Paolo Buffa was the son of painter and glassworker Giovanni Buffa. After training in the studio of architect and designer Gio Ponti and Emilio Lancia, Paolo Buffa opened his own space with Alberto Cassi Ramelli in 1928. Here he focused on the design and production of objects in neoclassical style: in line with the tendency of the 1920s. In the 1930s,Paolo Buffa was busy with more wide-ranging projects: public spaces such as shops and businesses, liveable constructions and private furnishings for the families of the Milanese bourgeoisie. For a period he was a collaborator in the magazine Domus, a rising star in terms of magazines on design and architecture. In these years, Paolo Buffa participated in different Triennali. Together with Alberto Cassi Ramelli he presented at the IV Esposizione Internazionale di Arti Decorative with a dining room project in Caucasian walnut and rosewood, for the “Villa Moderna” competition. In 1933 he personally signed a work area, and was one of the fitters of ENAPI rooms, along with Tomaso Buzzi, Franco Albini and Gino Pollini; In addition to the section ‘fabrics’, he designed fabrics for interior decoration. At the VI Triennale in 1936 he worked on a residence project in polychrome marble, a chest of six drawers and tables, again designed for the setup of ENAPI. Just after the war Paolo Buffa was a guest at the ‘Prima mostra dell’Arredamento’ organised by Ico Parisi in 1945 in Como, together with Alberto Cassi Ramelli, Gio Ponti and Guglielmo Ulrich. The exposition would later come to Milan under a different name: ‘Mostra Mercato per la Ricostruzione’. In 1947, Paolo Buffa exhibits ‘Lo stile dell’arredamento moderno’ in Milan, a manifestation wanted by the creator of Fede Cheti fextiles and that saw Paolo Buffabecoming one of the important designers of the age: manifestations which were replicated at the ‘Sal Des Artistes Decorateurs’ in Paris the following year, with a construction of the Italian Pavilion by Fede Cheti. The commissions that Paolo Buffa received in the 1940s and 50s increased significantly, in importance and prestige, for the company of Mario Quarters he produced numerous furnishings for interiors and public buildings (the Royal Palace of King Zoc of Albania in the 40’s, parts of the Hotel Quirinale in Rome ’47 -’51, several ship fittings, for example for the Leonardo Da Vinci). In the 1950s he engaged himself in the projects of some branches of the Italian Banking Institute and of the Provincial Bank of Lombary, whilst continuing to create furniture and interior design for private homes.