PrimoPiano Modern Furniture

Tan France Pick Cutlery silver service for six in nickel silver or German silver, this set includes a total of 18 pieces; 6 spoons, 6 forks, and 6 knives with a steel blade. Set d...

Cabinet with two doors, inner shelves, and drawers from the Afrorismi series, it's made in gray metalized and grooved laminate, with legs and upper support in chromed metal, and over...

Chandelier with three lampshades in opaline glass and a structure in enameled and nickel-plated metal. Manufactured by Stilnovo in 1970s Italy. Stilnovo was an important lighting c...

Mid-Century Modern ceiling lamp with five lampshades in chromed metal and lucite plexiglass. Designed by Gaetano Missaglia and manufactured in Italy during the 1970s. Acrylic, also known as the brand names lucite or Plexiglas, was developed in the 1930s. Its scientific name is Poly(methyl methacrylate), or PMMA, and it is a type of thermoplastic, which is a plastic Material that is moldable at extremely hot temperatures and solid once cool. The company that created acrylic licensed it in two ways; first as Plexiglas to be a glass replacement, and afterwards as lucite for commercial uses in 1937. Commercially, lucite was used in jewelry, handbags, and cosmetics packaging. Plexiglas, in comparison, was often used for larger projects, such as aircraft windows, lenses for lighthouses, and aquariums. Before it was used widespread for furniture, acrylic was being utilized for military purposes, as wartime was quickly approaching. During World War 2 (1939-1945), the country’s resources were mostly directed to military uses, and acrylic was no different. Acrylic, as Plexiglas, was used to help the military, including as airplane windshields and submarine periscopes. Despite that, some people began using acrylic to make furniture. In 1939, Helena Rubinstein, a wildly successful cosmetics mogul and art collector, commissioned to Ladislas Medgyesan an entire suite of acrylic furnishings for her NYC apartment, including an illuminated acrylic bed in her bedroom and acrylic chairs for business meetings. When the war ended in 1945, acrylic was ready to be worked with in design on a larger scale. The company licensed lucite widely, making it much more available across every industry. It steadily gained momentum in the world of design, with artists and designers being inspired by its moldability and translucense. In 1959, French designer Erwine Laverne told a New York Times reporter, “The most important element in rooms is people, not furniture,” speaking to the growing popularity and importance of the clear furniture. But acrylic furniture hit its peak popularity in the 1960s and ‘70s, as more acrylic furniture designers and artists entered the scene. Glass artists began to take more of an interest in acrylics, especially taking advantage of acrylic’s flexibility, light weight, cost, and capacity to refract and filter light. Designers like John Mascheroni and Charles Hollis Jones, known as the Godfather of lucite, created iconic pieces that still look beautiful in today’s modern home. Designers and artists alike loved the durability and look of acrylic. As Charles Hollis Jones put in an interview with Ravelin Magazine, “I worked a lot with lucite when I first started. When I worked with the company that wanted me to go to Europe, they had me work with glass, ceramic, enamel. I went over there and the glass was always in the wrong color and it always broke. When the earthquakes came, I got visual proof of that. I like to work with acrylic because it does two wonderful things that glass doesn’t. It’s shatter-proof, first of all. I can also change the microstructure and make it one-tenth the strength of steel. And the most important thing it does: it carries light. Glass reflects light. lucite holds it and carries it. If you play with it, you can make a lens to look at something in space. It’s that good. It’s purer than crystal.” In fact, acrylic was often used in chandeliers as well, mixed with other materials to make incredible striking designs that would have been much more difficult to achieve with glass. Recently, acrylic furniture has once again risen in popularity. While many of the designs are timeless, more designers are coming forward with acrylic furniture for the modern home. In 2002, designer Philippe Starck introduced his Louis Ghost Chair, and the trend has only grown from there. You’ll now find entirely acrylic pieces of home furnishings and accessories, as well as acrylic-detailed furniture all across the market. With so many designs, options, and knock-offs all across the market, we at clear home design...

Table Lamp in red lacquered stainless steel produced by Studio Set in 1970s Italy.

Platone folding table or desk with structure in chromed steel and die-cast aluminum, table top in black ABS. Designed by Giancarlo Piretti and produced b...

