The 1950s was a significant period for contemporary ceramics, with the Accolay factory playing a key role. During this time, artists and ceramicists were experimenting with various techniques, such as hollow decorations, layering slip and colored enamels, creating different textures, and using challenging red enamels.

The Poterie d’Accolay refers to a community of potters based in Accolay, Yonne, led by André Boutaud, Louis Dangon, Slavic Paley, and Raude, who were former students of Alexandre Kostanda. Later, decorators like Raphaël Giarrusso, Georges Pelletier, and sculptor Pierre Merlier made their mark on this artistic period. The ceramics were known for their unique decorations and a variety of forms, including pots, wall plates, lamps, and masks.

This creative period was so successful that by 1958-1960, the ceramic industry employed around sixty people and opened several exhibition stores along major roads, including RN6 in Vermenton, Arcy sur Cure, and Appoigny, RN7 in Pouilly sur Loire, and the road from Dijon to Fixin.

Accolay Ceramics

Tobia Scarpa, an architect and designer, completed his education in 1969 at the University of Venice. In the same year, he achieved the prestigious “Compasso d’Oro” award for his “Soriana” armchair, which he designed for Cassina. Since then, he has received numerous other design awards, and many of his creations are featured in renowned museums worldwide. Notably, his ‘Libertà’ chair is showcased at the Louvre. Scarpa has served as an architect for both public and private clients, with one of his notable projects being the design of the industrial area and production facilities in Castrette di Villorba (Treviso) for the Benetton Group. Even today, these Benetton facilities stand as a pinnacle of aesthetic and functional excellence, representing some of the most captivating industrial architecture in the world.

Afra & Tobia Scarpa

In 1947 that he founded Arredoluce, a premier manufacturer of furniture and lighting, in Monza. During the same year, at the VIII Triennale di Milano, he exhibited the lamp 12128, which became known as the Triennale floor lamp. He became an influential designer in postwar Italy, especially in the field of modern lighting design. During the 1950s, Arredoluce started to collaborate with such designers as Franco Albini, Achille Castiglioni, Gio Ponti, and Ettore Sottsass and also started to experiment with halogen light bulbs for his designs. Out of this experimentation, Lelii increased the use of transformers for his designs and created the recognizable Arredoluce switch.

Angelo Lelii’s lamps and lighting objects stand out for their extremely simple designs that strive for minimal complexity and for their strong sense of unadorned sensitivity. Thanks to Angelo Lelii’s unique approach to design, Arredoluce quickly built a reputation for creating premium quality products based on clean, simple, and functional designs.

Angelo Lelli

In the São Paulo of the 1950s, a group of architects consisting of Roberto Aflalo, Jacob Ruchti, Miguel Forte, Plínio Croce, Carlos Milan and Chen Yhwa got together to create a furniture shop that could cater to their modern and sophisticated view of architecture. In 1952, the young vanguardists embraced Aflalo’s idea and founded Branco & Preto, where they sold modern furniture made of brazilian materials and with impeccable finishing: something completely new at the time. The shop became a reference for architects, who would visit it to become familiar with the trends and discuss the pieces that broke with the traditional, stout lines used until then. Tt remained open until 1965, during which they created pieces of furniture that still inspire Brazilian designers today.

Branco e Preto

Bruno Gatta founded Stilnovo in 1946 in Lainate, a city part of the industrial suburbs of Milano. Stilnovo is lead by a market logic unlike Arredoluce or O’Luce which, despite his small size, adopts an industrial logic from 1952-1955.

From then until the 1980s, Stilnovo produced some of the most imaginative and striking lighting fixtures of its time, revolutionary both in its use of material and in its shapes.

Bruno Gatta

Carlo Scarpa (June 2, 1906 – November 28, 1978) was an influential Italian architect and designer deeply rooted in the rich cultural history of Venice. He began his career as an assistant at the Royal Superior Institute of Architecture of Venice and later served as the Director of the Architectural Institute of Venice University in 1972. Scarpa’s architectural style beautifully balanced tradition and modernity, skillfully integrating new design elements while respecting the historical context. His profound understanding of raw materials and a meticulous selection and combination of materials set him apart. Scarpa’s work, which can be seen as a series of experiments, is a testament to his rejection of architectural habits, with the fragment as the favored embodiment of his design philosophy.

Scarpa’s designs were marked by an extraordinary attention to detail and an emphasis on visual commentary through materials, light, spatial arrangements, and colors. He used elements from nature, such as water and stone, to enhance his designs, creating labyrinthine forms and unique compositions. Scarpa’s approach to “decoration” challenged the prevailing modernist views, emphasizing the value of ornament as an integral part of design. His iconic project, the Brion-Vega Cemetery, is a testament to his commitment to creating enduring works that transcend time and capture the essence of his architectural language. His influence extended to other Italian interior designers and architects, leaving a lasting impact on the field of design. Scarpa’s appreciation for Japanese art and culture, which he developed throughout his life, further enriched his artistic sensibilities. He passed away during a journey to Japan in 1978, leaving behind a legacy of innovative and harmonious architectural and design achievements.

