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Showing posts with label Verner Panton. Show all posts
Showing posts with label Verner Panton. Show all posts

Friday, May 2, 2014

Factsheet Denmark

Ever wonder what the Danes officially consider the most representative pieces of furniture from their classic designs of the 1950s and 1960s and into the present? In 2008 the Ministry of Foreign Affairs of Denmark issued a publication called Factsheet Denmark which listed their most important designers. The publication also included images of pieces of furniture that the Ministry believed to reflect Danish society. Many you could easily guess, while some might surprise you. One of their furniture choices certainly surprised me, and I bet it won't be hard for you to figure out which one...especially when they had so many beautiful examples to choose from.

From denmark.dk


PH Artichoke pendant by Poul Henningsen, 1958
louispoulsen.com

CH 07 by Hans Wegner, 1963
larsenform.com

City Bench by Nanna Ditzel, 1997
nanna-ditzel-design.dk

Chieftain Chair by Finn Juhl, 1949
onecollection.com

PK 22 by Poul Kjaerholm, 1956
1stdibs.com

Spanish Chair by Borge Mogensen
danishdesignstore.com

Ant Chair by Arne Jacobsen, 1952
1stdibs.com

Panton Chairs by Verner Panton, 1967
treadwaygallery.com

Trinidad Chair by Nanna Ditzel, 1993
nanna-ditzel-design.dk

Polyether Chair by Gunnar Aagaard Andersen, 1964
netpublikationer.dk

X-line Chair by Niels Jorgen Haugesen, 1977
architonic.com

Tuesday, February 14, 2012

Verner Panton

Verner Panton
Verner Panton (1926-1998) was born to innkeeper parents in the small Danish town of Gantofte. Early in life he decided that he wanted to be an artist, though he showed no particular talent for painting or drawing.

He attended the technical college in Odense during World War II and was part of the resistance to the German occupation. He spent several months in hiding after weapons were found in his room.

After completing his studies at the technical college in 1947, he moved to Copenhagen to enroll in the Royal Academy of Art as an architecture student, where he met and became friends with Poul Henningsen, who introduced him to product design. In 1950 he married Henningsen's stepdaughter, but the marriage was short-lived.

From 1950-1952 he worked on several projects with Arne Jacobsen, including the Ant Chair, saying he learned more from Jacobsen than anyone else. In 1955 Fritz Hansen began production of the Bachelor Chair and the Tivoli Chair, but it was the Cone Chair in 1959 that brought Panton recognition. He had originally designed the chair for his parents' new restaurant, but a Danish businessman saw it and put it into production.

In 1962 Panton met Marianne Pherson-Oertenheim, whom he married two years later. She proved to be the love of his life, and the two lived happily together till his death 36 years later. They had one daughter named Carin.

In the early 1960s Panton began collaborating with Vitra, the European licensee of Herman Miller, who produced the Flying Chair and the Panton Chair, which was the first cantilevered single-form molded plastic chair and is probably the piece for which Panton is best known. The chair has a long history, as Panton first began experimenting with the chair in 1956. By 1959 he had constructed a full-scale model of the design, and in the early 60s he contacted Vitra about producing it. However, it wasn't until 1967 that the chair was finally introduced to the public.

After the Viet Nam war, Panton's lighthearted designs fell out of vogue. However, in the early 1990s, Vitra put the Panton Chair back into production, and in 1994 IKEA produced the Vilbert Chair, and the Panton revival took off. In 1998 Panton was invited to design the Verner Panton: Light and Colour exhibition in Denmark, and he died 12 days before it opened. Panton will be best remembered for his highly innovative and sometimes futuristic designs, his use of plastic and his use of vibrant color.

Enjoy some Panton designs in red for Valentine's Day. <3

From danish-furniture.com and designmuseum.org

Bachelor Chair, 1955
ledesign.fr
Cone Chair, 1958
danish-furniture.com
Cone Stool
dailyicon.net
Heart Chair, 1959
danish-furniture.com
Panton Chair, designed 1959/produced 1967
bonluxat.com
Panton textiles on wall and floor; Panton light fixture
yatzer.com

Sunday, October 2, 2011

The hunt for red in October

What's not to love about red? It symbolizes strong emotions. It brightens our lives. It stimulates us. And it never goes out of style.


Red Things for Sale in the Store
Fiberglass gooseneck lamp
Bullet planter (special order)
Blenko Dimple glasses
Dorothy Bowman signed print
Biomorphic bubble bowl


Beige Thing That's in the Process of Becoming Red

Baughman-esque cantilever lounge chair
which is at the upholster's as we speak
being covered in a Tabasco red boucle.
Stay tuned for photos of the makeover!


Red Things We've Already Sold in the Store

Sectional sofa
George Mulhauser chair and ottoman
Ceramic vase
Starburst cocktail shaker
Starburst clock
Biomorphic ashtray


Red Things We WISH We Had for Sale in the Store

Arne Jacobsen Egg and Swan chairs
totalyhomedecor.com
Warren Platner chairs
dualmodern.com
Jens Risom sofa
1stdibs.com
Hans Wegner Papa Bear chair
designsscandinave.fr
Isamu Noguchi sofa
bluesuntree.co.uk
Eero Saarinen Womb chair
midcenturia.com
 George Nelson Marshmallow sofa
modmissy.com
Verner Panton chair
vitra.com

Monday, June 20, 2011

Form/Unformed: Design from 1960 to the Present

One of the current exhibits at The Dallas Museum of Art is Form/Unformed: Design from 1960 to the Present. It includes over thirty works from the Museum's collections and exemplifies the changes in international design over the past fifty years, particularly in the relationships among the concepts of function, aesthetics and material expression.

