Butacas de Terence Harold Robsjohn-Gibbings para Widdicomb, 1950. Juego de 2

British-born architect, author, interior decorator, and furniture designer Terence Harold Robsjohn-Gibbings was born in London in 1905. He studied architecture at London University, before relocating, in 1936, to New York, where he instructed an American cabinetmaker to construct work based on his sketches of classical Greek furniture—sketches creatively sourced from the British Museum’s ancient vase paintings and bronzes. Grecian design would remain a salient throughline of his work’s style, which undoubtedly was a brand of modern historicism, blending classical elements (e.g., rich woods) with 1930s Art Deco forms to create sculptural, sparse, and elegant furnishings.

After launching a Madison Avenue storefront in the late 1930s, to sell antiques alongside modern furniture, Robsjohn-Gibbings proceeded to design interiors across the nation for a venerable cast of icons: tobacco heiress Doris Duke, and cosmetic and fashion legends Elizabeth Arden and Lily Daché, among others. In 1944, he established himself as a public tastemaker with his book Good-bye, Mr. Chippendale, which outlined, for one, his opposition to what he deemed the lifeless utilitarianism of modernists like Le Corbusier, Ludwig Mies van der Rohe and Marcel Breuer. Robsjohn-Gibbings thus designed, in the 1940s and 1950s and for manufacturer Widdicomb, for whom he was the chief designer, working entirely in contrast to the Bauhaus’s stern aesthetic. A few such examples include: his Gibby Lounge Chair (1946), whose clean and comfortable design translated the neat plainless of traditional American forms into modernist idiom; and his tiered, biomorphic Mesa Coffee Table (1951), which, with its voluptuous abstract-organic shape, merged design with art, and is now considered a classic.

In the early 1960s, Robsjohn-Gibbings returned to his classical beginnings, joining forces with the Athens-based Saridis to bring ancient Greek furniture to the mainstream of contemporary design. Using local walnut, leather, and bronze fittings in accord with the methods used by early Greek artisans, he produced, over a fifteen-year collaboration, a number of such replications in Klismos, a range of curve-legged chairs, chaise lounges, and tables pared down to their essential forms.

He moved permanently to Greece in 1966, where he designed interiors for famous Athenians such as Aristotle Onassis. In the 1970s he began writing a series of guest columns for Architectural Digest, which he continued until his passing in 1976.

The roots of Italian industrial design company Tecno go back to the early 1920s, when woodworker and upholsterer Gaetano Borsani (1886-1955) set up Atelier Borsani Varedo (later called Arredamenti Borsani Varedo) in Varedo, Italy. In those early years, the family business produced fine, bespoke furnishings in a style that reflected the Art Deco movement as well as the artisanal traditions of the Brianza region of Lombardy. Participation in the Mostra Internazionale di Arte Decorative exhibitions in Monza earned Atelier Borsani acclaim in 1925, 1927, and 1930.

Gaetano’s twin sons Fulgenzio and Osvaldo Borsani took active roles in the company from an early age. While still studying architecture at Beaux-Arts Accedemia di Brera, Osvaldo designed a rationalist furniture collection, called Casa Minima, and presented it at the 5th Triennale di Milano in 1933. The project won a silver medal. Throughout the ’30s and ’40s, Atelier Borsani was commissioned by Lombardy’s elite society to create furniture for large and upscale domestic and office interiors.

Following the Second World War, Osvaldo began to envision transitioning his family’s business from traditional craft production to industrial manufacturing—even though his father Gaetano did not like the idea. Osvaldo remained determined to use modernist principles to design for the changing lifestyles of the postwar era. Together with his brother Fulgenzio, Osvaldo founded a new company, Tecno, in 1953.

Tecno’s first factory-produced collection of sofas, chairs, and tables received an enthusiastic reception at the 10th Triennale di Milano in 1954. The simple, adjustable D70 Sofa Bed (1954) received honorable mention, and Osvaldo promptly patented the design. Tecno’s next big hit was the P40 Lounge (1956), an adjustable, reclining chair with built-in footrest. Both of these Tecno products have become beloved symbols of the golden age of Italian modernist design.

While Osvaldo was inspired by the functionalist theories of the pioneers of modernism that practiced the generation before him, the flexibility and multipurpose capacities of Tecno’s earliest designs can also be traced to the work produced by Atelier Borsani Varedo. Gaetano’s success was built upon creating well made, customized, and adaptable furnishings. Osvaldo’s primary aim, in contrast to his father’s, was to take smart design solutions to the masses, especially in the context of office buildings and public spaces, like train stations, airports, and hospitals. 

In 1957, Osvaldo received his first first large-scale commission to design office furniture for ENI, the Italian multinational oil and gas company. More major commissions followed, and Tecno became internationally known for designs based in advanced technology.

In 1968, Tecno introduced the Graphis Office System (1967)—designed by Osvaldo Borsani and Eugenio Gerli (b. 1923)—at the 14th Triennale di Milano; it was heralded as a revolution in office furniture design because the system’s modular components allowed unlimited and customizable combinations that adapt overtime as companies grow and contract. It remained a bestseller for Tecno for decades.

In 1970, as Osvaldo began to step away from day-to-day operations and his son-in-law, Marco Fantoni, took a larger role—Tecno restructured its design approach. Underscoring the collaborative effort that goes into developing new designs, Tecno launched its Centro Progetti Tecno, an in-house team dedicated to communications and industrial design work. The Centro Progetti Tecno was responsible for a number of the company’s successes in the ’70s and ’80s, including the molded plastic Modus Office Chair (1972), which won the SMAU Prize in 1973; the steel mesh Waiting System (1983), a modular seating and table concept for large public spaces; and the rebranding of Alitalia worldwide (1982-84), for which Centro Progetti Tecno was award the Compasso d’Oro in 1984.

In the 1980s, Tecno began to commission outside designers to produced furniture designs—an approach that continues to this day. Highlights include Norman Foster’s Nomos Tables (1986); Luca Scacchetti’s Ianus Desk and Storage System (1988); Emilio Ambasz’s Qualis Chairs (1991), Piero Lissoni ‘s Asymmetrical System (2006); Rodolfo Dordoni’s PONS D011 Sofa and Table System (2011); Monica Förster’s Archipelago D502 Seating System (2012); and Luca Scacchetti’s Vara T503 Tables and Storage System (2013).

Tecno has also found success cultivating long-term partnerships with leading architects, who have commissioned Tecno to provide tailor-made furniture solutions for landmark buildings, such as Foster + Partners’ refurbished British Museum in London and Jean Nouvel's Agbar Tower in Barcelona.

In 2008, Tecno opened new Milan offices in the Porta Garibaldi Excise Buildings, following extensive adaptation and refurbishment work. Today, many Tecno products can be found in the collections of leading museums around the world such as  New York, SF MoMA, Victoria & Albert London, Pompidou Centre Paris, Neue Sammlung Monaco, Museum of Decorative Arts Montreal, and Triennale Milano.