Carlo Scarpa

Eric Astoul is a contemporary French ceramic artist born in 1954. He is moving to the world reknown ceramic center of La Borne in 1982 and starts a research on turned ceramic volumes.

The colors and the texture of the pieces are given through firing them in wood kiln at the very high temperature of 1300°C for 5 to 6 days.

Eric Astoul

Ettore Sottsass was an italian architect and designer of the late 20th century. His body of designs included furniture, jewellery, glass, lighting and office machine design.

In 1956, Ettore Sottsass began working as a design consultant for Olivetti, designing office equipment, typewriters, and furniture. There Sottsass made his name as a designer who, through colour, form and styling, managed to bring office equipment into the realm of popular culture. Sottsass, Mario Tchou, and Roberto olivetti won the prestigious 1960 compasso d’oro with the elea 9003, the first italian mainframe computer.

Throughout the 1960s, Sottsass travelled in the US and India and designed more products for Olivetti, culminating in the bright red plastic portable valentine typewriter in 1970, which became a fashion accessory. Sotsass described the valentine as “a brio among typewriters.” compared with the typical drab typewriters of the day, the valentine was more of a design statement item than an office machine.

While continuing to design for Olivetti in the 1960s, Sottsass developed a range of objects which were expressions of his personal experiences traveling in the United States and India. These objects included large altar-like ceramic sculptures and his “superboxes”, radical sculptural gestures presented within a context of consumer product, as conceptual statement. Covered in bold and colorful, simulated custom laminates, they were precursors to memphis, a movement which came more than a decade later. His work from the late 60s to the 70s was defined by experimental collaborations with younger designers such as Superstudio and Archizoom association, and association with the radical movement, culminating in the foundation of Memphis at the turn of the decade.

As an industrial designer, his clients included Fiorucci, esprit, the Italian furniture company Poltronova, Knoll international, Serafino Zani, Alessi and Brondi. As an architect, he designed the Mayer-Schwarz gallery on rodeo drive in Beverly hills, California, with its dramatic doorway made of irregular folds and jagged angles, and the home of David M. Kelley, designer of apple’s first computer mouse, in woodside, California. In the mid-1990s, he designed the sculpture garden and entry gates of the W. Keith and Janet Kellogg gallery at the campus of Cal Poly Pomona. He collaborated with well-known figures in the architecture and design field, including Aldo Cibic, James Irvine, Matteo Thun.

Sottsass had a vast body of work; furniture, jewellery, ceramics, glass, silver work, lighting, office machine design and buildings which inspired generations of architects and designers.

Ettore Sottsass

Federico Munari is a prominent Italian designer who began his career in the early 1950s. He developed a distinctive style that combines design and artistic creativity, setting him apart as a unique talent in the field. A skilled draftsman, he even rivaled his contemporaries such as Ettore Sottsass and Pierre Guariche.

Federico Munari

Fontana Arte is the artistic division of Luigi Fontana & Co., a glass manufacturing company founded by Luigi Fontana. The renowned architect Gio Ponti established the Fontana Arte division in 1932.

Ponti recognized that glass objects, such as lamps and tables, could be seamlessly integrated into his various interior designs. He sought the assistance of artist Pietro Chiesa to develop a new artistic direction for Fontana Arte.

Some of his most famous works include Cartoccio, a unique glass vase that curls at the top into four points, Fontana, a low table crafted from a large curved glass piece, and Luminator, a series of modern floor lamps in nickel-plated brass.

A group of private investors acquired the company, and Carlo Guglielmi was appointed as the CEO. Gae Aulenti became the new artistic director, Pierluigi Cerri the graphic consultant, Piero Castiglioni was named the lighting engineer for Fontana Arte, and Franco Raggi managed special events. The idea was to revive the original concept of Fontana Arte by allowing prominent architects to work on new designs for the company. 

From 1979 until the late 1990s, Fontana Arte continued to expand. In 1992, the company acquired Candle, an innovative lighting company. Fontana Arte also opened large showrooms in Milan, Rome, Via Giulia, and Los Angeles. In 1998, the new line of Fontana Arte, Oggetti, was introduced. The company continued to explore new markets throughout the 2000s, gaining worldwide recognition for its modern design pieces.

Fontana Arte

Franco Campo and Carlo Graffi first crossed paths during their university years at the Politecnico di Torino, where they studied engineering and architecture under the guidance of Carlo Mollino. After graduating in 1950, they continued collaborating with Professor Mollino on projects spanning both architecture and design.

In their early works, Campo and Graffi clearly reflected Mollino’s influence—marked by graceful curves and the use of organic materials. Throughout the 1950s, they focused on custom interiors and furniture design, working alongside interior decorators, retailers, and private clients. Over time, their aesthetic evolved, drawing inspiration from the city of Turin. This shift led to designs that emphasized more rigid, sculptural forms and celebrated structural elements and exposed joints.

