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Florence Knoll Vertical Storage

Florence Knoll

Introducing Florence Knoll Vertical Storage cabinets, a taller version of the classic 2-Position credenza.  With 3 different configurations available, you can be sure that Florence Knoll has a storage solution for every need, even your coats.

Image Library

Finishes

  • color Natural Oak
  • color Medium Brown Mahogany
  • color Pearwood
  • color Medium Red Mahogany
  • color Ebonized Oak
  • color White Lacquer
  • color Arabescato
  • color Calacatta
  • color Carrara
  • color Grey
  • color Empire Beige
  • color Verdi Alpi
  • color Nero Marquina
  • color Arabescato
  • color Calacatta
  • color Carrara
  • color Grey
  • color Empire Beige
  • color Verdi Alpi
  • color Nero Marquina
  • color Carrara
  • color Chrome, Polished
  • color Chrome, Satin

Dimensions

Additional Info

Construction and Details
  • Available in multiple interior configurations
    • Center Divide: Cabinet interior has vertical divider in the center with four adjustable shelves on each side
    • Double-width Shelves: Cabinet interior has four full-width shelves: two fixed and two adjustable
    • Coat Cabinet: Cabinet interior has vertical divider in the center with a full-height compartment and coat hook on one side and four adjustable shelves on the other. Left and right configurations available
  • Tops are coated marble, natural marble or wood veneer
  • Sides, back and door fronts are wood veneer or lacquer
  • Base is polished or satin chrome
  • KnollStudio logo and Florence Knoll’s signature is stamped onto the base frame
Sustainable Design and Environmental Certification
  • Florence Knoll Vertical Storage is certified Clean Air GOLD or SILVER

Configure Florence Knoll Vertical Storage

The configurator below is for reference purposes only. All options, finishes and sizes may not be represented.
For the complete scope, please refer to the KnollStudio price list.


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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.

Born to a baker, and orphaned at age twelve, Florence Schust grew up Saginaw, Michigan. Schust demonstrated an early interest in architecture and was enrolled at the Kingswood School for Girls, adjacent to the Cranbrook Academy of Art.

While at Kingswood, Florence befriended Eilel Saarinen, whom she would later study under at Cranbrook. Warmly embraced by the Saarinen family, Florence seeded in Michigan the foundations of her incredible design education and pioneering career. Florence went on to study under some of the greatest 20th century architects, including Gropius, Breuer, and Mies. In 1941 Florence moved to New York where she met Hans Knoll who was establishing his furniture company. With Florence’s design skills and Hans’ business acumen and salesmanship, the pair, who married in 1946, grew the nascent company into an international arbiter of style and design. In creating the revolutionary Knoll Planning Unit, Florence Knoll defined the standard for the modern corporate interiors of post-war America.

After the tragic death of Hans Knoll in 1955, Florence Knoll led the company as president through uncertain times. In 1960 she resigned the presidency to focus on directing design and development and, in 1965 after pioneering an industry and defining the landscape and aesthetic of the corporate office, Florence Knoll Bassett (she remarried in 1957) retired from the company. Her contributions to Knoll, and to the rise of modernism in America, are immeasurable.