Eero Saarinen’s Womb Chair 小薩里寧的子宮椅
image ? Dwell Magazine
Saarinen designed the Womb chair in 1946 at the request of Florence Knoll, whom he met at the Cranbrook Academy of Art. “I told Eero I was sick and tired of the one-dimensional lounge chair…long and narrow…” Knoll said, “I want a chair I can sit in sideways or any other way I want to sit in it.”
Saarinen rose to this challenge and created a chair that proved comfortable in a number of different positions. Originally named No. 70, it soon became known as the Womb chair because of its comfortable, organic appearance. “It was designed on the theory that a great number of people have never really felt comfortable and secure since they left the womb,” Saarinen explained.
Apart from its novel appearance, the Womb chair is also highly innovative from a structural perspective. Saarinen wanted to construct the chair out of a single piece of material, and achieved this by experimenting with new materials and techniques drawn from the shipbuilding industry. The final result—a padded and upholstered fiberglass shell that sits on a polished chrome steel frame—combined simplicity of shape with true comfort and flexibility.
除了其新穎的外觀，從結構角度來看，子宮椅也非常具有創新性。 薩里寧希望用單件材料構造座椅，并通過對來自造船業的新材料和技術進行實驗來實現這一目標。 最后的結果——位于拋光鉻鋼框架上的裝填墊料和裝有軟墊的玻璃纖維外殼——結合了真正舒適性和靈活性的簡潔形狀。
Initially released in 1948, the Womb chair quickly became a cultural icon. A 1958 Coca-Cola advertising campaign showed Santa Claus drinking a Coke in a Womb chair. The chair also made an appearance in a?New Yorkercartoon as well as a?Saturday Evening Post?cover by Norman Rockwell.
子宮椅子最初于1948年發布，很快成為文化象征。1958年的可口可樂廣告宣傳活動展現了圣誕老人在子宮椅子上喝可樂。 椅子還出現在New Yorker的卡通中以及諾曼洛克威爾的周六晚間郵報封面上。
“Every object, whether large or small, has a relationship with its context,” Saarinen said in 1958. “Perhaps the most important thing I learned from my father was that in any design problem, one should seek the solution in terms of the next largest thing. If the problem is an ashtray, then the way it relates to the table will influence its design. If the problem is a chair, then its solution must be found in the way it relates to the room.” The sculptural form of the Womb chair effortlessly achieves this balance, matching any interior while still drawing the eye to its colors and curves. Today, the Womb chair seems like an almost ubiquitous addition to any midcentury-inspired home.
Saarinen在1958年說：“每一個對象，無論大小，都與其背景有關系?！币苍S我從我父親那里學到的最重要的事情是，在任何設計問題中，都應該依據與其相鄰的最大事物尋求解決方案 如果目標是煙灰缸，那么它與桌子的關系就會影響它的設計，如果目標是椅子，那么就必須找到它與房間相關的解決方案?！霸撟訉m椅的雕塑形式毫不費力地達到了這種平衡，與任何內飾相匹配，同時仍然以它的色彩和曲線吸引著人們的目光。 今天，子宮椅似乎在任何一個二十世紀中葉風格的家居中幾乎無處不在。