In 1956, Campo and Graffi founded their pioneering furniture workshop, Home, with the goal of making high-quality design accessible to a broader audience. They crafted pieces primarily in teak and also imported designs from Scandinavia. Home experienced significant success, expanding to Genoa and Rome.

However, in 1964, a tragic fire destroyed the factory, effectively ending both Home and the partnership between Campo and Graffi. After the separation, Carlo Graffi resumed his collaboration with Carlo Mollino, while Franco Campo continued his work in furniture and interior design.

Despite the brevity of their partnership, Campo and Graffi’s commitment to democratic, accessible design left a lasting legacy in the world of mid-century modern furniture.

Franco Campo & Carlo Graffi

Frères Cloutier

Elizabeth Garouste (French, born 1949), a former costume designer, and Mattia Bonetti (Swiss, born 1952), a photographer, together used to form a Paris-based design team specializing in furniture that was at once experimental and elegant. Their work was marked by a use of classically tasteful materials, such as terra-cotta and wrought iron, as well as by the prevalence of sleek shapes and lines.

Their partnership began with the interior décor of the famous Parisian nightclub Le Palace and restaurant Le Privilege. Employing a neo-Baroque language, blended with prehistoric and primitive touches, the terracotta masks were labelled “Barbarian design.” The pair set the pace for cutting edge Parisian design, creating a unique and inventive neo-Baroque language that was to become synonymous with themost sophisticated continental contemporary interior and furniture design.

In 1987 Garouste and Bonetti began work with Christian Lacroix on his couture house interior.  Employing cushions and curtains in ochre with rococo swishes of black, French 18th Century chairs were upholstered in electric blue, lilac, orange and raspberry. Hot-red consoles were given branches for legs and stools were designed to look like tree stumps.

The duo separated in the early 2000s, continuing they careers individually.

Garouste & Bonetti

Mohasseb is a Lebanese architect and designer. He studied architecture in Washington D.C., at Ecole Boulle in Paris and Domus Academy in Milan. In 2007, he opened his company "wood&" in Paris, working on projects focused on wood, his favorite material. Since then, he has been experimenting with many other materials, like brass, resin, plaster, to create furniture combining traditions of the Middle East and a totally contemporary design.

His constant search for materiality and immateriality has defined his approach to design. He creates limited numbers of timeless designs, focusing on excellent craftsmanship and a complex expression of materials. Georges creates non-conformist functional art for Studio Manda, bridging diverse creative influences in every bespoke piece, with a common storyline converging nature, materiality and artisanship to evoke conversations.

The work is mainly inspired by forces of nature that can shape natural elements. The presence of wood is always prominent in many of Georges’ designs, due to its connectivity, liveliness, and texture.

His creations have been displayed and selected for several international institutions and exhibitions, including Nomad Venice 2019 with Carwan gallery; with Galerie Gabriel & Guillaume in NYC for Salon 2019; with Galerie Gosserez, PAD, Paris, 2019; Collect, House of Fly, London, 2019; Carwan Gallery at Nomad, Monaco and St Moritz, 2017; House of Today, Beirut, 2016; London Biennale, 2016; and PAD, Paris, London, 2013 and 2014.

Georges Mohasseb

Geraldo de Barros was a Brazilian painter and photographer who also worked in engraving, graphic arts, and industrial design. He was a leader of the Concrete Art movement in Brazil, co-founding Grupo Ruptura, and was known for his trailblazing work in experimental abstract photography and modernism. According to The Guardian, de Barros was “one of the most influential Brazilian artists of the 20th century.” From 1954 until the 1960s, he was at the head of Unilabor, a company he founded to produce his inventive minimalist furniture.

Geraldo de Barros

Gilbert Valentin, born in Nancy in 1928, had his first encounter with ceramics in 1946 in Dieulefit, where he was introduced to the fundamental techniques of this art. Following this initial experience, he embarked on a professional apprenticeship in the ceramic section of the National School of Vierzon (now Lycée Henri-Brisson). Subsequently, he worked as a ceramic engineer at the pottery of Lunéville- Saint-Clément. With a solid grasp of ceramic techniques, particularly enamels, he embarked on his ceramic career.

In 1950, Gilbert Valentin made the decision to relocate to Vallauris, where he established Les Archanges. Here, he welcomed numerous artists, including painters, sculptors, musicians, and writers, forming friendships with notable figures such as Pablo Picasso, Jacques Prévert, Georges Braque, and Jean Cocteau. Valentin actively contributed to the evolution of forms and decorative styles. His preference for robust pieces led to innovations in design, such as handle-less pitchers and the exploration of zoomorphic forms in smaller and medium-sized works.

A distinctive feature of this period, easily recognizable, was the abstract decoration set against a backdrop of black or grey granite, with vibrant splashes of pure colors.

Gilbert Valentin

Born and raised in Milan, Ponti began his career via a partnership with architects Emilio Lancia and Mino Fiocchi in 1923. During this time his accomplishments included the house on Via Randaccio in Milan (1925) and the Bouilhet villa in Garches, Paris (1926). After 1927 he partnered only with Lancia at Studio Ponti e Lancia PL. It was an arrangement that worked for the next seven years, during which time Ponti was heavily influenced by the neo-classical Novecento Italiano artistic movement.

