[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-foscarini-some-think-it-is-just-about-shedding-light":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":635},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":630,"matched_pages":631,"match_count":632,"two_pages":633,"show_text":634},15405,"Some Think It Is Just About Shedding Light","foscarini-some-think-it-is-just-about-shedding-light","\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F99\u002Fd3ad36e6995e0e10548ae5dcc44bb6-2854da3c0b.pdf","Foscarini",90,"foscarini","41.0 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504,508,512,516,520,524,528,532,536,540,544,548,552,556,560,564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.2.png","1\n   Some think it’s just \nabout shedding light.\nFoscarini 1983 \u002F2023\nEdited by: Alberto Bassi \nand Ali Filippini\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.3.png","3\nFoscarini\nAbout shedding light\nForty years have passed, but when we turn on a new lamp it is always a novel \nexperience. Because there is something magical about that instant in which an idea, \nhaving become an object that spreads its glow, demonstrates its light. \nWe have discussed, studied, developed, transformed it into a prototype, imagined \nit together with the designer for months, sometimes even years. We think we know \nall about it: but the thrill that is unleashed in that ﬁ rst moment when the electricity \ncrosses the lamp is always truly surprising. It is the ancestral fascination with the \nbirth of light – an immaterial material that shapes our world – which makes us still \nsay, after forty years, that the most important lamp will always be the next one. \nThis drives us to cultivate human short circuits with designers, artists, artisans, \nwithout whom not one of our projects could take form.\nBecause design as we see it, and as it is viewed by those who work with us, means \ngiving meaning to things through confrontation and constant learning. To make not \nanother lamp, but that particular light: which speaks to people, makes them feel at \nhome, ﬁ lls everyday life and its spaces with emotion and atmosphere. \nIn this job we often have to rack our brains, working stubbornly to achieve \nand express that speciﬁ c meaning. Developing the creative thoughts of designers, \nexploring technologies and production techniques with the ﬁ nest artisans in the \nterritory, experimenting with materials, trying things and learning from our \nmistakes. Because everything we do today adds a chapter, a paragraph or simply a \nsentence to the long history of design.\nThis has been our corporate culture for forty years: we like to hone and expand \nour expertise, to associate light with unexpected materials, to interact with designers \nbut also artists, photographers, researchers, writers, on projects created to spread \ndesign culture. \nIt is from who we are that we have to move on to build the next forty years of our \ncompany. The challenge is to preserve a consolidated heritage and to invent new \nways of expressing its essence, using constantly changing tools and operating in \nincreasingly competitive contexts. \nEvery enterprise has its own way of being in the world. Ours urges us to work on \ncomplexity in projects, because doing business means making design culture and \nproducing lamps that are laden with meaning. We will continue to do this, because \nit is what we are. And it is also a lot more fun.\nCarlo Urbinati\nFoscarini Founder and President\n3\nIt always feels like the ﬁ rst time.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.4.png","5\nFoscarini\nIndex\nChap. 1 —  A new design for light\n   Aurelio Magistà — Foscarini, identikit \n   of a character\nChap. 2 — The deﬁ nition of an identity \n   G. P. Lazzer \u002F B. Mirisola \u002F V. Tabaglio \n   — Light as a Shadow\nChap. 3 — Design as research\n   Stefano Micelli — Making design\nChap. 4 — Communicating the culture of light\n   Beppe Finessi — To display and to show oneself\nChap. 5 — Designing space with light\n   Massimo Curzi — Luminous mystery\nChap. 6 — Imagining the future \n   Alberto Bassi — Design, enterprise \n   and new conditions of the hybrid era \nList of Works\nDesigner Biographies\nAnalytical index\n007\n044\n049\n104\n109\n160\n165\n196\n201\n234\n239\n248\n253\n279\n303\n5\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.5.png","7\n \nFoscarini\n  CHAP. 1 — \n1983 \u002F2003: \nA NEW DESIGN \nFOR LIGHT\nAbout shedding light\n7\nThe entrance to Foscarini’s ﬁ rst \nheadquarters on the island of Murano \nin the 80s. \nOpposite, the headquarters in \nMarcon, on the Venetian mainland, \ninaugurated in 2003. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.6.png","Cap. 1 — 1983 \u002F2003: Un nuovo design della luce\n9\nFoscarini\nAbout shedding light\nChap. 1 — A new design for light\nFondamenta Manin 1, Murano. The history of Foscarini starts here, on the \nVenetian island famous for the production and culture of glass. The year is 1981, \nand in that period the company founded by Riccardo Olivieri produced lighting \nﬁ xtures on commission for contract applications, especially in emerging markets, \nlike those of the Arab world. From the outset, Foscarini combined the techniques \nof glass blowing with a speciﬁ c focus on technical aspects, unlike most of the other \nMurano-based ﬁ rms. This product-oriented approach can already be seen in the \nﬁ rst catalogue, in 1983, opening the way into new markets and channels of distri-\nbution, beyond commissioned projects. The designers of the lamps in the collection \nwere Carlo Urbinati – now the owner and president of the company – and Alessan-\ndro Vecchiato; both had studied architecture, and both were already working in the \nﬁ rm’s technical division. One year earlier, they presented lamps in blown glass with \nhalogen light sources at Euroluce in Milan, the Graphos and Clessidra models, and \nthey were the ones who urged the company to invest in the industrial production of \nlamps, remaining (with few exceptions) the only designers until 1989. As it was, they \nhad very clear ideas: “Our project – they stated – has to do with light combined with \nthe use of glass”,1 reversing the usual outlook on the sector in Murano, based on the \ncreation of beautiful glass enhanced by the inclusion of a light bulb. The results of \nthis modus operandi were not long in coming, also thanks to the choice of working \ntogether with the best manufacturers, each specialized in the production of a spe-\nciﬁ c type of