The exhibit mainly features chairs, although there are a few other items. Included are designs by Verner Panton, Frank Gehry, Aldo Rossi, Ettore Sottsass, Hans Wegner, George Nelson and Warren Platner. The exhibit started December 19, 2010, and runs through January 19, 2012.

From dm-art.org
Platner chairs
christies.com
Panton chair
vitra.com
Wegner Bull Horn chair
worthpoint.com
George Nelson Catenary chairs
dailyicon.com

Monday, February 14, 2011

Vitra Project

While reading a very informative article the other day in which a collector, a manufacturer and an heir of a designer debated the merit of original pieces, reproductions and reissues (which I'll eventually get around to posting about, I'm sure), I couldn't help but notice that even the diehard purist and the grandson of a famous designer found it impossible to criticize Vitra's "re-editions." It became clear that no matter where one stands in that debate, it's impossible to deny that Vitra makes flawless pieces which remain faithful to the intent of the designer to the last detail, not only in the miniatures I posted about yesterday but also in their full-size pieces. One bit of research led to another, and I have to confess that what I learned about Vitra was very enlightening and quite interesting.

Vitra was founded by Willi and Erika Fehlbaum in 1957 when they began to produce furniture by Charles and Ray Eames and George Nelson at their factories in Basel, Switzerland, and Weil am Rhein, Germany. Today CEO Rolf Fehlbaum contends that Vitra is far more than a company. It is a project, because everyone involved considers it much more than just a business.
While he freely admits that financial success is the main goal of the Vitra company, he says their work is based on the conviction that everyday life holds great potential for inspiration and aesthetic enjoyment, and that design can discover and develop this potential. According to Fehlbaum, the company manifests its beliefs on several levels: in the company's products and interior concepts, in its architecture, collections, museums, as well as in its approach to designers and users.
One of the Vitra Project's most important influences was Charles Eames's belief that design was the "recognition of need" and his warning against stylistic excesses. He believed that the designer should practice self-restraint and devote himself completely to the task of problem solving. 
Vitra maintains a campus in Weil am Rhein that is made up of an architectural park, the Vitra Design Museum and its production facility. This embodies their belief in the concept of related environments, rather than a homogeneous approach.

Fehlbaum says that Vitra creates products as inexpensive as their plastic chairs, or as luxurious as the Eames Lounge Chair. They move backward and forward on the continuum of time with their commitment to their collections and re-editions and their support of contemporary design.

Fehlbaum began collecting modern furniture in the early 1980s. The collection grew to such an extent that he began to consider building a museum. He realized that a museum had to have exhibitions that would be attractive to other institutions, so Vitra began to publish catalogs, hold workshops, acquire archives and create unique museum products. Vitra exhibitions now tour around the world.

In 1981 a fire destroyed most of the factory in Weil am Rhein, necessitating the building of a new factory. Nicholas Grimshaw was the architect for this projects. A short time later, the Fehlbaum's encountered Frank Gehry, and the idea for the Vitra Campus was formed.

Even the most serious purists admit that Vitra's "re-editions" of classic mid-century designs are flawlessly true to the designer's intentions.
All photos from vitra.com

Noguchi Freeform sofa and ottoman
Eames DKR and DKX
Panton C1 chair
Nelson desk clocks
And, yes, I still want one of these in the worst way...

Vitra Eames House Bird
vitra.com

To learn more about Vitra, you might enjoy this 12-minute video about the company and why it sees itself as so much more than a manufacturer.

youtube.com
Uploaded by vitraproject on Nov 30, 2010

Monday, September 13, 2010

Fabulous 50s fabrics

I love MCM textiles, vintage or reproduction.  I love its texture, its vibrant colors, its pizzazz and personality.  It has presence.  I mean, seriously, what does microfiber really say to you?

Give me a piece of barkcloth or a yard of nubby tweed any day.  A bolt of boucle’ in the right color could make me weak in the knees.  So is it any wonder that I pore over web sites and order swatches by the stack?    

If you’re looking for barkcloth in the $20-25/yard range, J and O Fabrics has a great selection...in theory anyway.  By that I mean they have tons listed, but they’re always out of stock in most patterns.  For tiki lovers, Barkcloth Hawaii has a huge assortment of tropical florals and a fair selection of atomic prints as well.

When it comes to the motherlode of mid-century fabrics in the $112-135 range, however…and I mean quality upholstery in patterns by designers like Arne Jacobsen, Alexander Girard, Charles and Ray Eames, George Nelson, Josef Hoffmann and Verner Panton…J and O has a large selection in stock.

Nevertheless, when I’m feeling lucky, I invariably check out the amazing selection at winterbeachmodern.com.  You never know what they’re going to have, but you always know the fabric is going to be gorgeous and the prices are going to be exciting.  For instance, the same Eames “Small Dot” fabric that you just saw elsewhere for over $100 a yard may only be $26.99 a yard, although it might only be available in the yellow colorway.  They get new fabric in regularly though, so the selection changes often, and you get the added bonus of "the thrill of the bargain-hunt."  Not only that, but they are really nice to do business with!  I highly recommend making a habit of checking their site before you look elsewhere.




"China Shop" by George Nelson
from eamesfabric.com


"Mandarin"
by Josef Hoffman
from eamesfabric.com  

 "Small Dot"
by Charles and Ray Eames
from winterbeachmodern.com

"Trapez" by Arne Jacobsen
at J and O Fabrics

l to r: "Circles" by Charles and Ray Eames;
"Geometri" by Verner Panton;
 "Design 9297" by Josef Hoffmann
all from J and O Fabrics 

"Mambo" barkcloth pillows I made for my study/guest room

Boomerang print barkcloth pillow