He also designed a series of chairs which were considered highly innovative for their time. Among his famous chair designs were the Superleggera and Distex. Ponti also created a variety of lamps for companies like Artemide, Venini, and Fontana Arte. At the height of Ponti’s career, along with Pier Luigi Nervi and Arturo Danusso, he earned the commission to design the Pirelli Tower in Milan.

Ponti’s career was so diversified that he left his mark on the world not only through buildings which are still standing, but also within the art community, the industrial design sector, and even publishing houses. He was involved in the design of structures in 13 different countries, collaborating with over 100 different companies.

Gio Ponti

Giuseppe Scapinelli a designer of Italian origin, was both a furniture maker and retailer in the 1950s and 1960s in Sao Paulo. His style is easily recognizable because of the curvy lines and soft shapes, very much away from the mainstream designs of his fellow designers and inspired probably by the Italian design of the ‘40s. His pieces are beautifully crafted in Brazilian traditional wood. He designed and produced many unique pieces for distinctive Sao Paulo homes.

Giuseppe Scapinelli

Robert Guillerme studied design and architecture at the Boulle School in France, graduating at the top of his class in 1934. Jacques Chambron, on the other hand, graduated from the School of Applied Arts in Reims, France. Sharing a profound passion for interior design, it was only natural that these two men would form a deep friendship during the tragic events of World War II. Jacques Chambron quickly resigned from his job as a painter and decorator in Paris in 1948 to join the Guillerme family in northern France.

In 1949, Guillerme and Chambron crossed paths with Émile Dariosecq, a master cabinetmaker. Not only was Emile Dariosecq a skilled cabinetmaker, but he also had a workshop in their region. It was from this encounter that they decided to establish the company “Votre Maison.” By combining functionality and design, Guillerme and Chambron would create their global reputation while leaving a lasting mark on the world of design.

In the 1970s, Hervé Chambron, the son of Jacques Chambron and a design graduate, joined “Votre Maison” and took over the business in 1983.

Guillerme et Chambron

Hala Matta was born in Beirut in 1970. After 20 fruitful years in the corporate world, she decides to pursue a career as a ceramicist. Trained in the studio of ceramicists Nathalie Khayat, Nevilsalha and Samar Mogharbel.

Hala opened her own studio in 2015. She attended several advanced workshops in Europe. She is a firm believer in developing local craftsmanship and vernacular artistic productions. The studio founded by Hala Matta “Namika Atelier “ is a collaborative platform defending craftsmanship and ceramics as a mainstream artistic medium. Her work has been showcased in collective exhibitions in Beirut, Paris and Brussels. She lives and works in Beirut, Lebanon.

Hala Matta

Supported by an increasingly international clientele, Royère expanded internationally after World War II. Royère was already a famous interior designer in France in the 1940’s when he met Nadim Madjalani, a Lebanese architect.

He opened an office in Cairo, Egypt in 1946, quickly followed by one in Beirut, in association with Majdalani.

During the course of Royère frequent visits to Lebanon, a profound friendship between the two men naturally evolved, and Majdalani responded by being able to introduce numerous prospective clients; together they completed several successful projects like the Beirut luxury hotels "Le Capitole" or "St George".

With the construction in 1955 of Majdalani "L’atelier" gallery on Avenue Sleiman-Boustani, Royère now had a vitrine through which he could continually exhibit his new design, until his retirement in the mid 1960’s.

Jean Royère

Joaquim Tenreiro was among the leading furniture designers and visual artists in mid-20th century Brazil.

Tenreiro was born in Portugal into a family of woodworkers and carpenters. In the late 1920s, he emigrated to Rio de Janeiro and began working for the firm of Laubisch Hirth.

In the early 1940s, Tenreiro was among the first designers in the Brazilian furniture industry to adopt a European modernist vernacular. His initial efforts, including the 1942 “Poltrona Leve,” met with considerable success, and in 1943 he established his own firm with factories in Rio de Janeiro and São Paulo. One of his main clients was Brazilian architect Oscar Niemeyer, for whose houses a number of pieces were originally commissioned.

Taking advantage of indigenous Brazilian hardwoods and designing with the Brazilian climate in mind by keeping pieces light, and often using wicker or cane, Tenreiro evolved a distinctive style suited to local conditions. His 1947 “Cadeira de Embalo” (Rocking Chair) is still in production. An example of his iconic “three-legged chair” sold at auction in 2008 for over $90,000 USD.

Tenreiro gave up the furniture business in the late 1960s to concentrate on his painting and sculpture, in which he had been engaged privately for many decades. He died in Itapira, Brazil, aged 86.

Joaquim Tenreiro

Jorge Zalszupin was born in Warsaw, Poland, and studied architecture in Bucharest before moving to Paris to work as an architect, and then to Brazil in the late 40s.

In 1959, Zalszupin started the furniture firm L’Atelier. Emphasizing a high level of craftsmanship, L’Atelier saw near-immediate success and eventually had two factories producing his designs.

