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Eero Saarinen Furniture: Interior Ideas for People Who Hate Boring Rooms
I was watching A Clockwork Orange the other night—not for the plot this time, but as part of a little personal ritual. I like to revisit certain films just to study the sets, especially when I’m deep in research mode. And there it was: a familiar silhouette, low-slung and fluid, tucked into one of the more unsettling scenes. A Saarinen chair.
It wasn’t the first time I’d spotted his work in a Kubrick film—2001: A Space Odyssey practically floats on a sea of futuristic pedestal tables and streamlined seating. But seeing his modernist furniture in Clockwork Orange, against that stark, dystopian backdrop, reminded me how ahead of his time Saarinen really was. And how clearly Kubrick knew it.
These amorphic, sculptural shapes still feel current—still sit comfortably in homes and studios half a century later. Maybe it’s because they don’t follow trends. They follow form. And function. And some quiet, organic instinct that resists aging.
A Quick Biography of Eero Saarinen
Eero Saarinen was born on August 20, 1910, in Kirkkonummi, Finland, to architect Eliel Saarinen and sculptor/textile artist Louise “Loja” Gesellius. The family immigrated to the U.S. in 1923, settling in Michigan where Eliel became the first president of Cranbrook Academy of Art.
Surrounded by the Cranbrook community, Eero grew up with future design legends like Charles and Ray Eames, and Florence Schust—who later became Florence Knoll. After studying sculpture in Paris, he earned his architecture degree from Yale in 1934, traveled through Europe and North Africa, and eventually returned to work alongside his father.
He and Charles Eames gained national attention after winning the 1940 MoMA “Organic Design in Home Furnishings” competition. Saarinen went on to design many of Knoll’s most enduring pieces, often commissioned by his lifelong friend Florence Knoll.
Saarinen became a U.S. citizen in 1940, was married twice, and had three children. His second wife, Aline Bernstein, was an art critic for The New York Times. He died in Ann Arbor, Michigan, on September 1, 1961, at just fifty-one, leaving several major architectural projects unfinished but in motion.
I found this short video about Saarinen and his design philosophy, and it was refreshing to hear him articulate his ideas in his own words. Check it out!
Five Essential Eero Saarinen Furniture Designs
These five exemplary pieces capture Saarinen’s ability to turn industrial materials into organic sculptures. Each one solves a clear design challenge—whether that’s legs cluttering a room or a chair feeling cold and impersonal—while still feeling like wearable art in the modern home.
Womb Chair (1948)
Florence Knoll asked for a chair “you could really curl up in.” Saarinen responded with a wide, sculptural form that blended a fiberglass shell with a relaxed recline and minimalist steel legs. Originally called the Model 70, it became known as the Womb Chair for its comforting shape. One of the first mass-produced fiberglass chairs, it set a new standard for emotional ergonomics.
Tulip Chair (1956)
Saarinen wanted to eliminate the “slum of legs” found beneath traditional tables and chairs. The Tulip Chair features a single pedestal base and a molded fiberglass shell, designed after five years of careful refining and even input from boatbuilders. It’s part of the permanent collection at MoMA—and versions of it appeared in Star Trek and 2001: A Space Odyssey.
Tulip Table (1957)
A natural companion to the Tulip Chair, this table series used the same pedestal concept to reduce visual clutter. Saarinen tested more than a dozen prototypes to perfect its proportions. It remains one of Knoll’s most successful and recognizable pieces—often found in both residential and commercial spaces.
Executive Chair (1946)
Originally designed for the General Motors Technical Center, the Executive Chair brought warmth and softness into the corporate office. Available in several versions—armless, with arms, on wheels—it remains a staple of Knoll’s offerings. Some design historians link its curving form back to Saarinen’s early studies in sculpture.
Grasshopper Lounge Chair (1946)
An early experiment in bentwood form, the Grasshopper was bold, angular, and a bit ahead of its time. It didn’t sell well and was discontinued, but its insect-like stance and sweeping legs have earned it cult status among Saarinen collectors. The chair’s nickname came from its posture—arched and alert, like it’s ready to leap. Though not a commercial hit at the time, it hinted at the biomorphic forms that would define his later work. Knoll eventually brought it back into limited production as interest in Saarinen’s early pieces grew.
How to Style Saarinen Furniture in Modern Interiors
Saarinen’s furniture works best when treated as sculpture. These pieces don’t need accessories or pattern layering—they carry their own weight.
Whether it’s a Tulip Table anchoring a minimal kitchen space, a Womb Chair nestled into a reading nook, or Executive Chairs surrounding an oversized dining table, the goal is always the same: let the form breathe. They pair especially well with soft neutrals, bold art, and warm textures like wool, walnut, and leather.
Timeline of Eero Saarinen’s Life and Work
- 1910 – Born in Kirkkonummi, Finland
- 1923 – Moved to Michigan, U.S.
- 1929–1930 – Studied sculpture in Paris
- 1930–1934 – Earned his architecture degree at Yale
- 1936 – Began teaching and working at Cranbrook with his father
- 1940 – Won MoMA’s “Organic Design” competition with Charles Eames; became a U.S. citizen
- 1946–1957 – Designed his most well-known furniture pieces
- 1950s – Started major architecture projects including GM Tech Center, TWA Terminal, and Dulles Airport
- 1953 – Married Aline Bernstein, New York Times critic
- September 1, 1961 – Died of a brain tumor in Ann Arbor, Michigan
The Legacy of Eero Saarinen’s Modernist Vision
When Stanley Kubrick placed Saarinen’s pieces into the sets of A Clockwork Orange and 2001: A Space Odyssey, he wasn’t decorating—he was making a bet. That the forms would still feel relevant, still feel future-facing, decades after the films were made.
And he was right.
Saarinen’s designs still sit in living rooms, museums, and editorial spreads around the world. They haven’t faded or needed rebranding. The Womb Chair is still being made. The Tulip Chair still anchors dining sets from Milan to Marfa. His pieces remain in production not because of nostalgia, but because they still work—functionally and emotionally.
What Saarinen left behind wasn’t a signature style. It was a way of thinking. Each problem, each room, each need deserved a solution that didn’t look like the last. That’s why his furniture still holds up. And that’s why Kubrick, always looking ahead, made room for it.
