Herman Miller® Aeron® Work Stool
Offering an ergonomic seating solution for those working at the higher work surfaces typically found in labs, hospitals, office reception areas and workshops, the Herman Miller Aeron Work stool is built around the core design of the famous B-size Aeron Task chair. Like that iconic chair, the Work stool is available in a Basic model with adaptive Pellicle® suspension, or Highly Adjustable model which additionally has fully adjustable arms, adjustable seat height, tilt tension and tilt limiter. The stool is offered in a low or high option allowing an overall seating height variation between 24.5 inches and 34 inches.
The hard-working Aeron Work stool combines distinctive looks with advanced ergonomics, adapts intuitively to all kinds of activities, and guarantees all-day comfort.
The Work Stool is offered in a low or high option.
Graphite or titanium frame finish.
Form-fitting mesh suspension distributes the sitter's weight evenly to minimize pressure.
Available in one of 13 Pellicle fabrics
Adjustable foot ring
The Fine Tune Foot Ring when adjusted properly gives support to and takes pressure off the undersides of the legs.
The armrests adjust 4 in. vertically and pivot 15° outwards and 17.5° inwards.
Adjustable seat height
The low stool is height adjustable between 24.5 inches and 29 inches; the high stool is height adjustable from 27.5 inches to 34 inches.
Supports natural lower body movement.
Optional Lumbar pad or PostureFit™
Available with optional adjustable lumbar support pad.
Over half of each Aeron is recycled materials, and almost the entire chair (94%) is recyclable. Certified to MBDC Cradle to Cradle Silver. Aeron is GREENGUARD certified and can contribute to LEED certification. Certified Level 2.
The Aeron Work Stool comes with 12-year manufacturer's warranty.
Ordering & Shipping Information
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Dimensions: Herman Miller® Aeron® Work Stool – Low Height (21-1/2” to 29”)
Herman Miller History
Founded in 1923 and recognized today throughout the world as an innovator in office and residential furniture design, Herman Miller has been ranked since 1986 among the top ten in Fortune Magazine’s annual list of the 500 most admired companies. Their pioneering research into producing environmentally responsible furniture has earned them GreenGuard Indoor Air Quality certification for most of their products. Aesthetically, many of Herman Miller’s iconic designs, particularly from the 1940s and 1950s, are valuable collector’s items and on permanent display in museums such as the New York Museum of Modern Art (MoMA) and the Smithsonian Institution.
In 1933, new furniture designs created by Herman Miller designer Gilbert Rohde exhibiting the smooth lines and unembellished shapes of the emerging mid-century modern furniture style were exhibited at the Chicago World’s Fair. In 1944, Rohde’s successor George Nelson designed such enduring icons as the Platform bench, and was famously responsible for teaming the company with such influential design artists as Alexander Girard, Isamu Noguchi and Charles and Ray Eames. Charles Eames, widely regarded as a genius in contemporary furniture design, produced one of Herman Miller’s most successful products in 1956, the elegant Eames Lounge chair. In 1994, Don Chadwick and Bill Stumpf introduced a new office chair called Aeron (derived from the word aeration, which describes how the mesh suspension promotes comfort), which became an immediate worldwide success and earned a spot in the New York Museum of Modern Art (MoMA) as well. Today, Herman Miller continues to attract world-famous designers like Jeff Weber, Jerome Caruso, the Studio 7.5 Design Team in Berlin, Yves Behar, Mark Goetz and many more.
If the purpose of design is to solve problems, and the relationship between design and business is synergistic, then Herman Miller today continues to be in the vanguard of design as a fundamental part of strategic planning.
Don Chadwick & Bill Stumpf
“We were basically told to design the next-generation office chair.”
— Don Chadwick
In the 1970s, Herman Miller was deep into research in the field of office ergonomics and work seating and challenged Don Chadwick and Bill Stumpf to rethink traditional designs of office chairs. Their research produced the award-winning Ergon chair in 1976, and Equa chair in 1984. Building upon what they had learned, Stumpf and Chadwick began working in the early 1990s on a design for the world’s most comfortable office chair. Keeping in mind Charles Eames’ point that chairs should be designed for how people sit rather than how they should sit, they set about designing a chair that would: (1) Promote the health of the person sitting in it (2) Move and adjust as simply as possible (3) Support a person in any position (4) Really fit large or small people (5) Be environmentally responsible.
The resulting Aeron chair was introduced in 1994 to immediate success, and has become an icon of contemporary design. It introduced the use of a semi-transparent mesh-material called Pellicle, which allowed air to circulate against the sitter’s back, as well as conform to the shape and build of the user so that pressure on the impact areas is minimized.
The visual transparency of the Aeron chair exemplified the idea of transparent architecture and technology, a design strategy dedicated to producing objects that would be less opaque and intrusive in the environment. Far ahead of its time in that it was composed of mostly recycled materials, the Aeron was engineered to be easily disassembled and recycled. Notable among the numerous design honors given to Chadwick and Stumpf during their careers was the inclusion of their revolutionary Aeron chair in the New York Museum of Modern Art’s (MoMA) permanent collection.