Eiermann’s work made a big splash in 1957 at the international building fair Interbau in Berlin. A year later he again attracted huge attention, this time at the Brussels World's Fair for which he contributed the prize-winning German pavilion, equipping it with items like his ES57 uplights (later from Tecnolumen -> p.542). Appropriate materials, structural transparency and quality design were Eiermann's guiding principles. He applied them both to his buildings and his furniture, and passed on this approach to his younger collaborators such as Herbert Hirche. One of the most famous designs is the successful SE18, a folding chair in beech and plywood. Its harmonious proportions and restrained curves, with legs gradually tapering out from the middle, certainly recall Danish designs of that period. In fact Eiermann provided an interface between the German and the up-and-coming Scandinavian modernist movements, a role exemplified in his early basket-chairs, like the E10model (today from Richard Lampert). The German avant-gardist also kept up with developments in America. Both his SE42 and his stackable all- purpose chair SE68, which combines light steel tubing and an ergonomic plywood seat, echo designs by Charles and Ray Eames. For a while Eiermann’s work disappeared from the public gaze, but today his chairs, and not forgetting his ingenious cross-braced table frames, are rightfully seen as classics.