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verner panton design

  • le 29 novembre 2020

Panton created practical objects that were of use, even though he enjoyed pushing the boundaries recognised by ordinary people. Panton’s most radical designs were his “environments”. He became well known for his innovative architectural proposals, including a collapsible house (1955), the Cardboard House and the Plastic House (1960). His products were manufactured in Denmark and also by the leading international manufacturers of the day who set new agendas for design. He is perhaps best known for a series of interior designs for Bayer's yearly product exhibition, held aboard excursion boats,[2] one is now preserved in a museum. Panton was already an experienced artist in Odense when he went to study architecture at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, graduating in 1951. In his time, he was considered an enfant terrible, but he was really a trailblazer who combined pragmatic design approaches with a direct use of the possibilities made available by the new technologies, materials and production systems that emerged in the post-war era. He became well known for his innovative architectural proposals, includi… Design-historical debates have focused on Panton’s stance in relation to the Danish design tradition of the 1950s and 1960s. As of 2004, Panton's best-known furniture models are still in production (at Vitra, among others). Panton supplied some of the international movement’s most radical expressions, such as Visiona 2 from 1970, which calls to mind a futuristic spaceship that has crash-landed on top of a commuter train station. Verner Panton (13 February 1926 – 5 September 1998) is considered one of Denmark's most influential 20th-century furniture and interior designers. The masterful use of colour was a hallmark of his work. Contemporary furniture designers, such as Børge Mogensen, Hans J Wegner and Poul Kjærholm, were highly successful on the international market as representatives of the “golden age of Danish design”. Vitra's re-edition of designs by Panton, as well as the retrospective of his work mounted by the Vitra Design Museum in 2000, bear witness to the special relationship between Vitra and Verner Panton. By fusing the elements of a room – floor, walls, ceiling, furnishings, lighting, textiles and wall panels made of enamel or plastic – into a unified gesamtkunstwerk, Panton's interior installations have attained legendary status. One of Denmark’s most important and distinctive design personalities, Panton was born into, and educated in, a Danish and international world after World War II, which seemed to be made for modern design. Panton turned out to be an "enfant terrible" and he started his own design and architectural office. Verner Panton was Denmark’s most exuberant 20th-century designer, who rejected Scandinavia’s muted minimalism in favour of psychedelic interiors and conceptual installations. The most famous examples are the 'Visiona' ship installations for the Cologne Furniture Fair (1968 and 1970), the Spiegel publishing headquarters in Hamburg (1969) and the Varna restaurant in Aarhus (1970).Panton's collaboration with Vitra began in the early 1960s, when they jointly developed what became his best-known design, the Panton Chair, which was introduced in 1967. Buy your copy here. “A less successful experiment is preferable to a beautiful platitude,” said Verner Panton. During the first two years of his career, 1950–1952, he worked at the architectural practice of Arne Jacobsen, another Danish architect and furniture designe. In fact, Panton was abreast of the social conventions associated with “ordinary people”. Near the end of the 1950s, his chair designs became much more unconventional, with no legs or discernible back. This was also the first independently developed product by Vitra.Verner Panton died in 1998 in Copenhagen. Culture Trip stands with Black Lives Matter. He worked from 1950-1952 in the architectural firm of Arne Jacobsen and founded an independent studio for architecture and design in 1955. This included the Flowerpot lamp, which both lights up and disappears, somewhat self-critically, like a cartoon thought bubble, having popped out of the head of Panton’s mentor Poul Henningsen. They were completely in tune with the international zeitgeist of the 1960s and 1970s, where striking architectural projects such as Archigram in England and Archizoom Associati in Italy were developing visions for the innovative use of post-war technologies and systems in environments for modern life. But he appears much less Danish if we consider his experiments with new materials and idioms. In 1960 Panton was the designer of the very first single-form injection-moulded plastic chair. Panton turned out to be an "enfant terrible" and he started his own design and architectural office. Somewhere in the midst of the cultural, artistic and aesthetic developments that characterised the new welfare societies during the first decades after World War II, we find Verner Panton and his universe of design. And while they were cultivating modernised craft-related traditions, Panton was aiming to create fully industrially manufactured products intended for the mass market. Verner Panton, born in Gamtofte, Denmark, studied at Odense Technical College before enrolling at the Royal Danish Academy of Fine Arts in Copenhagen as an architecture student. However, in contrast to Archigram and Archizoom Associati’s experiments, Panton’s formats were closer to the users, and it was specifically the practical and often low-cost results that were put into production. Panton was ‘Danish’ in the sense that he shared the practical and concrete design approach