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.
除了其新颖的外观，从结构角度来看，子宫椅也非常具有创新性。 萨里宁希望用单件材料构造座椅，并通过对来自造船业的新材料和技术进行实验来实现这一目标。 最后的结果——位于抛光铬钢框架上的装填垫料和装有软垫的玻璃纤维外壳——结合了真正舒适性和灵活性的简洁形状。
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.
子宫椅子最初于1948年发布，很快成为文化象征。1958年的可口可乐广告宣传活动展现了圣诞老人在子宫椅子上喝可乐。 椅子还出现在New Yorker的卡通中以及诺曼洛克威尔的周六晚间邮报封面上。
"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年说：“每一个对象，无论大小，都与其背景有关系。”也许我从我父亲那里学到的最重要的事情是，在任何设计问题中，都应该依据与其相邻的最大事物寻求解决方案 如果目标是烟灰缸，那么它与桌子的关系就会影响它的设计，如果目标是椅子，那么就必须找到它与房间相关的解决方案。“该子宫椅的雕塑形式毫不费力地达到了这种平衡，与任何内饰相匹配，同时仍然以它的色彩和曲线吸引着人们的目光。 今天，子宫椅似乎在任何一个二十世纪中叶风格的家居中几乎无处不在。
原文作者： Dora Vanette