Bridge For Design November Issue 2015 November 2015 | Page 46

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Mid century inspired furniture designed by Michael Wolk for Tomlinson’s Palm Spring Collection (from left) the Chandler, the Aubrey and the Valentino bed

A MID CENTURY LEGACY
Michael Wolk says that 1950’s and 60’s furniture designs are still relevant today

T

he visually compelling Madmen
television series may be over, but
the characteristics of the mid-century
modern interior and furniture designs
that it showcased not only endure to this
day, but also continue to thrive. A quick
look back at the evolution, ideas, and
dominant designers of this era makes it
clear why the distinguishing qualities of
many mid-century modern furniture designs are as relevant
and influential now as they were in the 1950s and ’60s.
Foremost among the ideas that influenced the furniture
of this period was the fusion of art and design. Just as
the Industrial Revolution transformed most furniture
into a commodity, this notion enabled the shapers of the
mid-century modern movement to once again celebrate
craftsmanship as a wide array of artisans, artists, and sculptors
began exploring furniture design. Paul McCobb, a design
icon of this era, for example, trained as a fine artist. Isamu
Noguchi, another widely recognized mid-century modern
master, started his career an assistant to the sculptor
Constantin Brâncuși. Other well-known designers, such as
Harry Bertoia and Wharton Esherick, were also sculptors.
And George Nakashima, known for his signature largescale tables made of large wood slabs with smooth tops and
unfinished natural edges, preferred to be called woodworker to
designer. The sculptural quality of three dimensionality these
men exhibited in their work was reflected in the sinuous, fluid,
and organic forms they created. The dominance of abstract
art at this time was also mirrored in the abstract shapes and
striking colors of their new designs. Like the major players of
that era, numerous artists, fashion designers, and architects
today are similarly crossing over disciplines and creating new
exciting furniture designs.
  Another strong influence that helped define the key
characteristics of mid-century Modern furniture design was
the development of new post-World War II technologies.
Among the materials that emerged from these new
technologies were plywood, fibreglass, injection moulded
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Bridge for Design November 2015

thermo-plastic, scrap aluminum, and foam, which designers
readily embraced and incorporated into their designs. World
War II also exposed American designers to the Bauhaus and
International Style movements percolating overseas and their
influences are clearly visible in the furniture that emerged in
the decades that followed. In a similar way, computers, the
Internet, and digital technologies are having a profound affect
on furniture design today. From the methodology of rapid
prototyping to new materials like carbon fibre and products
like LED lighting, the possibilities with new methods and
materials have exploded.
  Also fueling mid-century modern creativity was a sense
of optimism after the war - and this was reflected in the
exuberance of many new designs of the era. Some of the
prominent manufacturers at that time, such as Knoll, Dunbar,
and Directional, were also interested in bringing good design
to the masses. Design became accessible not only financially,
but intellectually and emotionally as well. Today, there is a
similar general optimism since the dark days of the Great
Recession. And once again furniture manufacturers are
seeking to capture more sophisticated buyers with designs that
appeal to the eyes, heart, and bottom.
  Like many of the important mid-century modern designers,
I came to my career through painting and drawing. At Pratt,
I trained as an industrial designer. At that time, the Bauhaus
and Abstract Expressionism were still the major underpinnings
of the curriculum.
Designers like Milo Baughman, Paul Evans, and Paul
McCobb were in their prime and served as major influences
on my designs. My preference for wood and craftsmanship
led me to spend most of my time in the shop honing my skills
as a woodworker. I also had (and still have) a strong belief
that functionality does not preclude fine art, and this belief
is expressed in my work. It’s inspiring to see elements of the
not-so-distant modernist past morph beautifully into the future
- and to be a part of its continuing legacy.
Michael Wolk
T: 001 305 576 2898 | www.wolkdesign.com