Sometimes you’ll hear people say that Mid-Century furniture, design and architecture is having a ‚rebirth‘. Pieces of furniture from the fifties has been resurging for around twenty years now and it shows no signs and symptoms of reducing at all.

There are handful of things about which one can make so bound a pronouncement of eternity as a George Nelson bench a Noguchi table or Charles Eames lounge. Every time something attains that level of design purity, it will still be popular rediscovered again by every new generation.

Designer Paul Frankl once wrote: „Style is the external expression of the inner spirit of any given time.“ As it turned out, the exuberant style of the Mid-Century experienced a lot more endurance than anyone could imagine. Its boundaries were not hard-edged, through an arbitrary cut-off line at 1960.

Instead, it truly is continuing heartily into following millennium; still defining modernism for our time. Its prototypical shape isn’t merely the cutting edge of a single decade, but overreaching appearance language that represents the greatest part of a century.

The frank construction and peculiar designs of the nineteen fifties, that once caused scoffing in scholarly circles, no longer seem outrageous. In light of the post-modernist playful and brutal deconstructionism of the 1980’s, ’50s home furniture appears, in fact, refined. The need for this amazing kind of furniture, for example, is mirrored in the increasing number of new stores specialized in mid-century, vintage and retro items and by the reissue -by the Herman Miller Company after years of customers‘ requestes- of the classics pieces from the mid-century representing the apex of ’50s design in America: like the Eames and Nelson’s works.

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