glass. The company stood out from the others on the island of Murano \nbecause it did not have its own in-house production facility, its own glassworks. \nDevices in blown glass that produce light began to appear, based on the deve-\nlopment of unusual methods of production that stimulate master glassmakers to \nwork in novel directions. This attitude was derived from the previous experience \nwith bespoke projects for the contract sector, where depending on the needs of the \nclient involved turning to different suppliers – artisans or industrial companies – to \nobtain a certain type of workmanship. Only by doing so, it was possible to achieve \nan increasingly high level of complexity. Having conserved this attitude, making \nit ‘systematic’ for serial production, was a decisive step for the growth of Foscarini \nand of a ﬂ exible corporate mentality, open to innovation. This was undoubtedly \ncombined with the authorial aspect, driven by the enthusiasm and passion with \nwhich Urbinati and Vecchiato set out in those years to discover a speciﬁ c language \n1. \nA. Bassi, ’83 ’03 Foscarini. Twenty years \nof lighting design, Foscarini 2003, p. 35. \nSee this publication, created for the \ncompany’s 20th anniversary, for an in-depth \nexamination of the events summed up herein.\n9\nClessidra\n    “Fondamenta Manin 1, Murano. \nThe history of Foscarini starts here, \non the Venetian island famous for the \nproduction and culture of glass”. \nClessidra ﬂ oor lamp with the detail \nin Incalmo (grafted) glass, using a \ntechnique that allows blown glass objects \ncharacterised by several different coloured \nparts to be created. Graphos table lamp \nwith hand-opened glass base. \nRiccardo Olivieri captured with the \nﬁ rst standard production models.\nGraphos\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.7.png","11\nFoscarini\nChap. 1 — A new design for light\nAbout shedding light\nfor the design of lamps in Murano glass, inside a productive context that needed to \nbe revitalized. To be innovative, proactive, to test (in other words) one’s own creati-\nvity, it was therefore necessary to be recognized and to stand out in the world of de-\nsign. “When we started out, we had everything to lose”, recalls Urbinati,2 emphasi-\nzing the fact that when they decided to launch this entrepreneurial venture, he and \nhis partner were entering a world containing market leaders that were already very \nﬁ rmly structured, although the free, unconventional approach they spontaneously \nnurtured allowed them to assert a speciﬁ cally different identity.\nThe most representative products of this decade include the Plana in blown glass \n(1984), free to turn on a support to aim the light in the space – with a diffuser featu-\nring unusual undulated shaping to prevent glare – one of the company’s bestsellers \nfor many years, and Folio (1990), an authentic milestone still in the catalogue, due \nto its essential design like a sheet of paper, taking form on the diagonals, obtained \nthrough triple thermoforming of a blown glass cylinder cut in half. The ﬁ rst, as \nan example, is the result of two years of research on the forming of a light mould \nthat would be appropriate for an apparently simple diffuser. This strong desire to \nexperiment in each piece with new technologies and forms for blown glass met with \na certain resistance or even outright rejection on the part of the master glassma-\nkers involved, but it also demonstrated how for the designers it was fundamental to \nreach an objective at all costs, without accepting the constraints of production and \ntechnical methods (“We made the rounds of the glassworks in Murano, asking them \nto implement our ideas, which were often considered unfeasible”3). This refusal to \ngive up in the face of difﬁ culties, always focusing ﬁ rst of all on the design idea to \nbe translated into a ﬁ nished product, led the designers to develop an ability to ﬁ nd \na way to reach their goal in any case, experimenting and seeking effective methods \nfor each case, to achieve what had never been attempted before.\nIn 1985 this initial serial production represented 20% of the company’s turnover, \nand the American architect Adam D. Tihany (with Joseph Mancini) was invited to \nimagine a collection of table and wall lamps inspired by the artistic world of Kan-\ndinsky (Wassily off the Wall), marked by the combination of solids in primary colours \nand the alternation of metal and glass, gaining a certain amount of visibility in the \nmedia, not just sectorial coverage. This opened the way for experimentation, as in \nthe case of Lampa d’arte (with Milton Glaser, Adam D. Tihany and Luciano Vistosi), a \nseries of ten luminous multiples taking concrete form in two works, respectively \n2. \nCarlo Urbinati, “My favourite lamp? \nThe next one”, in Domus, 1011, 2017, p. 98.\n3. \nIbid.\n11\nPlana\nTop left, cover page of Foscarini’s ﬁ rst \ncatalogue, hand drawn by Carlo Urbinati. \nTop right, ﬁ rst page of advertising with \na detail of the reeded diffuser of the Rolli \nmodel.\nPlana wall lamp with precious blue glass \nand the plate glass counterweight orb.\nCarlo Urbinati and Alessandro Vecchiato.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.8.png","Foscarini\nAbout shedding light\nTom Dixon’s Lightweight collection. Yellow, \nred, blue or dark grey coloured lacquered metal \nlamps ﬁ tted with small satin ﬁ nish blown white \nglass diffusers housing low-voltage halogen \nlight sources.\nChap. 1 — A new design for light\n13\nWassily off the Wall collection inspired by \nKandinsky’s world of painting and ballets \nstaged at the Bauhaus theatre, presented at \nEuroluce 1985. These models are a combination \nof primary coloured blown glass solids, put \ntogether with polished metal mounts. \nProject Lampa d’arte – conceived with Milton \nGlaser, Adam D. Tihany and Luciano Vistosi – \ndedicated to Giorgio de Chirico. Architectural \nmodel in lacquered wood embellished by \ncoloured ground glass inserts.\nCover of the collection catalogue. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.9.png","15\n1983\n1989\n2002\nfoscarini\nmurano\nFoscarini\nAbout shedding light\nChap. 