Coupè or 3320R arched floor lamp with semispherical lampshade in withe lacquered aluminum, stem in chromed metal and base in white lacquered aluminum. Designed by Joe Colombo and ma...

Lesbo table lamp with a polished metal base with a diffuser made of a single hand blown Murano glass element. The beautiful shape of the diffuser and the peculiar white-transparent s...

Set of three Alky chairs with a structure in aluminum covered with dark brown velvet and chromed metal feet. Designed by Giancarlo Piretti in the 1970s for Anonima Castelli. The man...

Set of three nesting tables with structure in steel, feet, and table tops in resin, designed by Gaetano Pesce and produced by Fish Design in 1999. Dimensions: Blue; H38,5 x 40 x 40 cm Red; H30 x 40 x 40 cm Yellow; H23 x 40 x 40 cm Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

Atollo table lamp in white lacquered metal, designed by Vico Magistretti in 1977 and produced by Oluce. Source bulb: 2 x max 100 W E27 - universal dimmer Atollo has emerged as the...

MB15 large sideboard with four-door panels in wood, designed by Franco Albini in 1956 and produced by Poggi, Pavia. The MB15 sideboard showcases a clean and solid design characteriz...

Mojo vase in polyurethane foam painted with elastic resins, designed and manufactured by Gianni Osgnach in 1997. With the author's signature and date under the base

Cornaro living room set is composed of a two-seater sofa with two armchairs, a frame in lacquered wood seat, and a back in padded fabric, with leather ties. Designed by Carlo Scarpa...

Set of six cups in silver alpaca designed by Gio Ponti for Fratelli Calderoni, 1950s. Manufacturer's brand stamped on the bottom. Sizes 4 x 9 cm each.

A set of three vases in blue enameled ceramic, designed by Angelo Mangiarotti and produced by Fratelli Brambilla in the 1960s. The vases can be used singularly or as a beautiful com...

Blitz table lamp in green lacquered metal was designed by Trabucchi, Vecchi, and Volpi and produced by Stilnovo in the 1970s. The manufacturer's label and stamped logo is present on...

The Faces chair from the Nobody's Perfect series is in resin with plastic pegs, designed by Gaetano Pesce and produced by Zerodisegno 2005. With the manufacturer's brand stamped on the back-side. Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma...

Small chair in red and black resin from the Nobody's Perfect series designed by Gaetano Pesce and produced by Zerodisegno 2002. With the manufacturer's brand stamped on the back side. Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

The living room set is composed of a Nuvolone modular sofa (with six modules) which can be arranged to your liking. The sofa and the tables present a polyurethane foam upholstered s...

Floor lamp model 399 (from cornalux series) with structure in nickel-plated metal, lacquered metal and cast iron. The lamp bulb is adjustable in height achieved by a bracket that allows the lamp to be slid up and down the lamp stem. This lamp was designed by the Italian duo formed by Angelo Ostuni & Renato Forti and manufactured by O-Luce in 1958. Measurements: H 141 x Ø 24 diameter (base 20cm). Founded in 1945 by Giuseppe Ostuni, Oluce is the oldest Italian design company still operating in the lighting world, a unique production excellence which translates passionate aesthetic and technological research into the potential of light into actual form. Over the years, Oluce has succeeded in building a collection structured like a tale, rich and multifaceted, inhabited by products that transcend fashion to become Italian design icons. Its relationship with the design world begins In 1951, Oluce successfully took part in the IX Triennale, presenting – in the lighting section curated by Achille, Livio and Pier Giacomo Castiglioni – a Luminator designed by Franco Buzzi. As was typical at that time, the company instantly gained visibility on the international panorama thanks to Domus magazine. Major success was then reasserted by Tito Agnoli with nominations at the second edition of the Compasso d’Oro awards, in 1955, for his two lamps (the 363 floor lamp and a special bookshelf model). In 1956 these were followed in rapid succession by two more nominations: one for a remarkable table lamp in polyvinyl slats and another for a pendant lamp (mod. 4461) with double perspex shade. Then, there was the noteworthy 255/387 lamp (known as ”Agnoli”), a spot light supported...