Zalszupin was heavily inspired by Danish design and while he was known for his refined work in jacaranda and other Brazilian woods. L’Atelier thrived in Brazil, having ten shops at the height of Zalszupin’s career. His furniture also won numerous commissions, including in Brasilia.

Jorge Zalszupin is considered one of Brazil’s most important designers of the twentieth century.

Jorge Zalszupin

Hoffmann emerged as a leading advocate of the Gesamtkunstwerk, or the concept of a “total work of art,” in Vienna. Profoundly skilled and remarkably prolific, he ventured into diverse design realms, encompassing architecture, furniture, household items, attire, book coverings, posters, fabrics, and wallpaper. Hoffmann firmly believed in the societal and spiritual advantages of creating harmonious living spaces under the guidance of a singular creative intellect.

His design philosophy bore the imprint of influential figures such as John Ruskin, William Morris, Charles Robert Ashbee, and Otto Wagner. Each of these visionaries shared a common goal: to elevate the status of craftsmanship to the level of fine art. Hoffmann, at the tender age of twenty-nine, imparted their wisdom as a professor at the Kunstgewerbeschule (School for Arts and Crafts). In 1903, he joined forces with fellow Vienna Secession member Koloman Moser to establish the Wiener Werkstätte.

The primary objectives of the Wiener Werkstätte were to rekindle the highest standards of craftsmanship and kindle widespread interest in sophisticated and unique designs. In the early 1900s, Hoffmann honed his signature style characterized by geometric precision and unity, which manifested in designs for various mediums, including silverware, furniture, carpets, textiles, lamps, and architectural elements.

His remarkable talent for crafting beautiful and enduring forms ensured that his career in architectural design and decor spanned several decades, stretching into the 1950s, leaving a lasting legacy in both Europe and the United States.

Josef Hoffmann

Born in Bahia, in the North of Brazil, the self-taught designer, artist and architect moved to Rio and started an architectural scale model workshop where he worked with modernist pioneers such as Lucio Costa and Oscar Niemeyer.

Working with plywood for his models, he realised how the innovative material lent itself to furniture that he started designing in the 1940s.

A pioneer in the respect of his environment, he later experimented with more organic designs and vigorously protected Brazilian forests.

Zanine’s work has been exhibited in the Musée des Arts Decoratifs in Paris and throughout the US and Europe.

Jose Zanine Caldas

The Lyceum of Arts and Crafts was founded in 1872 by craftsmen and artists to offer professional training to ex-slaves and their children, educating through art. Today, it is a non- profit, self-sustained social enterprise that aims to educate youths through work.

LAO (Lyceum of Arts and Crafts)

Founded in 1873, the Liceu de artes e ofícios in São Paulo was established in order to lead the Arts & Crafts movement to Brazil. The school provided an education for students where they could learn skills such as carpentry, painting, pottery, and design, enabling them to perform as highly skilled craftsmen.

The laosp became self- sufficient and independent when the students began receiving financial support for the work they produced. These pieces, being of such a high standard, were sold throughout Brazil. the students also made items for special projects at prestigious places in Sao Paulo such as hotels, universities and private residences.

Liceu de Artes

Livia Gorka, born in Nógádveröce, Hungary, earned her master potter certificate in 1947 under the tutelage of her father, Géza Gorka. As an independent artist, she initially worked in the Gorka workshop in Veröce until 1959. After that, she established her own studio.

Inspired by nature, her creations features large, irregular vessels, idols, fish, birds, and stones. Gorka has embraced the prewheel archaic technique for working with clay. Her pieces are unique, but she also favors creating series and groups of objects. She typically produces high-fired items using her clay bodies, often opting for stoneware.

She frequently employs oxide glazes and combines clay with metals. Her works, characterized by their strong plasticity, feature a reserved color palette.

Livia Gorka

Marguerite Le Maire is a French Illustrator and textile designer. This double vocation allows her to conceive audacious and tailor-made rugs and carpets. Each design is a unique creation that instantly gives singularity to the room that it inhabits.

Marguerite le Maire

MARIAGROUP is a design studio led by the brother and sister duo Georges and Michèle Maria.

Based in Beirut, the architecture practice undertakes works of all scales, spanning from small interior projects to large urban plans, in 12 different countries. MARIAGROUP begins all projects from a standpoint that is decidedly architectural, interested in responding to each brief through thinking about space.

The design of space, crafted through light, material, texture, and form, informs the projects from the smallest to the largest scale, and delineates a common language through which new questions are addressed. Deeply committed to the understanding that architecture is shaped by a collaborative confluence of design ideals, materialknowledge, and craftsmanship, the studio seeks to create for each project a unique world of real physical experiences.

MARIAGROUP’s work stems from this desire: to translate need into built form and create a sense of excitement; to craft a story of everyday life into a poetic and unexpected gesture.

MARIA GROUP + SPOCKDESIGN

Maria Pergay was born in Moldavia in and emigrated to Paris in 1937. In 1947, she studied at ITEC as well as at the workshop of Zadkine.

