The History of the Frankfurter Kitchen Chair
In 1934/35, Max Stoelcker, the son of Otto Stoelcker (Otto Stoelcker was the then owner and founder of Holzindustrie Stoelcker with 2 factories in Ettenheim and Frankenberg) began considering how to improve the production process of the chair.
Max Stoelcker followed an idea that consisted of reducing the parts for the chair to the basics: feet, seat and arm rests. The other connecting elements, such as brackets and stay bars, would be left out - as was the case with the runged chair.
The front leg design was developed and registered as a utility model at the patent office under the name of Max Stoelcker and described as: chair seat with rounded frame and forefoot.
The forward foot, frame and seat bracket were glued together in a single unit due to which durability is guaranteed.
The result is a simple chair that is at first glance so unimpressive that it is perceived as something to be taken for granted.
It is its simplicity and modesty that states the high quality and which in itself makes it one of the most important designs in the history of furniture.
The success of the design was enormous and thousands were produced during the first few years. Later, in the 50’s as many well known manufacturers began to produce their own slightly altered versions, the chair could be found in public places such as railways, post offices, the Army and in numerous schools and public offices. The chair was mentioned in all these types of tenders.
The Frankfurter Chair, also known as the Frankfurter Kitchen Chair, was THE chair of the 50’s and 60’s.
The current demand for the chair came thanks to an order from Pina Bausch for the dance theatre in Wuppertal (Germany) where the chair plays a ‘role’ on stage. An ‘extra’ which is danced around and thrown back and forth – a true sign of its durability which is currently contributing to its revival and timeless aesthetic.