A rare ceiling lamp or chandelier (model Step) with a semisphere lampshade in black lacquered aluminum, it was designed by Elio Martinelli and produced by the Italian company, Martinelli Luce during the 1970s. The concentric shapes repeated in a precise sequence, from which the Step lamp is structured, reveal an attitude of the designer in search of geometric essentiality. It is a lamp characterized by simple and functional lines in which all the elements are inserted into each other reducing to a disk a few centimeters high, with closing system and telescopic opening. Its particular metal lamellar structure recalls some of the most famous lamps by Alvar Aalto and the hexagonal lamp designed in 1959 by Bruno Munare for Danese. Literature: Emiliana Martinelli, Elio Martinelli e Martinelli...

A rare ceiling lamp or chandelier (model Step) with a semisphere lampshade in white lacquered aluminum, it was designed by Elio Martinelli and produced by the Italian company, Martinelli Luce during the 1970s. The concentric shapes repeated in a precise sequence, from which the Step lamp is structured, reveal an attitude of the designer in search of geometric essentiality. It is a lamp characterized by simple and functional lines in which all the elements are inserted into each other reducing to a disk a few centimeters high, with closing system and telescopic opening. Its particular metal lamellar structure recalls some of the most famous lamps by Alvar Aalto and the hexagonal lamp designed in 1959 by Bruno Munare for Danese. Literature: Emiliana Martinelli, Elio Martinelli e Martinelli...

Mitzi sofa presents a poplar plywood base with erable finish, semi-gloss water–based varnish, iron inner structure, polyurethane cushions, wool cloth uphol...

Triglifo is an elegant statuette entirely realized in ceramic as a part of a 12 columns series designed by Alessandro Mendini and produced by Superego in th...

Canada settee armchair with a structure in wood, seat, and back in padded blue-green velvet. It was designed by Ettore Sottsass Jr in 1959 and produced by the Italian company Poltro...

Ara console table with a wooden structure and a glass top, was designed by Lella and Massimo Vignelli and manufactured by Driade in 1974. Licterature: G. Gramigna, Repertorio del De...

Elegant abat-jour table lamp in satin murano glass “a bolle” with brass details. The conical lampshade diffuses a beautiful indirect light that valorize the room. Label inside the ...

Living room set composed of a Nuvolone modular sofa (with six modules) and a large coffee table (with storage units) which can be arran...

The hanging lamp model "KD 6” was designed by the brothers Castiglioni and was among the first lamps produced by the famous Italian company Kartell. KD 6 lamp ...

The living room set is composed of a Nuvolone modular sofa (with five modules) and a large coffee table (with storage units) which can be arranged to your liking. The sofa and the t...

The living room set is composed of a Nuvolone modular sofa (with five modules) and a large coffee table (with storage units) which can be arranged to your liking. The sofa and the t...

Alda wall lamp in rubber and steel rod, designed by Gaetano Pesce and realized in 2004. The lamp has a US plug (type A) Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

Set of two wall lamps model 238/2 with supports in black lacquered metal, lampshades in blown glass, and black enameled aluminum, designed by Gino Sarfatti and produced by Arteluce d...

Set of ten Catilina chairs with frame in painted steel, seat in black lacquered multi-layered wood, and polyurethane cushions covered with leather. This...

Set of four foldable Umbrella chairs with an aluminum frame, cast resin seat and handle and leather ties designed by Gaetano Pesce and produced by Zerodisegno in 1995. Each chair presents the manufacturer's stamp on the seat. Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

The Luigi 902 (O mi amate voi?) shelf, with a lacquered wood frame and a metal base, was designed by Gaetano Pesce and produced by Bernini in 1981. The Luigi 902 is a free-standing shelf with a double frame in wood and metal and two tilting shelves that can be blocked in a horizontal position through a screws system placed directly on the frame. When the shelves are down the bookcase functions like a screen or a divider The base of the wooden structure has a metal reinforcement to ensure balance and stability. Gaetano Pesce is a prominent contemporary Italian designer and architect known for his bold experimentation with materials and color. Throughout his career, he has collaborated with some of Italy's leading design companies, including Artemide, Vitra, Cassina, and B&B Italia. Born in 1939 in La Spezia, near Genoa, Pesce enrolled at the University of Venice in 1959 to study architecture and graduated in 1965. During the final years of his studies, he also participated in courses at the Venice College of Industrial Design, where he was influenced by distinguished faculty members like Ernesto Nathan Rogers and Mario Bellini. Encouraged by their teachings to embrace innovation in modern design, Pesce became involved with an avant-garde architectural collective called “Gruppo N,” which drew inspiration from the streamlined aesthetics of the Bauhaus. These diverse inspirations equipped Pesce to embrace contemporary materials and explore the forms they enabled. His designs range from small decorative objects to large architectural spaces and reflect deep contemplation of the modern era. Notable works include his iconic La Mamma chair...

