George Nelson

Products by George Nelson

When writing about the course of his remarkable 50-year career, George Nelson described a series of creative “zaps”, moments of out-of-the-blue inspiration “when the solitary individual finds that he is connected with a reality he never dreamed of”.

An early zap came in the 1930s, when he was an architectural student in Rome. Before returning home, an idea struck him: he would travel Europe and interview leading modern architects, hoping to publish the articles in the US. He succeeded, and in the process introduced the US design community to the European avant-garde. This set in motion a sequence of what he called “lucky” career breaks that were really the inevitable outcomes of his brilliance as a designer, teacher and author.

The first break was being named an editor of Architectural Forum magazine. Working on a story there in 1942, he was looking at aerial photos of blighted cities when – zap! – he developed the concept of the pedestrian shopping centre in city centres, which was unveiled in the Saturday Evening Post.

Soon after, another zap led to the Storagewall, the first modular storage system and a forerunner of systems furniture. The Storagewall was showcased in a 1945 Life magazine article, causing a sensation in the furniture industry. Herman Miller founder D.J. De Pree saw the article and was so impressed that he paid a visit to Nelson in New York and convinced him to be his director of design, which spurred Nelson to found his design firm, George Nelson & Associates. The warm, personal and professional relationship between Nelson and De Pree resulted in a stunning range of products, from the playful Marshmallow Sofa to the first L-shaped desk, a precursor of today’s workstation.

Nelson once wrote that Herman Miller “is not playing follow-the-leader”. That’s one reason why George Nelson & Associates worked with Herman Miller for over 25 years as they shepherded design into the modern era.

“Design is a response to social change.”
– George Nelson

During this same period, George Nelson & Associates also created many landmark designs of products, showrooms and exhibitions for a variety of companies and organisations.

Nelson said that for a designer to deal creatively with human needs, “he must first make a radical, conscious break with all values he identifies as anti-human”. Designers also must constantly be aware of the consequences of their actions on people and society. In fact, he declared that: “Total design is nothing more or less than a process of relating everything to everything.” So he said that rather than specialising, designers must cultivate a broad base of knowledge and understanding.

Nelson did so as few are able and, with the help of well-timed “zaps”, he helped to define modern, humane design.


Permanent collections of the Museum of Modern Art, Brooklyn Museum of Art, Philadelphia Museum of Art
Lifetime Achievement Award, American Institute of Graphic Arts, 1991
Scholar in Residence, Smithsonian Institution National Museum of Design, 1984
Chairman, International Design Conference in Aspen, 1965, 1982
Good Design Award, Museum of Modern Art, 1954
Trailblazer Award, National Home Furnishings League, 1954
Best Office of the Year, New New York Times, 1953
Gold Medal, Art Directors Club of New York, 1953
Prix de Rome for architecture, 1932

Distribution Rights

Herman Miller and Vitra are two independent companies with a common interest in the designs and legacies of Charles and Ray Eames, George Nelson and Alexander Girard.

In 1956, Vitra became Herman Miller’s licensee for continental Europe. After the initial success of the endeavour, a joint venture was formed under the name Herman Miller AG to further the business. The cooperation was accompanied by a warm personal relationship between the De Pree family of Herman Miller and the Fehlbaum family of Vitra. For over two decades the companies successfully collaborated to establish a market for good design, and further the designs of Eames, Nelson and Girard in Europe. When the partnership was dissolved in 1984, the rights to the designs of Eames, Nelson and Girard were assigned to Vitra for Europe and the Middle East, while the Herman Miller name and programme were retained by Herman Miller.

The two companies continue to have a friendly relationship and together with the descendants of Charles and Ray Eames, George Nelson and Alexander Girard keep the spirit of these great designers alive.

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Technician + Logistic

Nach der Arbeit widme ich mich meinem Hobby Modellbau und bin im Bastelraum oder auf dem Flugplatz aufzufinden.


Project Leader

Holz ist meine Leidenschaft!

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Das Arbeiten mit dem Werkstoff Holz in seiner Vielfältigkeit fasziniert mich immer wieder aufs Neue.


Technical Manager

Vernetzung von Technik, Ergonomie und Menschen ist das, was mich an unserer Arbeit begeistert. Privat ist Paartanz meine Leidenschaft – von Disco-Fox zu Latin über Rock n’ Roll bis Boogie Woogie.

Nadine Zumbrunn

Interior Designer

Account Manager

Ich sehe mich als Geschichtenerzähler.

Die Kunden beauftragen mich, ihre Biografien zu schreiben, aber anstelle von Worten verwende ich Stoffe, Möbel, architektonische Elemente und natürlich persönliche Gegenstände.

Priska Bauer-Heeb

Interior Designer

Möbel sind meine Leidenschaft und der Umgang mit Design, Funktion, Farbe, Material und Oberflächen ist seit mehr als 25 Jahren Teil meines Berufes, den ich nicht missen möchte.

Office Zug bietet mir als Produkt Manager Digital Retail eine Aufgabe, in der ich all mein Wissen und meine Lust am «Möbeln» einbringen kann.


Head of Department

Die Faszination meiner Aufgabe liegt sowohl in der Vielfalt unserer Projekte als auch in derer unserer Kunden.

Verschiedenste Anforderungen, Ziele und Kulturen verlangen eine hohes Mass an Empathie und Kommunikation.

Der Zuspruch und die Zufriedenheit unserer Kunden ist die Belohnung für ein perfektes Team .