1 — A new design for light\ndedicated to Giorgio Morandi and Giorgio de Chirico, also displayed in the Bloomin-\ngdale’s department store in New York. These were signals of an approach to the\nworld of art and an idea of contamination of expressive languages that Foscarini \nnever abandoned from then on, as can be seen in the company’s ongoing publica-\ntions and curatorial projects. \nTowards the end of the decade international economic situations connected with \nthe rise of competing labour markets, among other causes, brought about the outset \nof a process of inexorable decline in the ﬁ eld of traditional custom contract orders, \nand this led to a slow reduction of commercial opportunities for many Murano glas-\nsworks. The original proprietor of the company, who was not interested in moving \nwith the ﬁ rm towards an exclusive proﬁ le of serial lamp production, decided to sell, \nand in February 1988 Urbinati and Vecchiato, just into their thirties, acquired \nthe brand.\nThe years to follow were marked on the one hand by the need for design deve-\nlopment, and on the other by pressing commitments in the direct entrepreneurial \nmanagement of the business. These were crucial years in which it became essential \nfor the new owner-designers to ‘also design the company’, investing in new strate-\ngies, consolidating the identity of Foscarini as a design-driven enterprise. A work \ngroup was put together, which from the initial communication consulting assigned \nto Rudi von Wedel, led to the fertile encounter with the architect Rodolfo Dordoni, \nwho worked with the company in the area of production choices in the period from \n1988 to 1993. From that moment on, Urbinati and Vecchiato – after a time span de-\nvoted mostly to corporate development – could also return to their direct role in the \nchoice of new projects, ﬂ anked by a group to constitute a Product Committee, with \nthe precise aim of keeping this activity inside the company. \nTo communicate the start of a new phase, the logo was also redesigned by \nDordoni, changing the letter F based on the prow-head of a Venetian gondola into \na more immediately legible version, redesigned in a powder blue upper-case serif \nfont. The new catalogue brought together production lamps, classic chandeliers and \ncontract applications. The icon of this period was the Lumiere (1990) table lamp by \nDordoni, a reﬁ ned reinterpretation of the classic lamp with shade, elegantly transla-\nted into the combination of a sculptural tripod in die-cast aluminium and a diffuser \nin coloured satin-ﬁ nish blown glass, later developed in various colours and ﬁ nishes, \nand in its design with the XX version. Lumiere should also be seen as a mixture of \ncrafts and industry, a prelude to a way of developing projects in a context of total \nfreedom, also combining different technologies and production sites, depending on \nthe necessities of each creation. \n15\n    “To communicate the start of a new \nphase, the logo was redesigned changing \nthe letter F, based on the prow-head of a \nVenetian gondola, into a more immediately \nlegible version”.\nThe evolution of the Foscarini logo graphics. \nThe 1989 logo is the result of the brand’s \npartnership with Rodolfo Dordoni. The current \nred logo was created in 2002 by Artemio Croatto \n\u002F Designwork.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.10.png","17\nFoscarini\nAbout shedding light\nChap. 1 — A new design for light\nIn these years, the collaborations with external designers multiplied. One such \nrelationship began with the entry of Ferruccio Laviani, another historic name for \nthe ﬁ rm, who with his debut lamp in 1992, the Orbital, introduced the use of indu-\nstrial glass instead of blown glass – coloured screen-printed glass in a composition \nof striking visual and sculptural impact – conforming as closely as possible to the \nspirit of the design. The lamp, in fact, needed absolute uniformity of thicknesses \nand a range of colours that could not be obtained from blown glass; hence the deci-\nsion to produce it in plates of coated glass, a technique and a material that ensured \nconsistency and precision. The choice embodied what was to become the company’s \nproject approach, namely respecting the idea suggested by the designer – selected \non the basis of the value of the proposal, not the renown of a name – and working \ntogether to arrive at the ﬁ nished product without setting limits on the materials and\ntechnologies to be applied, which had to remain at the service of the initial concept.\nThis also happened with Havana (1993) by Jozeph Forakis, where in place of the \nglass initially suggested by the designer – a material that besides being costly and \nfragile would not have brought out the full potential of the project – the choice was \nmade to use an alternative material for the ﬁ rst time, namely polyethylene, since it \ncorresponded to the choice of creating a light lamp, very versatile in its use, suitable \nfor various environmental contexts and conditions. These examples reﬂ ect the \ncompany’s growing commitment to always go straight to the essence of each design, \nexpressing it to the fullest, no matter what technologies, materials and production \nsystems had to be called into play. The decision to widen the research beyond blown \nglass suggested the relocation in 1994 from the island of Murano to Marcon, on the \nVenetian mainland, also to facilitate growth, logistics and proximity to suppliers. \nWith the goal of constantly improving levels of corporate organization and service, \nin 1996 the company decided to implement UNI EN ISO 9001 certiﬁ cation for its \nin-house quality control system – and it was one of the ﬁ rst Italian lighting design \ncompanies to obtain this status. \nIn the years when international design was coming to grips with multiple lan-\nguages (Neo-Pop, Minimal, New Organic) the interaction with external designers \nlike Piero Lissoni, Ludovica Seraﬁ ni and Roberto Palomba, Defne Koz, Giovanni \nLevanti, among others, led to continuing experimentation with ideas and hence so-\nlutions, because freedom from the limitations of speciﬁ c production facilities made \nit possible to do what needed to be done in a given moment, using the technologies \nbest suited to every single project rather than applying habitual methods. \nNew projects were thus developed, exploiting the potentialities of metals, for \nexample – as in the Lightweight collection (1995) by Tom Dixon – and of composites, \n17\nBlob\nLampoon\n \nBlob collection, from the \ncollaboration with Karim Rashid. \nLampoon suspension lamps \ndesigned by Aldo Cibic.\nGraphic evolution of the cover of \nthe collection catalogues from 1989\nto 2002. \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.11.png","19\nFoscarini\nChap. 