Console table with a base in black lacquered metal and an ovoidal table top in granite, originally designed by Aimaro Oreglia d'Isola and Roberto Gabetti f...

A Mid-Century Modern console table with a structure in black lacquered wood and a tabletop in Zebrino marble, Italian manufacture from the 1950s. The console table presents a single...

Set of twelve dining chairs with wooden frame, seat and back in leather designed by Ilmari Tapiovaara and produced by La Permanente Mobili Cantù in 1950s. This set of chairs presen...

Torbecchia dining room set is composed of four chairs, one table, and one bench. The table and the bench were made in walnut wood, the chairs have a structure in walnut wood and wove...

Set of twelve Tulu stackable chairs with frame in bent steel rod, seat and back in leather, designed by Takahama Kazuhide in 1968 and produced by Simon Gavina in the 1970s. The Tul...

Set of six Alessia chairs with legs in tubular chromed metal and seats in white ABS, designed by Giotto Stoppino and manufactured by Driade in the 1970s. (Manufacturer's brand visi...

Tobia and Afra Scarpa Morna bed with nightstand in wood, black padded leather, and plexiglass. Produced by Molteni, 1972ca. Italy. Mattress size: 200 x 180 cm (max.) The mattres...

Vase in white enameled ceramic, designed by Sergio Asti and datable in the 1980s. The vase is an author's proof as indicated under the base. The ceramics and glass production of Sergio Asti reflects his methodical and accurate ways of thinking, who offered through his sensibility and his strong relationship with the Italian fine design tradition an exploration of silhouettes, forms, materials, techniques, and colors. This vase was part of a series of totemic and tubular ceramics...

Jaipur vase in black enameled ceramic, designed by Sergio Asti and datable in the 1980s. The vase is an author's proof as indicated under the base. The ceramics and glass production of Sergio Asti reflects his methodical and accurate ways of thinking, who offered through his sensibility and his strong relationship with the Italian fine design tradition an exploration of silhouettes, forms, materials, techniques, and colors. This vase was part of a series of totemic and tubular ceramics...

A living room set composed of an oval-shaped oak gateleg table with metal details, designed by Borge Mogensen and produced by Karl Andersson & Soner, as well as a set of eight wishbo...

This is a rare office chair featuring a metal frame and a seat and back upholstered in black leather, it was designed for the offices of the Palazzo Montecatini in Milan. The design...

High backrest Cross armchair designed by Marcello Cuneo in 1974 and produced by Arflex in the late 1970s. The Cross armchair presents a very simple structure in black lacquered metal...

Rare ceramic tea service for six in a very elegant light blue shade with decoration refined in pure gold, it was designed by Antonia Campi and manufactured by Laveno Ceramica in Verbano during the early 1950s. This set is composed of six (6) teacups, six (6) tea saucers, one (1) sugar bowl, one (1) teapot, and one (1) milk jug. Measurements: -Six cups 6 x 8 x 5.5 cm (each) -Sugar bowl 9 x 12 x 7 cm -Teapot 19 x 16, 5 x 9.5 cm -Milk Jug 11 x 12 x 7 cm. In 1856 Carlo Caspani, Alessandro Carnelli, and Severino Revelli, three employees of the Richard Ginori ceramics factory in Milano, set up the Società Ceramica C.C.R. making use of a disused building that had been a glass factory near the lakeshore. Production mainly consisted in fine earthenware and fire bricks. One of the key choices for the success of this initiative was an industrial-scale production of low-cost earthenware for domestic use. The manufacture of Laveno was gaining reputation; so that in 1869 part of its activity had to be moved to a new building called “Lago”. In 1883 it adopted a new denomination, Società Ceramica Italiana (with an S.C.I. trademark) that was to become famous. During this period, S.C.I. was led by bright managers: Tommaso Bossi and his successor Luciano Scotti, a graduate in engineering who led the company all the time from 1895 to 1956, raising it to its top level of capacity and production. In 1925 the Mulini plant was built in the Boesio area, where the blends and ''bodies'' were prepared. The Magazzini Generali (a warehouse), were also built and directly connected to the railway network. All the factory sites were interconnected by a “Decauville” railway for transporting materials. Also in 1925 the Verbano plant was built, following an agreement with the German Rosenthal company, for producing porcelain tableware and, later, ceramic insulators. The drive for innovation in production technologies, that took place during the Twenties, was accompanied by an equally intense artistic development. During the twenty's the architect Piero Portaluppi started collaborating with S.C.I. and thanks to Luciano Scotti’s foresight, young Guido Andlovitz, who had entered the company in 1923, was appointed art director in 1925, who introduced a renewal in the style of shapes and decorations, so that towards the end of the 1920s Ceramica di Laveno competed with Richard-Ginori, for the leading position in the ceramic art of Italy. Near the end of the 1930s, collaboration was started with Angelo Biancini, who created a new product line of artisan taste. In the late Forties, the young Antonia Campi joins the company as a decoration worker. Immediately, Guido Andlovitz notes her ability and potential qualities, and moves her into the artistic department. Starting with her 1948 first tiny vase...

