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The city of Weil am Rhein and Vitra recently inaugurated the Verner-Panton-Weg in honours of the Danish Designer.
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A conversation between photographer Florian Böhm and set designer Paolo Bonfini, behind the scenes of the Vitra Fiction production in Rome, 16 January, 2012.
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Revisiting the rich archives of Jean Prouvé, his daughter Catherine takes us on a stroll down memory lane.
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The Orgatec office furniture fair in Cologne will give Vitra the opportunity to highlight the ways in which its Citizen Office theme enables the demands made by today's companies and employees to be translated into an office situation.
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Antonio Citterio was born 60 years ago and began working with Vitra 25 years ago. It has been a time of intense collaboration – no less intense today than when our relationship began.
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It can no longer be ascertained precisely when the idea started to take shape in the mind of Verner Panton for the design that became directly associated with his name. According to his own rather vague accounts and the few undated sketches that are preserved, it must have been around 1959/60 when he first began to work more intently on the idea of a cantilevered plastic chair made in one piece – hardly anticipating that it would take almost a decade to realize this idea.
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Vitra begins with the production of Eames furnishings and establishes contact with the Eames Office, a landmark in the evolution of Californian modernism. Its utopian spirit is reflected in the dissolution of seemingly immutable distinctions between work and play, collecting and research, art and science, curiosity and responsibility.
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Even though in the design business Nelson had always enjoyed acting as an outsider and liked to make the claim that it was only by accident that he had become a designer, it was as an insider that he wrote his articles about design by basing what he wrote on his personal experiences.
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