1 — A new design for light\nwith Mite and Tite (2000) by Marc Sadler. These latter models made their appearan-\nce after more than two years of research, and to complete the project the company \nmet the challenge of using or more precisely formulating a new material: a mixture \nof ﬁ breglass and carbon ﬁ bre or Kevlar® that gives the piece lightness and strength, \nwhile at the same time provides decorative impact. The result was achieved with \nthe same construction technology – rowing – utilized to make golf clubs or ﬁ shing \npoles, applied for the ﬁ rst time in the lighting sector. \nThe assignment of the Compasso d’Oro award in 2001 was the result of a path of \nevolution traced in the previous years, with an increasing accent on experimentation.  \nThe company’s 20th anniversary, in 2003, coincided with the opening of a new he-\nadquarters at Marcon, while the catalogue expanded with the addition of promising \nyoung designers, such as the Venetian Luca Nichetto – who has also collaborated in \nthe areas of research and development of new materials – or international names \nlike Karim Rashid, who with his ‘blobject’ Blob (2002) in rotational plastic enabled \nlighting to spread into the ﬁ eld of décor complements. There were also already \nsuccessful ﬁ gures of Italian design, such as Denis Santachiara and Aldo Cibic, the \nlatter as the creator of the Cocò (2000) and Lampoon family (2002), advancing the \ntechnology of mould-blown glass. Then came Patricia Urquiola, who with Eliana \nGerotto designed Bague (2003), a table lamp in metal screen with a special silicone \nﬁ nish, which immediately entered the collection of MoMA; shortly thereafter, the \ntwo designed Caboche (2005), another major success of the Venetian company in ter-\nms of image and sales, deﬁ nitively afﬁ rming the approach to design as innovation, \nand internationally recognized as such.\nInitiatives of communication also accompanied the growth of the company, \nbringing visibility to its projects, initially relying on photographs by Emilio Tremo-\nlada for the catalogues, followed by Santi Caleca (when the visual communication \nshifted to Claudio Dell’Olio of Box 2). After a period with the Milan-based adverti-\nsing agency Attila – in which Foscarini moved deﬁ nitively towards the use of all to-\nols of communication – has come the collaboration since 2001 with Artemio Croatto \nof the studio Designwork based in Udine, and with the photographer from Trieste \nMassimo Gardone. \nAbout shedding light\n19\nInspiring sketches by Aldo Cibic during \nthe development of Cocò and Lampoon.\nThe ironic Cocò table lamp with its \nzoomorphic presence uses blown glass well \noutside the usual aesthetic canons.\nCocò\nThe sinuous appeal of the Bague lamp \nwith perforated sheet metal covered with \nsilicone resin that acts as a stand and \ndiffuser.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.12.png","21\nLumiere \u002F1990 \ndesign Rodolfo Dordoni\nOrbital\nHavana\nMite\nFoscarini\nLumiere\n21\nChap. 1 — A new design for light\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.13.png","23\nLumiere \nOrbital\nHavana\nMite\nFoscarini\nLumiere is undoubtedly Foscarini’s most \nrepresentative lamp. Over the space of \nthirty years, the design has been renovated \nin the form of small but substantial changes \nin colours, ﬁ nishes, dimensions, giving rise \nto an evolutionary line of the model itself: \nfrom medium to small, with etched glass \nﬁ rst, and polished glass later, in the \nsilhouette and proportions of the structure, \nin the ﬂ oor, reading, ceiling, suspension and \nwall lamp versions. \nDevised as the reinterpretation of the \nclassic table lamp with a lampshade, at the \ntime, although it was not deliberately \ninspired by it, it represented one of the \ntrends in contemporary design aimed at \nrestyling the ‘forms of memory’ during the \n90s. Dordoni embraces this theme, forcing \nit from a technological perspective into the \nsolution with the metal tripod and in the \nunprecedented association of materials. \nThe designer recalls when, at one of the \nﬁ rst meetings, he drew a sketch of it on a \npiece of paper, rather a small drawing, of a \nglass hat with a tripod: “Just to get the idea \nacross of associating glass with cast \naluminium, as at the time cast aluminium \nwas a brand new, highly contemporary \nmaterial”.1 Lumiere is supported by a \nslender tripod base, made from a single \npiece of special die-cast aluminium alloy \nhand ﬁ nished and polished, which stabilises \na slightly tapered glass lampshade, by \nmeans of a simple screw on top. The \nharmonious combination of the two \ndifferent materials used is a winning choice. \nThe decision to give a streamlined shape to \nthe blown glass, etched on the external \nsurface, is combined with an intricate study \nof the colouring to obtain diversiﬁ ed lighting \nresults: the inner layer is always white for \nreﬂ ection, while the outer layer turns red to \naccentuate the illumination of the table top, \nwhite, green or peach yellow for a diffused \neffect in space. \nThe transition to polished glass dates \nback to 2005, which was also accompanied \nby a change in colours: white, ivory, grey, \namber (or rather a shade of brown that \nreproduces the shade of amber when the \nLumiere \u002F1990 — design Rodolfo Dordoni\nAbout shedding light\n23\nRodolfo Dordoni pictured by \nGianluca Vassallo in his Milanese \nstudio with the Lumiere 25 and \nLumiere XXL models.\nChap. 1 — A new design for light\nPreparatory drawings for the analysis of \nproportions between the aluminium base \nand the blown glass diffuser.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.14.png","Foscarini\n25\nLumiere \nOrbital\nHavana\nMite\nFoscarini\nLumiere \u002F1990 — design Rodolfo Dordoni\nAbout shedding light\nlamp is on), and a dark chrome ﬁ nish for the \ntripod. In the Nuances version (2021), the \nmatt ﬁ nish metal parts are coordinated with \nthe colour of the blown glass diffuser.