Low rectangular shaped table with a frontal drawer realized in wood with a glass on top, originally designed for the offices of the Banca Nazionale del Lavoro (BNL) Italian manufactu...

Oracolo floor lamp with a cilindical basement in brown lacquered metal with a pierced stainless steel section, and a blown glass diffuser. This lamp was designed by Gae Aulenti in ...

An entrance hall set composed of two coat racks with a drawer and a bench with a storage unit, designed by Carlo de Carli for FIARM in 1960s. This set is made with curved plywood and...

A single armchair, model number 6522, manufactured by Gebruder Thonet in 1909 and designed by the Viennese architect Marcel Kammerer. This Thonet armchair presents a structure in dar...

Square Brugiana table with a base in white Carrara marble and geometric elements in arabescato, green Alpi, sandstone, and red Levanto marble, glass on top with a white Carrara marbl...

The S-chair has a metal structure and seat in gold leather, it was designed by Tom Dixon and produced by Cappellini in the 2000s. Tom Dixon’s iconic S-Chair is an object with a hand...

A very rare set of six dining chairs entirely made in curved wood, this set was designed by the Italian artist Sineo Gemignani and manufactured in Ital...

PL19 also known as Tre Pezzi armchair with black enameled steel tube structure, upholstered in black Mongolian goat wool. Designed by Franco Albini & Franca Helg for Poggi, Pavia...

Set of two table lamps model 214 also known as Vipere with structure in brass and lampshade in red lacquered metal, designed by Giuseppe Ostuni and produced by Oluce in the 1950s. ...

Set of two stools with three legs entirely realized in black stained wood, designed in the style of Charlotte Perriand and manufactured in the 1950s. Charlotte Perriand (1903-1999) is one of the most important female furniture designers of the mid 20th century. As early as 1927 Perriand produced a number of critically acclaimed innovative pieces of metal furniture, which drew the attention of Le Corbusier and Pierre Jeanneret. The result was the beginning of a work relationship that lasted many years. At Le Corbusier’s studio Charlotte Perriand developed a series of tubular steel chairs, among them the famous adaptable chaise longue, which was produced by Thonet two years later. Perriand’s work continued to evolve and in the mid 1930s, she started to experiment with natural materials such as wood and cane. She traveled to Japan in 1940 as an official advisor on industrial design to the Ministry for Trade and Industry to advise the government on how to raise standards of design in order to develop products for export to the West. Perriand adapted local techniques of woodwork and weaving - straw, bamboo and twigs becoming her materials of choice. It was especially after World War II, when Charlotte Perriand developed a new concept for the way of living by increasingly integrating the human dimension into her productions. Through flexible use of materials she achieved recognition with her pure and powerful style – as exemplified in her free form massive wood table models. Conscious of economic and social realities, she decided to opted upon large-scale production, and finding a new synthesis between tradition and industry. “Always concerned with innovation rather than trying to affirm a formula for renovation”, she designed various housing developments such as the Unité d’Habitation in Marseilles, with Le Corbusier in 1949, as well as rooms at the International Students’ Residence in Paris in 1953. Included was a library built in...