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Verner Panton - Turning the design world on its head with colour and form

Verner Panton in his studio - with Panton Chair and Globe pendant light

Born in 1926, the Danish designer Verner Panton originally wanted to study painting, but decided to study architecture on the advice of his parents. After graduating from the Royal Academy of Fine Arts in Copenhagen, he worked for two years from 1950 in the office of Arne Jacobsen. Despite this extremely instructive collaboration, Panton went his own way, which differed significantly from Jacobsen's style. in 1955, he founded his own studio for design and architecture and quickly attracted attention with his first designs. Unlike many of his Danish contemporaries, Panton's work focused on strict geometric shapes, organic lines and a bright colourfulness that was revolutionary at the time. A milestone in Panton's career was his acquaintance with Willi Fehlbaum, the founder of Vitra. Together they developed the Panton Chair in the early 1960s. This free-swinging plastic chair, which was the first chair in the world to be moulded from a single piece, is now one of the most important design classics of the 20th century. Other iconic designs such as the Cone Chair and the Heart Cone Chair, which were originally designed in 1958 for the Danish restaurant Kom-Igen, were created at the same time.

A revolutionary design put to the test: Verner Panton (centre right) and Rolf Fehlbaum (in suit) at work on the Vitra Panton Chair

The Cone Chair was part of the sensational redesign of the Kom-Igen restaurant

Panton also set standards in luminaire design. The Flowerpot luminaire from 1968, the VP Globe from 1969 and the Panthella luminaire from 1971 reflect his intensive exploration of light and colour. Panton's work always revolved around the holistic relationship between form, light, people and space. This was particularly evident in the interior design of the Spiegel publishing house in Hamburg in 1969, where he not only designed furniture and luminaires, but also transformed floors, walls and ceilings into an immersive, harmonious whole. In the 1970s and with the rise of postmodernism, Panton's work became comparatively quiet, but his designs made a strong comeback in the 1990s as part of a major Sixties revival. While Panton cooperated directly with partners such as Vitra, Fritz Hansen and Louis Poulsen during his lifetime, his legacy is continued today through careful licensing. For example, the VP Globe pendant lamp (1969) is now produced by Verpan. The Danish company &Tradition also produces classics in close collaboration with Panton's estate, such as the Flowerpot series Verner Panton died in 1998, but his visionary thinking and his radical approach to colour, form and space continue to have an impact today. His designs have had a lasting influence on the modern understanding of design and remain the expression of an extraordinarily independent oeuvre.

Flowerpot pendant light: Verner Panton design classic reissued by &Tradition

Legendary luminaire series for Louis Poulsen: the Panthella collection

More about 'Verner Panton' in our Journal

Stühle zum (Be)Sitzen, a smow Pop-up at the Grassi Museum für Angewandte Kunst, Leipzig

...A 1950s Denmark that also saw the origins of considerations on the possibility of a chair that it would be 1967 before it was realised and 1968 before it became a series product: Verner Panton's eponymous chair through Vitra... A Panton Chair that, arguably, couldn't have been realised in the Denmark of that period, regardless of the symbolism of Jacobsen's SAS Royal hotel, required Verner Panton to look outwith Denmark for a partner; a Panton Chair that took the cantilever of a Stam's S 33 and its contemporaries and not only translated it from steel tubing into polyurethane, thereby helping confirm the durability of synthetic plastics, but also rounded the Cubist corners of the Functionalist Modernist steel tube furniture of the 1920s as 30s, and thereby not only began to find a way back to the flowing curves of a Michael Thonet, but also created a piece of furniture more attune with the less formal, less rigid, less austere, less quadratic, somewhat freer, mellower, organic, western European society of the 1970s...

Colour Rush! An Installation by Sabine Marcelis at the Vitra Design Museum Schaudepot, Weil am Rhein

...And a rainbow extended and supported by leprechauns brief discussions on the colour approaches and understandings and practice of Albert Henry Munsell, Le Corbusier, Alexander Girard, Verner Panton, Hella Jongerius and Sabine Marcelis, and thus protagonists of various hues, pun intended, from across a century and a half of developing relationships with colours; and brief discussions which allow one to go beyond colours and into the classification of colours and the manners via which we seek to standardise and organise colour... Verner Panton once famously claimed that one sits more comfortably on a colour you like...

5 New Architecture & Design Exhibitions for April 2018

...No mean claim, and when one considers that from 1971 until 1981 MIRA-X cooperated exclusively with the arch-colourist Verner Panton, a claim which, arguably, says quite a lot about 1970s understandings of "harmony"... While also very nicely underscoring how important switching Copenhagen for Basel was for the career of Verner Panton...

Vitra Design Museum: Lightopia

...Rietveld and Wilhelm Wagenfeld before moving over, almost, all the famous classics of the genre, including, George Carwardine’s 1932 Anglepoise, Tizio by Richard Sapper, Artichoke by Poul Henningsen and various works by Verner Panton before reaching 85 Lamps by Rody Graumans through droog...

Copy or Original?

...In terms of the Panton Chair: Has the Panton Chair been produced in the spirit of Verner Panton?... And legally: Have the producers the rights from Verner Panton to produce the Panton Chair?...


All 'Verner Panton' Posts