The Diamond Chair by Harry Bertoia

A steel grid becomes a sculpture. A piece of seating furniture that thinks more than it sits.

Manchmal reicht eine Linie. Oder ein Draht.

The Diamond Chair by Italian-American designer Harry Bertoia , designed for Knoll in 1952, is more than just an object. It is a space within a space – delicate, transparent, open. Yet it commands presence, appears formally conscious and decisive.

What makes it special is its structure: a seemingly simple wire mesh, geometrically curved, suggesting the shape of an armchair – without completely defining it. Between the backrest and the seat, an almost weightless body emerges. Open, permeable. A kind of three-dimensional drawing in steel .

Harry Bertoia himself was less a furniture designer than a sculptor. His designs speak this language: free, compositional, almost musical. The Diamond Chair is perhaps his clearest furniture statement—a piece that unfolds rather than appears. You see through it, yet it remains present.

Form follows feeling

What appears radical in form is surprisingly gentle in use. The curved surface adapts to the body – precisely because it is not soft. A simple seat cushion complements comfort, not replaces it. The seat remains open, supporting the body rather than restraining it.

And therein lies the strength of this design: It doesn't dominate. It accompanies. The Diamond Chair works just as well as a solitary piece in a bright room as it does in a group around a dining table. It works in interiors with lots of wood and light, but also with raw concrete or clear surfaces. Its design isn't loud – but it's intelligent.

Why we show it

Because the Diamond Chair is an object that creates space—not just visually, but atmospherically. It is light, but not casual. Transparent, but not meaningless. And although it is often seen in design collections, it remains an everyday object with a sense of purpose .

A chair that never leaves your thoughts – even when you are just sitting.

Short profile

Aspect	Information
Designer	Harry Bertoia
Year	1952
Manufacturer	Knoll
Materials	Welded steel (chrome-plated or powder-coated)
Variants	With or without seat cushion, various colors
Style	Midcentury Modern / Sculptural / Timeless

Classification into rooms

The Diamond Chair works well in:

• Living spaces with plenty of air and light

• Entrance areas as a graphic statement

• Offices with architectural clarity

• Secondary objects made of wood, leather or linen

Less is more – the chair doesn't need a surrounding that confirms it. It functions in contrast and silence.

Quotes & History

"If you look at these chairs, they are mainly made of air, like sculpture. Space passes right through them."– Harry Bertoia

With this sentence, he probably most aptly described the Diamond Chair. What remains is not just a design, but an attitude: Design doesn't have to be massive to have weight.

Final thought

We're not showing the Diamond Chair because it's a classic. But because it embodies a different kind of presence: reduction as a form of sovereignty. A piece of furniture that leaves room. And, precisely for that reason, creates space.