Renowned for his collection of Bertoia Chairs, Harry Bertoia was born on 10th March 1915 in San Lorenzo, Pordenone, Italy. At the age of fifteen he visited his brother in Detroit and decided to remain in the USA. He went to Cass Technical High School, where he discovered the art of making jewelry. In 1938, Bertoia continued his studies at the Art School of Detroit Society of Arts. He won a scholarship to attend the Cranbrook Academy of Art in 1939. This is when he met Ray and Charles Eames for the first time.
Upon completing his studies, Bertoia started to teach metal work and jewelry design from his workshop. Due to the scarcity of metal throughout the war years he focused more on jewelry making during this period.
He married Brigitta Valentiner in 1943 and moved to California to work with Charles and Ray Eames. Amongst other initiatives at that time, they started experimenting with moulded plywood and together with Eerio Saarinen they developed a technique for making moulded plywood splints that would later develop into processes for designing furniture.
Initially the pieces, upholstered to varying degrees over a molded lattice of steel rods, were produced by hand. Controversy ensued when an action by Herman Miller maintained that the patent for part of the collections design, incorporating two thin wires welded on either side of the mesh seat had been awarded to Eames. Herman Miller won the action and the Bertoia collection was re-designed using a heavier, single wire and grinding down the edge of the seat wire at a smooth angle.
The Diamond Lounge Chair was a commercial success and the Bertoia Chair Collection was created. This collection includes: the Bertoia Diamond Chair, the Bird Chair, the Bertoia Side Chair, the Bar Stool and the lesser know Asymmetric Chaise. Bertoia's experimentation with the idea of bending metal rods into functional art pieces, produced a collection of designer chairs that have been praised by the international design community. His chairs were initially produced by Knoll in 1952 and it is testimony to his work that they are still in production to-day. In fact, his chairs are a popular feature in a number of upmarket hotels and bars across the globe.
made it possible for Harry Bertoia to focus on sculpture. In 1957 he became a fellow at the Graham Foundation in Chicago. His work explored the connection between metal and the sounds resulting from its touch or wind passing through the metal sculpture.
The American Institute of Architects recognised the design genius of Harry Bertoia. Harry Bertoia's name continues to be immortalised, by his collection of chairs. Designed in the 1950's they are a legacy that will live on for a very long time to come.
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