...Verner Panton had an idea... An idea that may not count amongst his better known projects, but is a project that allows one to approach a better understanding of the work and career of Verner Panton...
Flowerpot VP1 Pendant Lampby Verner Panton, 1968 — from 228,00 €
|Product type||Pendant/ceiling lamp|
|Dimensions||Height: 16 cm
Ø: 23 cm
Cable length: 3 m
Polished copper version: 1,2 kg
|Material||Coloured versions: painted steel
Metallic versions: lacquered copper, lacquered brass, stainless steel, brushed stainless steel
Textile cable in same colour
Metallic versions: black textile cable
|Function & properties||E27, max. 40 W|
|Delivery includes||Light bulb not included|
|Care||To clean, wiping with a damp cloth and a mild detergent is recommended|
|Assembly||Please click on picture for detailed information (ca. 0,2 MB).
|Certificates & Sustainability||IP Code IP20
Protection class II
|Product family||Flowerpot VP3 Table lamp
Flowerpot VP7 Pendant Lamp
|Product datasheet||Please click on picture for detailed information (ca. 1,0 MB).
More about 'Verner Panton' in our blog
smow Blog Design Calender: October 24th 1969 – Opening Qu'est-ce que le design? @ Musée des Arts Décoratifs Paris
...In an attempt to approach one the Musée des Arts Décoratifs Paris asked Charles Eames, Verner Panton, Roger Tallon, Joe Colombo and Fritz Eichler, Qu'est-ce que le design?... featured not only five of the leading international designers of the period but five designers who, on paper, represented five very different understandings of design: Charles Eames, one of the leading proponents of that post-War American interpretation of functionalism; the young Italian radical Joe Colombo with his utopian visions of our domestic spaces and understandings of design as much as a branch of linguistics as 3D forming; Roger Tallon, the Grand Doyen of French design, and for all of technical design for industry; Fritz Eichler, the first Design Director at Braun, a man very much associated with technical design for consumers, and the sober reduction of Germanic gute Form; and Verner Panton with his pop tendencies, holistic compositions and understanding of the role, the near primacy, of colour in design...
...In which context, Pop und Protest also encompass one of the most audacious interpretations of the late 1960s Pop inspired design: Verner Panton's canteen and bar for the Spiegel office building in Hamburg, part of a larger commission Panton realised in 68/69, and which included monochrome editorial floors with each colour selected to support and encourage work/workers, a swimming pool, reception area, and the canteen and bar... Over the years Panton's work was slowly painted over or refurnished away, and when Der Spiegel moved to a new building in 2012 the last remnants of canteen and bar were acquired by the MKG, where they stand today in their (largely) orangey glory as a potent reminder of both the spirit of the times and also the importance of Verner Panton...
...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...
Lost Furniture Design Classics: Office Furniture by Arne Jacobsen for the American Scandinavian Society
...A further fascinating aspect of the project is the potential role of a young Verner Panton... From 1950-1952 Verner Panton worked in Jacobsen's studio and one of his jobs was developing early prototypes for the Ant Chair...
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