s primary function — communication — Florence reconsidered the illogical layout from an architectural perspective. She eliminated the imposing desk, replacing it with the more inviting table desk, placed parallel to the back wall. Storage was moved to behind the table in a low, matching credenza.

To execute this new layout, Florence introduced the 2544 Credenza in 1961. The elegant design exuded executive quality, and clearly exhibited Mies van der Rohe’s impact on Florence’s approach to design. Design historian Bobbye Tigerman notes that, “the furniture is architecture miniaturized…The structure of a large case balanced on thin peripheral columns recalls Mies’ Seagram Building.” Like Mies, Florence Knoll would endlessly refine each detail of a design in order to achieve simple, seemingly effortless beauty.

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