that characterises the Danish furniture tradition. After moving to Switzerland in the early 1960s, the Danish designer became known for his inventive, novel ideas for furnishings, lighting and textiles. Verner Panton‘s unusually extensive and diverse work, which was the subject of a comprehensive retrospective by the Vitra Design Museum Berlin, was rightly regarded as a major contribution to the development of design in the second half of the 20th century. Verner Panton was an influential figure in the development of design during the 1960s and ’70s. During his career, he created innovative and futuristic designs in a variety of materials, especially plastics, and in vibrant and exotic colors. He is also known for a hotel in Europe that utilized circular patterns and cylindrical furniture. It is a universe that has now been absorbed by the processes of globalisation, which in this context simply means that a growing number of people seek almost the same thing that appealed to Panton back in the 1960s and 1970s: an essentially exciting and challenging life, but also a socially mobile life; a comfortable life, as embodied by Panton’s first chair, the Bachelor chair – simple, light, elegant and eminently portable. Panton stood out, however, appearing to comment on his own generation from a markedly different position that would lead him to completely new places. The Stacking chair or S chair was mass produced and became the most famous of his designs derived from organic shapes echoing curves of the human body – in this case the tongue.[1]. In preparation for this retrospective, the Vitra Design Museum drew on its superb collection of Panton objects, as well as the entire Panton … His style was very "1960s" but regained popularity at the end of the 20th century. “A less successful experiment is preferable to a beautiful platitude,” said Verner Panton. He entered into the post-war era as part of a great movement that believed in widespread social progress, either by means of sophisticated design solutions or through the reforms that ultimately gave rise to the social welfare models that presently inspire people around the world. This excerpt from, Verner Panton with his Spiegel sculpture, 1965, © Panton Design, Basel (Archiv Vitra, Design Museum, Weil am Rhein), Marianne Panton on The Panton chair, 1967, with The Shell Lamp, and a Unika Vaev rug, Multifunctional Living Unit, 1966, produced by Behr-Möbel, Germany and Dux Möbel, Germany, Visiona 2, exhibition for Bayer, Cologne Furniture Fair, 1970, © Panton Design, Basel (Bent Hassing, Akatorp), Restaurant Varna, Aarhus, Denmark, 1971, interior with Pantonova chairs and chrome Spiral lamps, Verner Panton, Ida Engholm and Anders Michelsen, Phaidon. Additionally, Panton is well known for his innovative design work for Der Spiegel, a well-known German publication in Hamburg. His designs are renowned for through the use of colour coupled with an almost scientific approach to the exploration of systems as a basis for the development of chairs, lamps, textiles and the celebrated interior designs Panton referred to as “environments”. In Denmark, Panton’s furniture-design colleagues worked with wood and natural materials, while he worked with plastic, Plexiglas, steel, foam rubber and other synthetics. Panton was already an experienced artist in Odense when he went to study architecture at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, graduating in 1951. One of Denmark’s most important and distinctive design personalities, Panton was born into, and educated in, a Danish and international world after World War II, which seemed to be made for modern design.In his time, he was considered an enfant terrible, but he was really a trailblazer who combined pragmatic … Panton seemed quite in step with Poul Henningsen’s dictum: “The future comes by itself; progress does not.”. Through his technological and material-related investigations, Panton sought to rethink popular basic genre types, such as the chair and the lamp, and challenged the way in which we decorate our homes and our workplaces. Many people know the Flowerpot lamp because they own, or have owned, one. This is an edited excerpt from Verner Panton by Ida Engholm and Anders Michelsen, published by Phaidon, available from 14 September 2018. In the following years Panton created numerous designs for seating furniture and lighting.Verner Panton's passion for bright colours and geometric patterns manifested itself in an extensive range of textile designs. Read more interviews in the Design Masters series here. During the first two years of his career, 1950–1952, he worked at the architectural practice of Arne Jacobsen, another Danish architect and furniture designe. He first attracted wider attention with the geometric forms of his furniture designs for the firm Plus-linje. "Sex and the Sixties: Verner Panton's Pop Fantasia", The Official Verner Panton Reference Portal and Archives: Photos, designs and producers, MY PANTON HOME - The worlds largest Verner Panton collection, Verner Panton biography at Danish Furniture, PANTONWORLD - A collectors tribute to Verner Panton, Verner Panton at the design agency TAGWERC with texts on his designs and his design philosophy, https://en.wikipedia.org/w/index.php?title=Verner_Panton&oldid=985245363, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Bayer exposition ships Visiona O + II, Köln, 1968, 1970 →, This page was last edited on 24 October 2020, at 20:41. In the late 1960s and early 1970s, Verner Panton experimented with designing entire environments: radical and psychedelic interiors that were an ensemble of his curved furniture, wall upholstering, textiles and lighting.

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