\nThroughout the 90s, multiple types of \nLumiere were launched (from the ﬂ oor lamp \nin two heights and with different orientation \nof the lampshade, reading, ceiling and \nsuspension lamps again using the diffuser \neven upside down to direct the light directly \nabove or below) and the small table lamp \nversion made its début in 1998 and was an \nimmense success. \nIn addition, a series of special edition \nlamps were produced over time: the Golden \nLimited Edition in 2003, in a large version \nwith polished gold tripod and white glass \nwith small fragments of gold leaf; in 2008 \nthe small Special White lamp in white for \nboth the glass and the mount, with a special \ncylinder-shaped packaging; in 2016, on the \noccasion of its twenty-ﬁ fth anniversary, with \na lampshade in special metallic glass that \ngrants a glimpse of the lighting technology \ncomponents when the lamp is on. More \nrecently, for its thirtieth anniversary, the \nlamp was proposed in the Bulles and \nPastilles models (2020) characterised by \nthe hand-blown glass diffuser on glossy \nwhite, embellished by two historic craft-\nbased relief processing phases. Currently \navailable in the catalogue, it was initially \npresented with customised packaging and \ndesigner-autographed limited edition pieces.\nIn 2009, with the XX Series, the original \nmodel was revamped in its proportions, \nmaking them bigger and more notable in \nthe line geometry. Cold grey and white are \nthe reﬁ ned colour options for the lampshade \nin hand-blown glass, combined with the \naluminium or black chrome ﬁ nish for \nthe mount.\nIn this evolutionary scenario, the original \npresence and formal clarity remain \nunchanged, making it an icon that is always \nrelevant, to the point that it still constitutes \none of the brand’s most successful \ncommercial models. \n25\nLumiere XX\n1 Light Years. Lumiere’s journey, through 25 years \nof history, A conversation with Rodolfo Dordoni, \np. 11, catalogue of the exhibition at the Milan \nTriennale 2016.\nChap. 1 — A new design for light\nLeft, the ﬁ rst colour palette with\n etched glass. \nBelow, the Nuances versions.  \nTop left, the colours glossy apple green \nand satin ﬁ nish peach yellow.\nBelow, version of Pastilles with the glass \nnot ground yet.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.15.png","27\nOrbital \u002F1992 \ndesign Ferruccio Laviani\nLumiere \nOrbital\nHavana\nMite\nFoscarini\n27\nChap. 1 — A new design for light\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.16.png","29\nFoscarini\nLumiere \nOrbital\nHavana\nMite\nAbout shedding light\nOrbital is Ferruccio Laviani’s début lamp, \nmarking the aperture on the part of \nFoscarini to other production materials \nsince it was the ﬁ rst product with which the \nbrand abandoned Murano blown glass to \nexperiment with slab glass. Its singular \nappeal as a sculpture-lamp immediately \ncontributes to conveying the image of a \nlighting device that does not depend on \ntechnical performance needs and is instead \nlinked to the evocative and emotional \nnature of the product. This image was \nquickly disseminated by the media and the \nlamp ended up being included, as an \nexample of novel Italian design, among the \nobjects featured in a series of stamps \npublished by Poste Italiane in 2001. \nLaviani devised a ﬂ oor lamp made of \nmetal and glass, with brand new shapes and \ncolours: it had to be a luminous sculpture \ndifferent from anything that had gone \nbefore. Named after the electronic music of \nan English band – called Orbital in fact – \nand also because the glass shapes appear \nto be in orbit around the support pole.\nThe piece rocked the stereotypes of \nlighting at the time, with its notable \npresence in space; a composition, \na balance of shapes and colours \ndistinguished by the graphic trait that \ninspired the design of the slabs, where the \ncolour of the lampshade components plays \na key role, defying time and fashion trends. \nThe designer in fact focused on the casing \nof the ﬂ oor lamp and its relationship with its \nsurroundings, designing an illuminated \nobject rather than a lighting device. Finding \nthe precise references that gave rise to \nOrbital’s design is not a straightforward \ntask but Laviani quotes “Calder and Jean \nArp’s mobiles, the memory of Alchimia and \nMemphis, the metal of Ron Arad’s ﬁ rst One \nOff and Nigel Coates, the revisited vintage \nof Patrice Butler.” The basic idea is above \nall “to do something pop with plenty of \ncolour”.1 The singularity of this project is \nthat it comes from a sketch which remained \nunchanged until the lamp was produced \n(“as far as I can recall, I think that’s the only \ntime this has happened to me”2).\nThe device consists of an austere and \nindustrial metal rod, coated with \naluminium-coloured epoxy powder paint, \nsupported by a mobile tripod made of \nOrbital \u002F1992 — design Ferruccio Laviani\n29\nFerruccio Laviani pictured by Gianluca \nVassallo on the occasion of the Notturno Laviani \nexhibition in Spazio Monforte in 2022.\n1 Orbital, e Foscarini cambiò traiettoria, (Orbital, \nand Foscarini changed track) interview with \nF. Laviani in La Repubblica, 12 October 2022, p. 15.\n2 A. Bassi, Foscarini ’83 ’03, Twenty years of Light \nDesign, p. 73\nChap. 1 — A new design for light\nSketch of proposed shapes and colours \nfor Orbital. \nDetail of the element designed to house the \nlight source: the visible light bulb is an integral \npart of the lamp design, which comprises an \nindustrial metal rod, supported by a mobile \ntripod, onto which the ﬁ ve supports of the \nglass slabs are welded.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.17.png","31\nFoscarini\nLumiere \nOrbital\nHavana\nMite\nOrbital \u002F1992 — design Ferruccio Laviani\nAbout shedding light\n31\nAbove image from the Notturno \nLaviani photographic project by \nGianluca Vassallo to celebrate Orbital’s \n30th anniversary. \nBelow, one of the ﬁ rst prototypes \nand the commemorative stamp from \nthe ‘Italian Design’ series.  \nChap. 1 — A new design for light\nlaser-cut sheet metal, onto which the ﬁ ve \nsupports of the glass slabs are welded. \nThe design of this last element housing the \nlight source was devised with painstaking \ncare: by shaping and lightening the support \nwith three holes and conceiving a dedicated \nlamp holder and an ‘oversized’ head for the \nslab closing screw. Since the light bulb is \ncompletely visible, it becomes an integral \npart of the lamp design. The slabs feature a \nmixtilinear proﬁ le and were initially supposed \nto look like stained glass used in cathedrals, \nthey are made of coloured or white \nsilk-screen printed industrial glass (the \nversion became a staple in the catalogue \nafter a few years) with a satin ﬁ nish on the \nexterior. The polished interior treatment \nmakes the diffuser a light reﬂ ector too.\nThe following year, hot on the trail of its \nsuccess at Euroluce, Orbital was produced in \nthe modular wall lamp version Bit, which \nseparated the glass elements from the arms, \nwhile in 2003, to celebrate its tenth \nanniversary, a special edition was produced \nwith mirrored glass slab diffusers and \npolished chrome-ﬁ nish metal supports \nand rod.