One Minute Design
One of the boldest Danish designers of the twentieth century, Verner Panton turned color and plastic into true tools of experimentation.
With his sculptural chairs and immersive interiors, he pushed the boundaries of traditional Scandinavian design to imagine a vibrant and radically modern universe.
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, the 1930s. While international modernism imposed straight lines and a rational aesthetic, Alvar Aalto took another path.
Born in 1898, the architect and designer rejected cold, abstract functionalism in favor of a more human 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 for Mobilier International a collection as elegant as it was ingenious: modular furniture built around an aluminum profile shaped like a four-leaf clover.
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.