Hermann
Becker

Blending industrial precision with artistic sensitivity, he chose steel as his material of choice, embedding his work within a raw, pared-down aesthetic, both minimalist and deeply expressive. Beyond materiality, Hermann Becker engages in a genuine reflection on the object, its function, and its symbolic weight.

Far from limiting himself to a purely functional approach, Hermann Becker shapes his creations as bridges between cultures, eras, and disciplines. His furniture, often described as sculptural, challenges established norms by offering a physical and philosophical experience of sitting. A simple bench thus becomes a silent manifesto: at a height of 37 cm, it compels us to reconsider our posture, to reconnect with the ground, and symbolically, to rethink the way we inhabit the world.

This chosen height is far from trivial, it reflects a strong political and cultural gesture. By inviting users to sit at the same level as certain African communities, Hermann Becker breaks down a long-standing, implicit hierarchy and suggests an equalizing of perspectives.

The Kleine Mannesmann (1989) bench – which in French translates as “little manly man” –is a clear nod to the work of the Nouveau Réalistes. Indeed, the reuse of this steel tube points toward a rediscovery of industrial materiality. The technological world to which this striking seat belongs evokes the works of César and Arman before him.
The felt covering the bench’s surface is likely a playful reference to one of his German contemporaries: Joseph Beuys, who made felt his signature material.

Drawn from a rich cultural diversity, Hermann Becker’s works help us expand our understanding of objects and their beauty.
They build a bridge between traditions at a pivotal moment, the end of the Cold War, anticipating the opening of borders, minds, and sensibilities.
The Mille-pattes bench (1989) embodies this desire for dialogue, this yearning to connect the rational and the symbolic, the useful and the spiritual.

Today, in a world seeking meaning, Hermann Becker’s work resonates anew. It invites us to slow down, to observe, to feel differently. Through the brilliance of steel, the designer sculpts coldness, postures, and bridges, true invisible links between people and cultures, between poetry and industry.