Benjamin Pardo and David Gresham are passionate collectors and trained architects and industrial designers with decades of experience in the design industry.
Altogether, Pardo and Gresham’s work and interviews have been featured in over thirty publications including
The New York Times,
Domus, Dwell, Elle Décor, and Architectural Digest.
Pardo was president of the Italian manufacturer Unifor for 17 years before joining Knoll in 2005, where he remained for over 15 years and served as a senior vice president and design director, redefining everything from their global product portfolio to the company’s showrooms and retail architecture. Over the course of his career he has collaborated with and guided the work of Marc Newson, Piero Lissoni, Antonio Citterio and countless others, and curated and renewed the work of Florence Knoll, Mies Van Der Rohe, Harry Bertoia, and George Nakashima, to name but a few. Now, he is a professor of interior architecture at the Harvard University Graduate School of Design.
Pardo’s partner, award-winning designer David Gresham, worked as vice president of design at Fitch, Steelcase, and Wet Design and, since 2011, has run his own design consulting business. Gresham also co-founded Design Logic while a student at Cranbrook Academy of Art in the 1980s, a short-lived but influential company that helped change the design landscape and practices in the United States and abroad. Altogether, Pardo and Gresham’s work and interviews have been featured in over thirty publications including The New York Times, Domus, Dwell, Elle Décor, and Architectural Digest.
Pardo and Gresham’s genuine love of architecture and design and nuanced understanding of how the two co-exist results in a harmonious, layered, visually stimulating collection in which various pieces riff off of one another...
The couple’s considerable experience with design and architecture informs their impeccable ability to combine a variety of modern objects, furniture, and art into what has been described as a cozy, livable form of modernism. They have a particular fondness for Ettore Sottsass’s designs and amassed an impressive array of his ceramics, furniture, and lighting, which they balance with Scandinavian and American modern pieces by Charles and Ray Eames, Eero Saarinen, and Hans Wegner, and stark, geometric artworks by Donald Judd, Ellsworth Kelly, and Richard Serra. While such an amalgamation of styles could become dissonant and overwhelming, Pardo and Gresham’s genuine love of architecture and design and nuanced understanding of how the two co-exist results in a harmonious, layered, visually stimulating collection in which various pieces riff off of one another: the black of Kelly’s geometric prints continues in the custom black Wegner valet chair and bench, Judd’s bright, hard-edged rectangles call to the architectonic, equally colorful Sottsass vases and teapots, Calder’s black, white, and red tapestry calls to the similarly hued but stylistically different metal flowers by Gherardo Frassa, and so on.
Pardo remarked in a 2008 interview about his and Gresham’s New York apartment that “you don’t want to look at superfluous things.” This thoughtful approach to building a space is evident in each and every work they acquired.
A chair is only finished when someone sits in it.
Hans Wegner
We must take care that everything doesn't get so dreadfully serious. We must play—but we must play seriously.
Hans J. Wegner
Hans J. Wegner 1914–2007
Hans J. Wegner was born in Tønder, Denmark in 1914. As a teenager, Wegner apprenticed with master cabinetmaker H.F. Stahlberg before enrolling at the Danish School of Arts and Crafts in 1936. In 1940, Wegner teamed with Arne Jacobson and Erik Møller to design furniture for the newly built City Hall building in Aarhus, Denmark. In 1943, Wegner opened his own drafting studio. Wegner insisted on the highest standard of craftsmanship for his furniture, and his chairs often feature traditional mortise and tenon joints and unique materials such as paper cord.
Wegner’s famed China series (inspired by the imperial Chinese chairs from the Ming dynasty) was designed in 1949. That same year he introduce what is probably his most iconic seating design, The Chair at the Cabinetmakers Guild exhibition in Copenhagen. In 1951, his chairs were featured in the Museum of Modern Art’s famous Good Design exhibit. His chairs reached a national audience in 1960 when John F. Kennedy and Richard Nixon sat in them during the televised presidential debate. In 1971, Wegner was awarded the Diploma di Collaborazione at the Milano Triennale. Wegner created his innovative three-legged stacking chair known as the PP58 in 1988. In 1992, he retired from his firm and his daughter Marianne took over his practice. Wegner died in 2007.
In 2014, the Design Museum of Denmark honored Wegner with a retrospective of his work. Wegner’s furniture designs are held in the collections across the globe and can be found in the Museum of Modern Art, New York, the Victoria and Albert in London, and the Vitra Design Museum in Germany, among many others.
Auction Results Hans J. Wegner
