[2] At every scale, his approach to "finding order in complexity" resulted in his openness to technological innovation, materials and aesthetic functionality that enhanced the human experience.

He collaborated with many of his peers during his lifetime, including historians Argan, Domenico, Pica and Veronesi, critics Zevi and Dorfles and architects Rogers and Ponti.

This piece was light, functional and playful, manufactured in several bright colors and it was among the furniture designs responsible for convincing people that plastic was a viable and appropriate material for the modern home.

Zanuso and Sapper were hired in 1959 as consultants to Brionvega, an Italian company trying to produce stylish electronics that would, at least outwardly, beat those being made in Japan and Germany.

[4] Designing complex commercial warehouses and offices, public buildings and domestic spaces, with equal ease, he aimed to enhance modern society, responsibly.

His exploration of architecture in response to nature was an ongoing theme as seen in Cimiterio a la Muda, Longarone, (1967–1973) which was a collaborative project with Gianni Avon, Francesco Tentori and with notable Italian landscape architect, Pietro Porcinai.

The major pieces of his career run a broad spectrum from early experiments in bent metal to luxurious, plush furniture to sleek industrial designs in plastic.

Zanuso lauded the new material, "One could revolutionize not only the system of upholstery but also the structural manufacturing and formal potential...our prototypes acquired visually exciting and new contours...with industrial standards that were previously unimaginable."