\nIn 2022, on the occasion of the design’s \nthirtieth anniversary, Gianluca Vassallo \ncurated the photographic project Notturno \nLaviani coined to celebrate the thirty-year \npartnership between the designer and \nFoscarini. The project consists of several \nepisodes designed around the lamps devised \nover the three decades, each presented with \ntwo shots, one in an indoor setting and the \nother outside, accompanied by a non \ncaption-based narrative. The lamps are not in \nfact shown in regular domestic interiors but \nin alien contexts, built around a single \nimaginary light. \n \nMirror version celebrating \nOrbital’s 10th anniversary and Bit \nwall lamp version. \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.18.png","33\nHavana \u002F1993 \ndesign Jozeph Forakis\nLumiere \nOrbital\nHavana\nMite\n33\nChap. 1 — A new design for light\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.19.png","35\nLumiere \nOrbital\nHavana\nMite\nFoscarini\nAbout shedding light\nHavana was Foscarini’s ﬁ rst time \nproducing a lightweight, mobile, plastic \nlamp which casts diffused light, together \nwith a young designer. Havana delivers an \nironic juxtaposition of name and image, \nis cost-effective and quickly became a \nsuccess owing to its ﬂ exibility of use and \nits ease of adaptation to various usage \nconditions and installation contexts. As a \nsolution for ambient lighting, Havana \nintroduced a new type and function which \nwas soon used as a model and for reference \nby internationally renowned companies in \nthe world of low-cost furniture.\nAs with other objects, the production \nprocess has been gradual: initially \ndeveloped in glass, the lamp was expensive \nand heavy, losing the light weight and irony \ninherent in its concept, which was \nsubsequently recovered by changing \nmaterial. A model made of ﬁ breglass \ndocuments the initial design development \nphase, but the drawback was that very little \nlight actually shone through it. Evaluations \nof the technical and economic feasibility \nof the device then led to the use of \nself-extinguishing and recyclable \npolyethylene and polypropylene to produce \nthe diffuser, initially with blow-moulding \ntechnology, but that option was quickly \nabandoned because it provided poor light \ncontrol, in favour of injection moulding.\nSimilar considerations led to the paring \nback of lamp body components, from the \noriginal ﬁ ve to the current four, in order to \nmake it symmetrical and use only two \nmoulding dies. The metal supporting parts \nwere also kept to a minimum in terms of \nquantity and sections. The four plastic \nvolumes are attached to one another and \nkept at a constant distance by three metal \n‘staples’. The slim support tube is welded to \na rod tapered at the top to form a ring which \nkeeps the four volumes of the cigar-shaped \ndiffuser suspended. The base consists of \nfour laser-cut metal crossing blades. \nHavana \u002F1993 — design Jozeph Forakis\n35\nDetail of the ﬁ rst prototype in \nﬁ breglass with metal hooks.\nStudy of the volume of the diffusers making \nup the lamp body of Havana and photo of a ﬁ rst \nprototype in ﬁ breglass.\nChap. 1 — A new design for light\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.20.png","37\nFoscarini\nLumiere \nOrbital\nHavana\nMite\nAbout shedding light\nHavana \u002F1993 — design Jozeph Forakis\n37\nHavana in a hall of the Mutant Materials \nin Contemporary Design exhibition of the \nNew York MoMA, 24th May – 27th August 1995. \n© Photographic Archive. The Museum of \nModern Art Archives, New York. \nAs with many successful lamps – \nHavana is part of the permanent collection \nof the MoMA in New York – several series \nhave joined it since.\nOver the years, the ﬁ rst version in \ncustard yellow is joined by a white version \nwith a mother-of-pearl effect, which is still \nin production, in the ﬂ oor, suspension and \nwall lamp version. \nIn 2002, to celebrate its ten-year \nanniversary, a version was produced with a \ntransparent matt diffuser which reveals the \nskeleton and the bulb combined with a \nchrome mount; this version was \ndiscontinued in 2014, together with the \ncustard yellow version.\nIn 2005, the outdoor version for terraces \nor gardens (Havana Outdoor) was launched, \nwith the same dimensions as the indoor \ndiffuser. In this case the body is made of \nrotational polyethylene and has grooves to \nsimulate the separation of the diffuser \nelements that distinguishes the original \ndesign.\nChap. 1 — A new design for light\nPhoto of the three colour versions \ndeveloped: yellow, white and ice.  \nDetails of the diffuser and support \nof the Havana ﬂ oor lamp.\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.21.png","39\nMite \u002F2000 \ndesign Marc Sadler\nFoscarini\nLumiere \nOrbital\nHavana\nMite\n39\nChap. 1 — A new design for light\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.22.png","41\nFoscarini\nLumiere \nOrbital\nHavana\nMite\nAbout shedding light\nIt is with Mite, a kind of modern \nluminator made with an innovative ‘skin’, \nthat Foscarini’s partnership with the \ndesigner Marc Sadler began, concurrently \nwith research into the technical and \nexpressive possibilities of composite \nmaterials, which led to subsequent \nsuccesses. The project drew on the \npotential of innovative materials such as \nﬁ breglass and carbon and Sadler had \nalready developed a prototype: a high \ncylinder tapered at either end with a car \nheadlight at the top. It was simply an idea \nto start from, moving past the technical and \naesthetic difﬁ culties, which deserved to be \ndeveloped by those who were familiar with \nthose materials and knew how to process \nthem, exploiting the characteristics to \ncreate a lamp body that was light, both \nphysically and visually, and which would \nlight up completely, delivering a soft, \nwarm and welcoming light.  \nThe result of over two years of research, \nthe ﬁ nal shape uses a circular diffuser that \nis 185 cm high, whose shape widens \ntowards the top, made of ﬁ breglass fabric \nwith a carbon thread wound around it for \nthe black version, or made of Kevlar® for \nthe yellow version. From a processing \nperspective, the lamp is shaped in a mould, \nonto which a piece of glass fabric is \nmanually afﬁ xed and then the long ﬁ lament \nis wrapped around it. Curing is achieved \nthrough baking in a vacuum furnace \n(pressure-controlled). Having said this, it is \nclear that the inspiration for the design \nstems precisely from the identiﬁ cation of \nthe material and the processing techniques \n– in a sketch of the lamp the designer had \nnoted down the words ‘artisanat industriel!’ \n– so the result that Sadler pursued was to \nachieve a transparent, unbreakable diffuser \nwith rowing. This is an industrial process \nwhereby carbon or Kevlar® threads are \nwound, in the case of Mite they are \nembedded in a ﬁ breglass fabric and held \ntogether with special resins. The amount \nand position of the thread determines the \npercentage transparency of the material, \nand at the same time gives strength, ﬂ exibi-\nlity and light weight using smaller sections, \nthereby acting as both decoration and \nstructure for the lamp. In 2009, to mark its \ntenth anniversary, the Mite Special Fusion \nMite \u002F2000 — design Marc Sadler\n41\nFurnace for ‘curing’ the Mite diffuser.\nChap. 1 — A new design for light\nHand sketches by Marc Sadler when \ndesigning Mite and Tite, prototypes and \ndetail of the Kevlar® thread. \n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.23.png","43\nLumiere \nOrbital\nHavana\nMite\nFoscarini\nAbout shedding light\nMite \u002F2000 — design Marc Sadler\n43\nEvolution of the concept of Mite \nstarting from the ﬁ rst prototype. \nAbove, ﬁ nal version of the lamp \nwith carbon thread.\nMarc Sadler pictured by Gianluca \nVasallo in his workshop-studio. \nmodel supplemented the diffuser with the \nuse of carbon ﬁ bre and Kevlar® woven \ntogether to create an almost ethnic \npattern. Marc Sadler’s autograph features \nnext to the Foscarini logo in the marking \non the base.\nThe position of the light source is also \ndecisive for the overall lighting effect: three \nmetal rods maintain the source at the \ncorrect distance from the diffuser, \nsuspending it from the upper edge while \nminimising shadows. The top ﬁ nishing ring, \nmade of polished mirror ﬁ nish stainless \nsteel, is designed to act as a reﬂ ector and \ndirect the light inwards. To rebalance weight \nand proportions, a thin wide stainless steel \ndisc forms the base of the diffuser. The lamp \nwas immediately also produced in the \nsuspension version, Tite, in two sizes, of \nwhich Tite 1 has a particularly elongated \nshape. The family was expanded in 2001 \nwith the Lite table lamp version and in 2003 \nwith Kite, the wall lamp. Mite and Tite were \nawarded the Compasso d’Oro in 2001 on the \nfollowing grounds: “These models \nconstitute a considerable technological \ninnovation in the ﬁ eld of glass processing”. \nThe innovative material allowed ample \nroom for the design of other applications \nand versions up to the 2008 Fiber Evolution, \na travelling project-event in partnership with \nSadler held in major cities across Europe, in \nNew York and Melbourne.\nMite Anniversario was launched in 2021 \n– to celebrate 20 years since the Compasso \nd’Oro award. It is volumetrically identical to \nthe original but features a matt ﬁ nish body, \nwith a thinner carbon thread wound around \naccording to a wider spiral pattern that \nbecomes thicker towards the base of the \nlamp. The base is emphasised with black \nmarble mottled with white or light grey \nveins. The lighting technology components \nhave been entirely renewed, to deliver a \nbroader light distribution and total lighting \nof the diffuser.\nMite is part of the design collection at \nthe Centre Pompidou in Paris.\nChap. 1 — A new design for light\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.24.png","Per qualcuno può essere semplicemente fare luce\n45\nFoscarini\nFoscarini belongs to the category of \nbrands that have such a clear identity that \nin the collective imaginary they become \ncharacters, subjects with a speciﬁ c \npersonality and consistent behaviours. Its \nﬁ rst distinctive traits are density of \nthinking and a spirit of exploration, \ncorrelated in a relationship of cause and \neffect. Density of thought is the immanent \naspect, the one most deeply etched in the \ncompany’s genetic code. A density that \nstems from continuous questions, from a \nchain of questions, where often new \nquestions are generated by the answers \nthemselves. This intellectual intensity can \neven become an obsession, a torment – an \nidentifying dubito ergo sum – that forces \ndetachment from the epiphany of a \nsolution, ﬁ ling it away to move on towards \nthe next query. The inquiring condition \nbecomes a foundational factor, immanent, \nalso because Foscarini, alongside the \nofﬁ cial date of inception in 1981, has to \nadd a second date of birth, that of 1988. \nTwo new owner-partners, already inside \nthe company in both entrepreneurial and \ncreative terms (as designers themselves), \nhence well-aware of the perspectives they \nfaced. Acting in tandem establishes a \ndialectic procedure, accentuated by the \ndifferences of personality between Carlo \nUrbinati (who has remained as the owner \ntoday), tending towards self-reﬂ ection, \nwith an instinct for deeper analysis, and \nAlessandro Vecchiato (now involved in \nother enterprises), driven by a contagious \njoy of doing. The two formed an effective \ninterface, through the imprinting of an \napproach in search of new achievements, \nthrough acquisition of self-awareness \nprojected into the future. This dynamic is \nreﬂ ected in the stated determination to \n‘design’ the company, namely through a \nvariegated project of entrepreneurial \norganization, also in a spirit of exploration \nthat takes the form of constant expansion \nof the range of production. Exploration \nimplies a voyage. Not so much in \ngeographical terms – although the \nVenetian heritage of Foscarini brings with \nit from the outset a certain familiarity \nwith exotic climes – as in metaphorical \nterms: a pathway in which this intellectual \ndensity, this torment is the primary driver, \nthe motor that causes approach and \nretreat, because an objective achieved \nbecomes the springboard that supplies \nnew kinetic energy. After all, long \ndistances are not necessary in order to \ntravel far. The square room in which \nJoseph de Maistre wrote his Voyage autour \nde ma chambre had a perimeter of just 36 \npaces, and contained entire worlds.\nIn this scenario, the peripheral location \nof Foscarini with respect to an ecosystem \nof Milan-Brianza-centric design is an \nadvantage rather than a limitation: free of \nthe network of relations that inevitably \nproduces kinship of intuitions and trends, \nFoscarini exploits its independence, \nraising it to the status of thought and \naction. The position is peripheral, as is the \nvision, capable of grasping aspects that are \ninvisible to those who concentrate on the \nfocal point of the gaze, where what stands \nout is obvious to everyone. An independence \nAbout shedding light\n45\nChap. 