Pergay began her career in the late 1950s by making forged iron pieces studded with semi-precious stones and seashells for window display for fashion houses.

Her success quickly grew and, within a few years, she began to create a unique collection of contemporary silver objects. In 1968, pergay exhibited a collection of stainless steel furniture at Galerie Maison et Jardin. She was one of the first to work in this material and her pieces were known for their jewelry-like refinement and sculptural qualities.

Maria Pergay

Hauner & Eisler were the primary designers for the iconic Brazilian furniture company Forma – their work counts as one of the best examples of the mastery of Designers in Brazil in the 1950s and 60s.

Born in Brescia, Italy, Hauner studied design in Milan and immigrated to Brazil in the late 40s.

Martin Eisler was born in Vienna, Austria, where he studied architecture. In 1938 he moved to Buenos Aires, Argentina, where he began exhibiting his furniture designs.

After meeting Hauner in Brazil, he started traveling there frequently to collaborate on designs and, with E. J. Wolf, who became the company’s director, they founded Forma to sell their own designs as well as pieces licensed from Knoll International.

Martin Eisler & Carlo Hauner

Martin Szekely is the son of ceramist Véra Székely and sculptor Pierre Székely. His work comes to prominence with his design of the « Pi » long chair in 1982.

Szekely both works with exclusive design editors like Neotu Gallery, Kreo Gallery or Domeau & Pérès, and industrials like Perrier, Heineken, or JC Decaux.

Some of his objects have reached a very large audience like the Perrier glass which was produced in 20 million units. His limited edition items have become highly sought after by power design collectors like Azzedine Alaïa.

His designs are among the collections of many important museums like Paris’ musée des Arts Décoratifs, MOMA or Mudam.

In 2011, Paris’ Pompidou Center offered him a solo show entitled « Ne pas dessiner » .

Martin Szekely

Maxime Old, born, in Maisons-Alfort, a Parisian suburb, came from a lineage of fine cabinet makers in the Faubourg St. Antoine, a hub of this craft. He joined the family business after being urged by his mother to modernize their traditional trade. Although his background emphasized tradition, his furniture designs were refreshingly non-traditional.

Maxime’s career took shape when he worked with Emile-Jacques Ruhlmann until 1934, which exposed him to luxury and fine design. However, Maxime’s aesthetic is characterized by sleek, modern, and sculptural furniture, often devoid of embellishments.

Functionalism and comfort were essential in Maxime’s work, along with the use of both rare and accessible woods, such as oak, cherry, ash, and walnut. His designs favored perfect proportions, clean lines, and subtle angles, occasionally enhanced with bronze accents or fittings. His work was featured in influential design periodicals, and he received commissions from prestigious entities (The Mobilier Nationale, resulting in projects for the City Hall in Paris and the French Ministries in The Hague and Helsinki).

Maxime Old

Ludwig Mies van der Rohe, a pioneering architect, was a central figure in shaping the International Style of modern architecture, alongside renowned contemporaries like Le Corbusier and Walter Gropius. His iconic status in 20th-century architecture and design is underscored by his famous mottos, including ‘less is more’ and ‘God is in the details.’ Mies’ architectural masterpieces, such as the Barcelona Pavilion, the Seagram Building, and the Farnsworth House, are celebrated landmarks of the 20th century.

Born as Maria Ludwig Michael Mies in Germany, his early passion for architecture was influenced by his stonemason father. Without formal architectural training, he gained practical experience through various apprenticeships in Berlin after completing secondary school. His career advanced when he worked with furniture designer Bruno Paul and secured his first independent house design commission. Mies’ exceptional talent led him to architect Peter Behrens’ studio, where he collaborated with future luminaries like Le Corbusier and Walter Gropius. Although the Weimar Republic fostered creativity after World War I, Mies’ significant works from this period remained on paper.

Driven by a quest for a new architectural vision aligned with modernity, Mies developed avant-garde ideas that revolutionized the built environment. His style emphasized simplicity, industrial materials like steel and glass, and unadorned interiors. In the 1920s and early 1930s, Mies’ reputation soared, and he briefly served as the director of the Bauhaus, an avant-garde art school. In 1937, he relocated to Chicago, where he continued to design, build, and educate. He played a pivotal role as the head of the College of Architecture at the Armour Institute in Chicago, shaping both the curriculum and the campus.

After the upheaval of World War II, Mies received numerous commissions, enabling him to create large-scale projects, particularly pioneering steel-and-glass skyscrapers. Notable works include the Lake Shore Drive Apartments in Chicago and the Seagram Building in New York City. In the 1960s, he continued to design public centers, urban-renewal projects, libraries, and offices across the Americas, Mexico, and Europe. Despite his esteemed reputation, Mies lived alone in his spacious Chicago apartment by Lake Michigan until his passing in 1969.

