At the intersection of people and spaces, Knoll stands as a vanguard of design. Since its inception, Knoll has championed the idea that furniture should be integral to the architectural environment – a seamless extension of form and function. When furniture complements the architectural setting and interior elements blend harmoniously, the result is a complete experience of space.

Since 1938, Knoll has been at the forefront of design, reshaping how we experience interiors in offices, hospitality and residential settings through three fundamental pillars:

• total design planning
• designer collaborations, and
• colour, material, finish (CMF).

To fully grasp Knoll’s design ethos, one must first understand its roots in two iconic institutions: the Bauhaus and Cranbrook Academy of Art, and two visionaries: Hans and Florence Knoll.

The Bauhaus: A foundation for modernism

Founded in 1919 by architect Walter Gropius in Weimar, Germany, the Bauhaus aimed to unify art, design and industry, what Gropius called “inseparable components of a new architecture”. This unified ideal profoundly influenced the designers who would go on to shape the future of Knoll.

Gropius and Bauhaus designers like Marcel Breuer and Ludwig Mies van der Rohe found new ground in the United States after being forced out of Germany in the 1930s. Florence Knoll (née Schust), a pioneer in her own right, interned with Gropius and Breuer and studied under Mies van der Rohe at the Illinois Institute of Technology, forging lifelong relationships with these vanguards of design. It was Florence who brought their iconic designs — such as Mies van der Rohe’s Barcelona Chair and Breuer’s Wassily Chair — into the Knoll collection, pieces that remain as revered today as ever. The mentorship Florence received during her years at the Bauhaus instilled in her a lifelong belief in the principle of ‘total design’ – design not as the creation of single objects, but rather as a ‘total architecture’.

Cranbrook Academy of Art: A nexus of creativity

Like the Bauhaus, Michigan’s Cranbrook Academy of Art was conceived as a collaborative hub where artists could live, work and share ideas. Under the guidance of Eliel Saarinen, Cranbrook fostered some of the 20th century’s most influential designers, including Saarinen’s son Eero, Charles and Ray Eames, Harry Bertoia, and, of course, Florence Knoll. Their collaborations with Knoll gave rise to some of the most coveted furniture designs of all time, including Saarinen’s Pedestal Collection and Bertoia’s wire seating series.

Florence and Hans Knoll: Pioneers of modern space planning

After meeting Hans Knoll, a young German entrepreneur in New York, Florence Schust joined forces with him to create one of the most forward-thinking furniture brands in the world. Together, they redefined the modern interior with the revolutionary Planning Unit, established in 1946. This unit brought a new level of precision to space planning, integrating efficiency, architecture and design in a way that had never been done before. The Knolls’ work with corporate giants like IBM, General Motors and CBS set the standard for modern corporate interiors.

After Hans’ untimely death in 1955, Florence led the company into its golden era. Her influence extended far beyond furniture. She transformed the American business environment with her comprehensive design approach, forever shaping the way we view modern office spaces.

Total design planning: Knoll’s holistic approach

Florence Knoll’s education under Bauhaus and Cranbrook leaders instilled in her the belief that furniture should not just fill a space but create it. Her “total design” philosophy, brought to life through the Planning Unit, meticulously studied each client’s needs and delivered holistic solutions that defined modernism. Today, Knoll continues to embrace this approach, creating furniture that not only complements architecture but enhances the entire spatial experience.

Designer collaborations: Icons of the past and future

From the beginning, Knoll has cultivated relationships with the world’s most innovative designers. Florence Knoll brought many of her Cranbrook peers, like Eero Saarinen and Harry Bertoia, into the fold, building a portfolio of designs that remains unmatched. The brand’s legacy of collaboration continues with modern icons like Piero Lissoni and Antonio Citterio, ensuring Knoll remains at the cutting edge of design innovation.

Colour, material, finish (CMF): Tailoring the experience

Florence Knoll’s understanding that materials are as crucial as form led to the creation of Knoll Textiles in 1947. Today, Knoll offers an unparalleled array of finishes, from upholstery fabrics to leather, metal and veneers, allowing designers to tailor each piece to suit their specific vision. With more than 2000 materials and finishes to choose from, Knoll’s comprehensive CMF offering ensures that every piece fits seamlessly into any environment, whether it’s a corporate office, a public space or a luxury residence.

From its Bauhaus roots to its contemporary collaborations, Knoll continues to lead the way in creating cohesive, beautifully executed environments. Its commitment to ‘total design’ remains as relevant today as ever, making Knoll not just a furniture company, but a true partner in shaping how we experience space.

Knoll is available from MillerKnoll dealers in Australia and New Zealand.

Locate a dealer: https://www.millerknoll.com/en-au/where-to-buy/find-a-dealer

Photography supplied.