Skip to main content directly
0

KnollStudio

Platner Coffee Table 36"

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

Downloads for Platner Coffee Table - 36"

Symbol Library Download

General Info

Planning Tools

Finishes

  • color Nickel, Polished
  • color Metallic Bronze
  • color Gold, 18k Plated
  • color Clear Glass
  • color Bronze Glass
  • color Arabescato
  • color Calacatta
  • color Carrara
  • color Grey
  • color Grigio Marquina
  • color Espresso Marble
  • color Verdi Alpi
  • color Nero Marquina
  • color Arabescato
  • color Calacatta
  • color Carrara
  • color Grey
  • color Grigio Marquina
  • color Espresso Marble
  • color Verdi Alpi
  • color Nero Marquina
  • color Carrara
  • color Black Andes Granite
  • color Light Oak Veneer
  • color Light Walnut Veneer
  • color Reff Dark Cherry
  • color Ebonized Walnut Veneer

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.”