“The main purpose of my work is to provoke people into using their imagination. Most people spend their lives housed in dreary, grey-beige conformity, mortally afraid of using colours."
自四、五十年代起，北歐孕育了無數設計巨匠（Design Giants），為北歐設計寫下功能為重、簡樸自然的鮮明定義。雖然來自熱愛簡約的丹麥國度，但Verner Panton卻選擇以大膽創新的設計，令人留下深刻印象，正如他所說：「我必須夠誇張，才能有人注意我的作品。」而這種叛逆精神，就是令他瞬間爆紅的火苗。
Since the 1940s and 1950s, when Scandinavia had been the home to many signature design giants, Nordic furniture design focused much more on function and minimalism. However, keen on using the bright colors and geometric patterns regarded as bold and innovative at that time, the Verner Panton style captured the rebellious spirit of his age and harnessed it into iconic shapes and color schemes which drew him into a big hit.
肆意倒轉的椅子 Turning the Chair World Upside Down
就在1958年Panton受父親所託，翻新家族餐廳Kom Igen，他大膽地採用幾何圖形，將配色方案僅限制在五種不同深度的紅色，而Cone Chair便是他為用餐區所設計的椅子。
幾何圓錐安裝在可旋轉的四星底座上，成就這擁有經典幾何造型、深受喜愛的「雪糕筒」Cone Chair。Panton的朋友Niels-Jørgen Kaiser 亦形容錐形椅是「像是踮著腳尖、輕而易舉地轉動的芭蕾舞演員」。
In 1958, he had been commissioned by his father, the manager of the restaurant Kom Igen, to refurbish all of the rooms and design an extension. Using geometrical shapes and limiting the colour scheme to only five different shades of red, Panton developed a revolutionary setting. Verner Panton also designed his own chair for the project: the Cone Chair.
Taken its shape from the classic geometric figure for which it is named, the padded shell forms together with the soft seat cushion to create a comfortable armchair. Or to quote the allegory used by Panton’s friend Niels-Jørgen Kaiser in his obituary for Verner Panton in 1999, the Cone Chair is a ‘ballet dancer standing on her toes and easily turning pirouettes’.
單一材質、一體成型的 Panton Chair
直至1960年遇上 Vitra，他們便合作開始反複的試驗塑膠的材質、壓模等的運用，經歷超過30年試驗不同的聚酯玻璃纖維、聚氨酯泡沫、聚丙烯等，在1999年才正式推出時至今天的經典之作Panton Chair。
Being fond of researching new technology, the Danish designer Verner Panton kicked off developing the new idea of a plastic cantilever chair in the latter half of the 1950s. It then turned out to be a nearly impossible challenge, just because the bold contours imagined by the designer had to be reconciled with the physical limits of plastics technology and manufacturing requirements.
Working closely with Vitra, the only manufacturer who believed in him, he started several years of research, attempted to adopt Polyester, polyurethane foam, and polypropylene, discarded designs, and continuous prototype development: the final version of the chair that we see nowadays, has been made of polypropylene since 1999.
家具設計不是從天而降的奇蹟，而是與社會有著密不可分的聯繫，1969 年設計的 Flowerpot 取名自1960至1970年代美國嘻皮運動的宣揚口號 「Flower Power」，象徵和平與愛情、秉持這樣的信念帶給社會美感藝術價值，讓設計更貼近人性的自然展現實用與美感，也因為這樣讓 Flowerpot 更具時代意義及收藏價值。
The Flowerpot collection designed by Verner Panton first saw the light of day in 1968. The collection was created from the vision of designing products, that not only serve as functional objects, but also trigger emotion. Flowerpot reflects a break with convention and embraces a more open and modern mentality, that promotes peace and harmony. For this reason the Flowerpot also became synonymous with the Flower Power movement of the late 60's.
Products in this space:
Vitra - Cone Chair, Panton Chair
&Tradition - Flowerpot Table Lamp
Establo, Your Inspirational Lifestyle
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