The sideboard in the dining room is by Florence Knoll.

Open shelving between the living room and dining area maximizes light and air flow and showcases eclectic objects, which include old printing blocks found at a garage sale and bowls homeowner Kathryn Tyler’s mother bought in South Africa. For Tyler, storage is critical. "It's something that always gets overlooked but it's actually the most important thing. I calculated the linear footage of the books I own to make sure everything would fit."

Florence Knoll, Bench, 1954.

Risom's chairs were cheap and easy to manufacture, making them an ideal wartime design. Photo courtesy of Knoll.

The inspiration for Canaan (shown here) is a vest from Proenza Schouler's 2007 line.

The fabric family's signature is Mepal (shown here), a large-scale silk-and-damask textile design.

Pirman, an illustrator, works on a vintage Florence Knoll table in his studio at the front of the house.

In the living room, local artwork and an elegant redwood ceiling watch over a side chair by Warren Platner for Knoll and an Easy Edges side chair by Frank Gehry for Vitra.

Nederhof and his son Scott sit at a Tulip table by Eero Saarinen for Knoll in the flexible office area. The chairs are by Friso Kramer for Ahrend, and the Corona pendant light is from Established & Sons.

Alexandra Lange: Also Jonathan Olivares's elegant aluminum chair for Knoll, which was designed with the icons in mind.

Other furnishings include a TMM floor lamp by Miguel Milá and a four-door credenza by Florence Knoll for Knoll.

Pardo onstage with Knoll founder, Hans G. Knoll, on the screen behind him.

Saarinen Tulip Chair from Knoll

The sofa is available in three different color options for the foot and six different upholstery choices. Visit knoll.com for more.

Can we expect to see more furniture and products from you down the line? I hope so! I would love to have another opportunity to work on production furniture. The Skeleton and Skin chairs feature variations on a similar lattice pattern.

This is is your first furniture collection. Did you approach designing the pieces in the same way you do for architectural projects? I explored a number of themes in the Knoll furniture—such as monumentality, materiality and history—which are also evident in my architectural projects. So the formal language is shared with some of the buildings I am currently working on. There is a common line of inquiry. The aluminum Wahshington Skeleton Chair (shown above) is available in four different finishes. Its lattice pattern is reminiscent of Adjaye's design for the National Museum of African American History and Culture's facade. Photo by: Josh McHugh

Remix Chair by Knoll Knoll’s showroom was overflowing this year, fully wired with the Bounce app and set up to showcase the brand's "r/evolution" workplace concept. Luckily, the floor was filled with the comfortable new Remix Chair, an upholstered evolution of the Generation chairs.

Visit Knoll's home design shop at 1330 Avenue of the Americas October 2 through 31, Monday through Friday from 11:00 a.m. to 7:00 p.m. and Saturday 10:00 a.m. to 6:00 p.m. to view Adjaye's collection. Photo by: Dorothy Hong

Can you tell us about the materials you used in the Washington chairs? How did the aluminum and reinforced nylon allow you to experiment with the form? The ribbing was originally developed in plastic and was then modified for the metal version. To be cost effective for both metal and plastic, we were limited to a two-part mold, which means that all the holes are cut in one direction. That was a challenge for us at first because we wanted the ribbing to feel integral, not applied. Both metal and plastic each developed differently as the stress analysis revealed distinct structural needs (for example with the rib number and sizes) and to address issues with the casting process. The cantilevered Washington Chair is available in two different material options: the nylon "Skin" version (shown above) and aluminum "Skeleton." Photo by: Josh McHugh

Were there any particular creative challenges or opportunities creating a contemporary line for a company that's widely known for "classics" of modern furniture? Even the ‘classics’ are true to their own time—this is what gives them an enduring quality and an integrity that withstands fashion. I simply tried to respond honestly to a moment in time and by doing this, I hope the chairs will have a relevance well into the future. This is my interpretation of ‘contemporary.’ The limited edition Washington Corona Table (shown above) is made of four cast bronze panels. Photo by: Ilan Rubin

Knoll collaborated with fashion house Proenza Schouler on their second collection of fabrics for Knoll Luxe, a line created with high-end residential, executive office, and hospitality projects in mind.

An archival shot of the Tulip Chairs in production at the Knoll factory.

We’ve got the skinny on June’s best discounts on bedding, home furnishings, apparel and more.

Part of the Pedestal collection introduced by Eero Saarinen as an answer to "the ugly, confusing, unrestful world" that lay beneath the surfaces of chairs and tables, this 42" round dining table comes in both Arabescato marble (shiny or matte finish), and a white laminate.

Harry Bertoia, sitting in one of his famous chair designs for

Our July/August 2014 issue features the sofa and armchair collection by British design studio Barber Osgerby for iconic American furniture maker Knoll. The collaboration began when Benjamin Pardo, Design Director at Knoll, approached Barber Osgerby with a brief to create a sofa that was comfortable, could be used in many different configurations, could feel appropriate in a variety of settings—residential, commercial, hospitality—and that hit a specific price point. The upholstered line consists of elements that can be configured in an assortment of different ways thanks to an innovative foot system. "It’s really a modular landscape," Edward Barber says. "The idea is that this foot can go between each panel and, in theory, you can [extend the piece] forever. You can have a twenty-seater or an L-shaped thing. You can have it in an airport lounge, or you can have it in your home as a chair, to a two-seater, to a four-seater. It’s the ultimate flexible sofa."

"This was an experiment in getting away from having a conventional leg in each corner," Barber says. "We wanted to find a different way to put the sofa together." The cast metal foot joins the seat, back, and arm elements and solves challenges with moving sofas around. From a shipping standpoint, the sofa fits into smaller boxes since the individual pieces can be separated. From a user perspective, the smaller components make it easier to negotiate narrow doorways and winding stairwells. Instead of lugging an entire six-foot-long sofa up many flights of stairs, people can move smaller portions and reassemble them once the piece is in a room. "Getting big sofas in and out of houses is a massive problem," Barber says. "This breaks down into individual panels so you can just literally take panel after panel and get it into anywhere. There’s innovation in the way it’s put together, innovation in terms of its shipping, and innovation in its installation."

Examples of Adjaye's architectural work and furniture models will be on view. Photo by: Dorothy Hong

Charles Pollock (whose newest design in 40 years we profiled back in June) designed his Executive office chair for Knoll in 1963.

Isanka occasional pieces by EOOS for Walter Knoll. Austrian design trio EOOS debuted this collection in 2014, and while the objects may seem run-of-the-mill (an upholstered ottoman-meets-table, a basket for periodicals) the materials are the prize. Saddle leather—a supple portion of the cowhide to which we devoted a special portion of our March 2015 issue design issue—joins pure wool, linen, and cotton textiles.

Dwell: Your collection's release coincides with Knoll's 75th anniversary. What was it like to collaborate with a company that has such a long—and revered—history? Adjaye: It has been a huge learning curve. It was like a testing ground for ideas that interest me and an opportunity to engage in a production process with Knoll’s technical team. While I have previously designed objects—I have never worked on production furniture. It is very different. Furniture can be everywhere and used by everyone, unthinkingly in their daily lives—it is a background. There is something very powerful and very rewarding about that. Photo by Dorothy Hong

The fabrics yielded from the Proenza Schouler collaboration are based off of existing patterns but were translated to materials that will handle the rigorous requirements of interior use.

An early ad for the Pedestal Collection highlights its curvilinear form.