Mies Van der Rohe

Architect, artist and designer, Patrick Naggar received his diploma in Architecture (DPLG) from the Ecole des Beaux-Arts and a Master degree in Urban Studies from the University of Paris VIII. Naggar considers architecture as a central knowledge, encompassing interior design, furniture and product design, a catalyst of ideas, forms, plastic and artistic research, in order to create spaces and objects for our environment. Bringing myth and science, acient and modern cultures, the functional and the symbolic closer together, mixing noble and poor materials, his designs all tell us a story.

Patrick Naggar has been showing in France since the mid-eighties, designing collections for Ecart International, Neotu, Tectona, Veronese and Artelano in France. He has created numerous architectural and design projects in Europe and the US : prestigious private residences, apartments for art collector, art galleries or restaurants. He is also present in the collections of the Musée des Arts Décoratifs, les Amis du Musée National d’Art Moderne (Pompidou), le Mobilier National in France , the Brooklyn Museum in the US.

Dialogue between Art and Science, blending of cultures and a strong poetic dimension are combined in his work to form an elegant modern language. Naggar was awarded in 2008 the Prix Special du Jury by the Centre du Luxe et de la Creation.

Patrick Naggar

Philippe Starck, (born 1949 in Paris), is French designer known for his wide range of designs, including everything from interior design to household objects to boats to watches. He has also worked as an architect.

Starck studied at the École Nissim de Camondo, Paris, and in 1968 set up his first company, which produced inflatable objects. Always interested in design as a total concept, in the 1970s he made a reputation for himself by creating interiors for clients such as the Paris nightclubs La Main Bleue (1976) and Les Bains-Douches (1978).

Starck first gained international attention when he was commissioned to refurbish the private apartments in the Élysée Palace (1983–84) in Paris for French President François Mitterrand. He went on to design restaurant interiors for the Café Costes (1984) in Paris, Manin (1985) in Tokyo, Theatron (1985) in Mexico City, and Teatriz (1990) in Madrid, among others. Starck was also responsible for the interior design of the Royalton and Paramount hotels (1988 and 1990) in New York City, work that subsequently inspired hotels throughout the world to seek his services. Over the course of these varied commissions, he did not develop one distinct aesthetic or a preference for certain materials. Rather, he addressed the needs of an individual client, whether it was the somewhat conservative character of state apartments or the more flamboyant tone needed for a trendy nightclub. Some constants did develop in Starck’s work, however, such as a preference for fluid, organic forms and the inclusion of subtle, playful details.

Philippe Starck

Philolaos Tloupas, artist name Philolaos was a Greek sculptor. He was known for his architecturally influenced sculpture, which he combined with a strongly natural and organic tendency.

Philolaos Tloupas

After graduating from the Ecole Nationale Superieure des Arts Decorative in Paris, Pierre Guariche began an internship with Marcel Gascoin, an important designer of the postwar period. His career began to take off as a designer in 1950 after his first light was produced, the “Rotaflex” lamp. Pierre Guariche then went on to show many objects in the “Salon des Arts Menagers” and in the “Salon des Artistes Decorateurs.” In 1951, he collaborated with a number of different companies, producing furniture and design objects, such as the Mai Gallery, the Airborne Company, or the lighting manufacturer, Pierre Disderot. Disderot is considered one of the greatest lighting companies of the ‘50s.

Throughout his career, Pierre Guariche was fascinated by and explored the idea of space, playing with different volumes, colors, and materials. He was a member of the UAM (Union of Artists Modern) organization, which influenced the industrial aesthetic of the postwar period.

Pierre Guariche

Niko Koronis is an architect with master degrees in both architecture and product design. In addition, he is also a recipient of a PhD in architecture from the Architectural Association in London.

He has been a fellow at Central Saint Sartin’s in London and a researcher at the Alvar Aalto Foundation in Helsinki. He has taught, lectured, and undertaken research in architecture, product, and urban design in several universities throughout the world.

In addition to his academic career, he has exhibited his work in several group and solo shows, amongst which the Venice Biennale and the Triennale di Milano.

Ranya Sarakbi is a self-taught painter and sculptor. Her work, over the years, has resulted in the build-up of different collections of paintings, objects, wearable ornaments, and sculptures. Ranya Sarakbi read sociology and anthropology at the American University in Beirut. Ranya currently lives and works in Milan.

Ranya Sarakbi & Niko Koronis

Roger Capron, a versatile ceramic artist who made a mark in the 1960s and 1980s, is celebrated as one of the leading ceramicists of his time. In 1946, Capron relocated to Vallauris, France, a renowned pottery town, and established his studio. His journey in Vallauris included interactions with none other than Picasso, who joined the community a year later to explore his own ceramic endeavors. Capron was a pioneer of the “formes libres” movement during the 1940s, and his work was characterized by playful undulating forms, vibrant colors, and lighthearted touches.

As the years progressed, Capron’s style evolved towards mid-century modernism, drawing inspiration from Scandinavian design from the 1950s and 1960s. He crafted colorful tiled tables in sleek, simple, and functional forms.

