too many concessions to the commercial forces of the industry. Nelson believed the work of a designer should be to better the world. In his view, nature was already perfect, but man ruined it by making things that didn't follow the rules of nature. "The contemporary architect, cut off from symbols, ornament and meaningful elaborations of structural form, all of which earlier periods processed in abundance, has desperately chased every functional requirement, every change in sight or ornamentation, every technical improvement, to provide some basis for starting his work. Where the limitations were most rigorous, as for example in a factory, or in a skyscraper where every inch had to yield its profit, there the designers were happiest and the results most satisfying but; let a religious belief or a social ideal replace the cubic foot costs or radiation losses, and nothing happened. There is not a single modern church in the entire country that is comparable to a first-rate cafeteria, as far as solving the problem is concerned." At this point, Nelson's career still mainly involved writing for architecture magazines and not actually designing the solutions to modern living that he would later become famous for. During this period George Nelson spent a great deal of time interviewing and exchanging ideas with the other founders of the modernist architecture movement of the 1940s, including Eliot Noyes, Charles Eames, and Walter B. Ford, all of whom he would later collaborate with. By 1940, Nelson had become known for several innovative concepts. In his post-war book Tomorrow's House, co-authored with Henry Wright, he introduced the concept of the "family room", and the "storage wall". The storage wall was essentially the idea of recessed, built-in bookcases or shelving occupying space previously lost between walls. It was an idea developed while writing the book, when Nelson's publisher was pressuring him to finish the section on storage. Neither Wright nor Nelson could find any additional innovations when Nelson posed the question, "What's inside the wall?", It was then that the idea of utilizing the space between walls for storage was born. Tomorrow's House was innovative because it didn't look at modern design as a case of styles, but instead looked at the way problems needed to be solved. The book was a commercial success and made it onto the New York Times bestseller list. 1945–1954: Herman Miller In 1945, the Herman Miller furniture company