Designed by Japanese-American designer Isamu Noguchi, the iconic Noguchi Table is both utilitarian and breathtakingly simple. Both a work of art and a functional piece of furniture, the Noguchi Table is a stunning addition to a home or office. Its features include:
- Solid wood base options.
- A delicate, simple design.
With its graceful curves and beautifully modern aesthetic, the Noguchi Table is warm and inviting, which makes it perfect for furnishing any home or office.
Noguchi Table Features
An Iconic Minimal Design
Noguchi once said, "Everything is sculpture," and the Noguchi Table reflects that idea perfectly. It's comprised of two interlocking base pieces and a transparent piece of glass that allows the impressive design to be completely visible no matter what angle you're viewing it from.
Distinctive Base Color Options
The table is made even more versatile with its different base options. Choose between walnut, white ash and natural cherry finishes for a table that seamlessly complements your preferred design style.
Dimensions & Measurements
- Overall Height: 15.75"
- Overall Width: 50"
- Overall Depth: 36"
55" x 40" x 7"
Materials:A freeform, 3/4-inch plate-glass top rests on two curved, solid wood legs that interlock to form a tripod for self-stabilizing support.
For any custom options below, call or chat with a product specialist to build.
- 50 inch width x 36 inch depth
- Natural Cherry
- Noguchi Black
- White Ash
PRODUCT DESIGN STORY
How to make a table
“Everything is sculpture,” said Japanese-American sculptor Isamu Noguchi. And he created sculptures out of anything he could get his hands on—stone, metal, wood, clay, bone, paper. Unwilling and unable to be pigeonholed, he created sculptures that could be as abstract as Henri Moore’s and as realistic as Leonardo’s. “To limit yourself to a particular style may make you an expert of that particular viewpoint or school, but I do not wish to belong to any school,”he said. “I am always learning, always discovering.”
The story behind the Noguchi table is a fascinating one, and Noguchi tells it in his autobiography. “I went to Hawaii in 1939 to do an advertisement (with Georgia O’Keefe). As a result of this, I had met (T.H.) Robsjohn-Gibbings, the furniture designer, who had asked me to do a coffee table for him. I designed a small model in plastic and heard no further before I went west.”
By “went west” Noguchi meant his internment, as a Japanese-American, in an Arizona concentration camp during World War II. During his time there, Noguchi said he was surprised to see a variation of the small model table he had done for Robsjohn-Gibbings published as an advertisement for the English designer. “When, on my return, I remonstrated, he said anybody could make a three-legged table,” said Noguchi. “In revenge, I made my own variant of my own table.”
“Anybody can make a three-legged table.”
The “variant” that Noguchi designed was used to illustrate an article, written by Herman Miller designer George Nelson, called “How to Make a Table.” The table in the illustration became his famous “coffee table.” In a long lifetime of creative work, Isamu Noguchi designed gardens and plazas, fountains and murals, furniture and paper lamps, and stage sets for modern dance pioneer Martha Graham. But he said that of all the furniture designs he created, the table that bears his name represented his only true success.
“Everything is sculpture,” said Isamu Noguchi. “Any material, any idea without hindrance born into space, I consider sculpture.”
Noguchi believed the sculptor’s task was to shape space, to give it order and meaning, and that art should “disappear,” or be as one with its surroundings. Perhaps it was his dual heritage—his father was a Japanese poet, his mother a Scottish-American writer—that resulted in his way of looking at the world with an eye for “oneness.”
Unwilling and unable to be pigeonholed, Noguchi created sculptures that could be as abstract as Henri Moore’s or as realistic as Leonardo’s. He used any medium he could get his hands on: stone, metal, wood, clay, bone, paper, or a mixture of any or all—carving, casting, cutting, pounding, chiseling, or dynamiting away as each form took shape.
“To limit yourself to a particular style may make you an expert of that particular viewpoint or school, but I do not wish to belong to any school,” he said. “I am always learning, always discovering.”
His extraordinary range of projects included playgrounds and plazas, furniture and gardens, the stone-carved busts, and Akari paper lights, so delicate they could be folded and put into an envelope. He also designed numerous stage sets for dancer-choreographer Martha Graham, who was as much an influence on him as was his mentor, Constantin Brancusi.
Noguchi was intelligent, articulate, and sensitive. During World War II, at a dark time in U.S. history, he voluntarily entered a relocation camp for Japanese-Americans in Arizona—and then was unable to get permission to leave. After seven months, he was granted liberation. “I was finally free,“he said gratefully. ”. . . I resolved henceforth to be an artist only.”
His relationship with Herman Miller came about when a design of his was used to illustrate an article written by George Nelson called “How to Make a Table.” It became his famous “coffee table,” originally introduced in 1947 and reissued in 1984.
Other notable commissions include the gardens for the UNESCO Building in Paris, five fountains for the Supreme Court Building in Tokyo, and a high-relief mural for the Abelardo Rodriguez Market in Mexico City.
Noguchi died in 1988 after a brilliant career that spanned more than six decades. For someone who was told by his first art teacher at age 15 that he’d “never be a sculptor,” he left an amazing legacy.
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Herman Miller® is a pioneer in the furniture industry, an innovator whose human-centered, problem-solving approach to design has introduced new ways of living and working for over 100 years. Environmentally-friendly design, lean manufacturing, ergonomics, the open office, even American modernism itself: Herman Miller and our designers have had a hand in shaping it all. In the spirit of our founder, D.J. De Pree, who established a willingness to abandon ourselves creatively to the influence of others, we’ve partnered with the world’s leading designers for generations—from midcentury icons George Nelson, Charles and Ray Eames, and Alexander Girard to Michael Anastassiades, Scholten & Baijings, Yves Béhar, and more of today’s leading design minds. Our work with them continues to explore design as a method of change, and the enriching value authenticity brings to our lives. Together, we’re shaping the new kinds of spaces where people will live and work for years to come.