One Minute Design
One of the most daring Danish designers of the 20th century, Verner Panton transformed color and plastic into true tools for experimentation.
With his sculptural chairs and immersive interiors, he pushed the boundaries of traditional Scandinavian design to create a vibrant and radically modern world.
In 1991, when Sylvain Dubuisson designed the Suite ingenue armchair (model GMC-415) for Jack Lang's office at the Ministry of Culture, he did not simply draw a seat. He imagined an object that was political, narrative and symbolic: a piece of furniture able to inhabit a place charged with history while affirming the modernity of a contemporary gesture.
The model belongs to a series of four armchairs produced for the ministerial office at the Palais-Royal, as part of the new interior designed by Dubuisson at the turn of the 1990s.
Finland, 1930s. While International Modernism imposed straight lines and a rational aesthetic, Alvar Aalto took a different path.
An architect and designer born in 1898, he rejected cold, abstract functionalism in favor of a more human form of modernity, attentive to the body, light, and everyday uses.
In a context marked by reconstruction and housing shortages, Willy Van Der Meeren emerged as one of the most coherent figures of Belgian modernism.
An architect and designer trained at La Cambre, he defended a demanding and committed vision of design: creating useful, durable and accessible objects conceived for the greatest number.
A discreet but essential designer, Jacques Biny left a deep mark on French lighting in the 1950s.
Through a functional, rigorous and elegant approach, he conceived light as a true architectural tool serving modern uses.
In 1968, Giancarlo Ciancimino designed a collection for Mobilier International that was as elegant as it was ingenious: modular furniture built around a four-leaf clover-shaped aluminum profile.
A symbol of technical modernity and aesthetic balance.
Among his major creations, the Moloch Lamp holds an emblematic place. Designed in 1971-72, it grew out of a radical idea: to enlarge the famous Luxo desk lamp by a factor of four, turning it into a monumental light suited to public spaces.
Rejected by Cassina as too subversive, it was eventually produced by Bracciodiferro and presented at MoMA in 1972 during the exhibition "Italy: The New Domestic Landscape", a consecration that turned it into a collector's object with symbolic reach beyond mere aesthetics.
Founded in Turin in 1966, the Italian design publisher Gufram celebrates half a century of radical creation and unconventional design. It is the perfect opportunity to revisit the singular story of an iconoclastic brand that has always challenged conventions.
