Renowned for his collection of Bertoia Chairs, Harry Bertoia was born on 10th March 1915 in San Lorenzo, Pordenone, Italy. At the age of 15 he visited his brother in Detroit and decided to remain in the USA. He attended Cass Technical High School, where he discovered the art of making jewelry. He went on to study at the Art School of Detroit Society of Arts (College of Creative Studies) in 1938. In 1939, he won a scholarship to Cranbrook Academy of Art and it was here that he met Ray and Charles Eames.

On completing his studies, Bertoia began to teach metal work and jewelry design from his workshop. Due to the scarcity of metal during the war years he focused more on jewelry making during this period.

He married Brigitta Valentiner in 1943 and moved to California to work alongside Charles and Ray Eames. Amongst other endeavours at that time, they started experimenting with moulded plywood and along with Eerio Saarinen they developed a method for making moulded plywood splints that would later develop into processes for designing furniture.

Initially the pieces, upholstered to different degrees over a molded lattice of steel rods, were produced manually. There was some controversy, with Herman Miller taking an action which claimed that the patent for incorporating two thin wires welded on both sides of a mesh seat, was granted to Eames. Herman Miller won the action and the Bertoia collection was re-designed using a thicker, single wire and grinding down the edge of the seat wire at a smooth angle.

The Diamond Lounge Chair was a commercial success and the Bertoia Chair Collection was born. This collection includes: the Bertoia Diamond Chair, the Bird Chair, the Bertoia Side Chair, the Bar Stool and the lesser know Asymmetric Chaise. Bertoia's experimentation with the concept of bending metal rods into functional art pieces, produced a collection of designer chairs that have been lauded by the international design community. His chairs were first produced by Knoll in 1952 and it is testimony to his work that they are still in production to-day. The commercial success of the Bertoia chairs, allowed the designer to focus on sculpture. In 1957 he became a fellow at the Graham Foundation in Chicago. His work explored the relationship between metal and the sounds resulting from its touch or wind passing through the metal sculpture.

The American Institute of Architects recognised the design genius of Harry Bertoia. His collection of modern chairs, designed in the 1950's form a substantial part of his legacy, thus far immortalising his name.

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