Although Capron initially had a passion for drawing and attended the École des Arts Appliqués in Paris, his journey took a fascinating turn when he discovered ceramics. He established the “Callis” ceramic workshop in 1946, embracing the motto of his mentor René Gabriel: “to make the beautiful within the reach of all.” In doing so, Capron significantly contributed to the revival of ceramics in Vallauris, rubbing shoulders with other notable artists like Picasso. In 1952, he took a significant step by founding the “Atelier Capron,” a small factory that employed around fifty skilled artisans.

Capron’s distinctive style often incorporated earthenware and enameled lava tiles, traditionally reserved for decorative panels. This unique use of ceramics for furniture and objects became his signature. Notably, Capron was a trailblazer in leveraging his ceramic expertise for semi-industrial production, transforming his workshop into a small factory with an international reputation.

To this day, the remarkable creations of Roger Capron find a place of honor in renowned institutions like the Musée National de la Céramique in Sèvres and the Musée Magnelli in Vallauris.

Roger Capron

Vincent Beaurin is a French contemporary artist born in 1960 in Charleville-Mézières, France. He studied silversmithing at the École Boulle and painting at the ENSET in Paris during the 1970s. Initially focusing on painting, Beaurin's early work involved techniques such as blowing paint onto canvas. In the 1990s, his exploration of art's accessibility led him to design and produce domestic objects. After directing a design agency for four years, he returned to fine arts, integrating his design experience into his artistic practice.

Vincent Beaurin’s work has extended far beyond traditional art spaces, encompassing landmark collaborations that blend sculpture, architecture, and immersive design. Notably, he conceived over 40 unique pieces for the Cheval Blanc Randheli hotel in the Maldives, in collaboration with architect Jean-Michel Gathy — a project that epitomizes his sensibility for site-specific and contemplative environments. Beaurin’s creations have also been featured in exhibitions and collections across the globe, from the Palais de Tokyo in Paris to collaborations with Louis Vuitton and Dior, further affirming his place at the intersection of contemporary art and experiential luxury.

Vincent Beaurin

Vince Palacios has been working in the field of ceramic art since 1988. Palacios received his Masters of Ceramic Art from Alfred University and his BFA in ceramics at California State University at Long Beach. He now serves as Professor of the Ceramics Department at El Camino College in Torrance California. He came to El Camino College in 2011 after teaching for six years at Western Illinois University and ten years before that at California State University, Long Beach. He has shown his work nationally and internationally and is included in several important private collections as well as prominent museum collections. Palacios continues to exhibit his work and has developed a unique approach to the use of raw glass and ceramic materials as a means of crafting intricate narratives addressing geological process, pyroclastic interaction, and heat/chemical reactions

“As I worked on this series, humor and awkwardness emerged in the completed forms. My process is like that of a comedian or performer preparing for a routine: there are set ideas, techniques and expectations. However, each time you create or perform, something new emerges in response to external stimulus, or circumstance. I love improvisational work! Of course, there are things that I’m able to do with forethought and skill, but I’m most interested in those things that emerge in the moment. Unexpected, surprising, mostly uncontrolled. I am employing the wheel and hand building methods that leave many marks on the surface of the work.

There’s nothing new about the intimacy of touching clay and leaving your mark in earthen materials. Humans have been doing this from the very beginning; leaving a record or evidence of their existence, expression, and belief in any given material that they handle. It is a form of self- importance; a belief that what you’re saying is worth preserving. In this recent work, there is an almost haptic quality. it’s a language not composed of words, rather a composition of marks and bumps and stretching and pressing. In the end a story is being told, a form emerges; a truth is expressed.

I call the lumps or bulbous forms ‘potatoes’ on my work, but it doesn’t matter if you call them lumps, or bumps, or clumps, or tumors or potatoes, or whatever; these forms have always found their way into my work and have continued to show that humor has always played a significant role in my work from the very beginning. There is a clumsy sense of being out of place, of protruding or protrusion that creates a feeling of awkwardness. My goal is not to cause viewers to feel awkward, rather, to personally reflect on the sense of being out of place and finding a way of fitting in.”

Vince Palacios

Based in Beirut, Zein Daouk is a multidisciplinary architect with a passion for ceramics and an obsession for creating.

Her journey into clay begins in 1999, but it is only in 2020 that it becomes her voice and she devotes herself to ceramics professionally. Her work embraces the dialogue that links disciplines and highlights the fluid narrative between functional art and sculptural design. She explores form by working with the four elements; water stretches shapes into earth, air commits them to form and fire becomes the founding act that brings them to life.

A harmonious combination of biomorphic forms emerges and pushes the sculptural vocabulary to uncover a mysterious new species of functional art objects.

At the essence of her craft lies an insatiable curiosity to learn. “It takes a mind quiet enough to appreciate silent beauty, courage not to fear spontaneity, willingness to accept things as they are: graceful in their delicate asymmetry. It hinges upon the ability to slow down, to shift the balance from doing to being, to grasp the subtly graceful, the quietly sculptural… In the walls of clay forms, secrets unfold: nothing is finished and nothing is perfect; all is revealed as the clay peacefully flows and the muted words softly take form.”