1 — A new design for light\nFoscarini, identikit \nof a character\nAurelio Magistà\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.25.png","Per qualcuno può essere semplicemente fare luce\nFoscarini\nCap. 1 — 1983 \u002F2003: Un nuovo design della luce\n47\nFoscarini\nof ideas that offers a context for more \nformal discussion: the magazine Inventario, \nwhose name with its apparent bureaucratic \nunderstatement (we should remember that \nthe inventory is a methodical process of \nself-analysis) implies not just phonetic but \nalso semantic contiguity with the creative \nprocess of invention, under the aegis of a \nshared root: invenio.\nThe lengthy emphasis in these notes on \nthe density of Foscarini’s thinking might \nlead to a misunderstanding: the deeper \nidentity of the brand might seem to be \nfrigidly rational, but this reduction to \nreason alone is abundantly disproven. First \nof all in the results of the lighting project \nFoscarini has developed with its \nproduction, in which emotion often plays a \ndecisive role, but also in the dialectic that \nlies at the root of the dynamic of \nexploration, in which among the positive \nand negative poles that generate creative \nsparks there is above all the dichotomy of \nreason and passion, overturning the \nfamous phrase of Pascal: the heart has its \nreasons which reason knows quite well. The \nemotion of the design of light, in fact, is not \nautistically concluded in the formal \noutcome of the object; the aesthetic \nexperience happens instead in its \nrelationship with people. Human beings are \nthe decisive factor in Foscarini’s creative \nequation, taken to the extreme consequence \nthat the light is made and exists only in \nrelation to the human presence. This is \nvividly borne out in the two chapters of the \ninnovative project Vite (2020-2023) through \nthe images by Gianluca Vassallo, which \ncapture the warmth and colour of light \nvariations with great reﬁ nement, in every \npart of the world and every context. The \ncentral focus is on the lives of people and \ntheir truly lived-in homes, which in the ﬁ rst \nvolume are also narrated by writer Flavio \nSoriga. Without invading the setting, the \nlamps remain discreet allies of those lives. \nAmong the many other proofs that support \nthis conclusive observation, there is one \nthat is more recent and impressive: the \nacquisition of the brand Ingo Maurer, left \nwithout its founder and namesake. Ingo \nMaurer lamps are pure poetry, moving at \ntimes, disorienting in other cases, and each \none has its own story, generated by the \nmysterious short circuits of the great \ndesigner. Unfortunately, Maurer passed \naway in 2019, and it was easy to imagine \nthat continuing with a brand that was so \ndeeply connected with one person would \nbecome a thorny challenge. Nevertheless, \nCarlo Urbinati had been amazed by Ingo \nMaurer for many years, and has ventured \ninto those brambles with curiosity, in spite \nof the risks, and above all with the \nprompting of the heart, facing the challenge \nof a brand that overthrows all clichés. \nThe result intertwines the destinies of a \nhighly organized Italian intellectual \nstructure and a case of unpredictable \nGerman creativity. A scenario, we might \nsay, awaiting total exploration.\n \nAurelio Magistà is director of Design of la \nRepubblica and teaches at the Fashion and \ncreative industries course of IULM University \nin Milan.\nAbout shedding light\nAurelio Magistà — Foscarini, identikit of a character\n47\nasserted and defended, especially today, as \nwe watch the application of strategies of \naggregation, and the inﬂ ux of investors \ndriven by ﬁ nancial logic rather than \nentrepreneurial vocations.\nThe exploration of new paths, also in this \nsense, is foundational. From the outset, \nwhen the identity of the production was \nlinked to a single material, glass, and a \nspeciﬁ c type of know-how, that of the \nglassworks of Murano, Foscarini has been \nfree to think because its hands were free of \ntasks: the company does not own a \nglassworks, but for every project seeks \ndifferent kinds of expertise, those that are \nbest suited to the speciﬁ c idea. The \nexploration is clearly evident in the design of \nlight: a direction whose coherent evolution \nbrings conﬁ rmation of Leibniz’s natura non \nfacit saltus. Each new stop along the itinerary \ndoes not mark a simple change of \ndestination, nor an abrupt adaptation to \nfashions and trends. On the contrary – we \ncan clearly observe a progression in the \nsequence: the blown glass of the early days \nﬁ nds new interpretations with Plana, 1984, \nand Folio, 1990, and in 1992 it becomes \nindustrial glass with the Orbital by Ferruccio \nLaviani. Then along came the polymers, \nwith the polyethylene of Havana in 1993, the \nopening towards new materials (ﬁ breglass \nand carbon ﬁ bre) and new technologies \n(new for the world of lighting, at least), with \nMite in 2000, ﬂ anked by experimental \nchoices that were sometimes abandoned, \nwhile others were incorporated to widen the \nspectrum of production methods, as ulterior \nsignals of a very precise project: here, for \nexample, I am thinking about the \ncontaminations with art, as in the Wassily \noff the Wall series, a collection based on \ndrawings by Wassily Kandinsky for the \ncostumes of a ballet produced by the Bauhaus \nat Dessau in the period in which the painter \nlived and taught there. \nWhile the stimulus along this path is \nconstant questioning, the route is \ndetermined by the project. This means that \nthere are no ﬁ xed traveling companions, \nalthough some of them, like Rodolfo Dordoni, \nhave accompanied the ﬁ rm along longer \nportions of the way, and others, like Marc \nSadler or Ferruccio Laviani (two names will \nsufﬁ ce) are recurring presences. This is \nbecause the creators, like the materials, \ntechnologies and methods, are chosen on the \nbasis of the objective Foscarini has decided to \nachieve. The project asserts its primacy after \nhaving gone through a process of almost \nobsessive reﬁ nement. Therefore the arrival \npoint of the designer, the delivery of a new \ncreation, becomes a second beginning for \nFoscarini. Another path begins, marked by \nthe dialectic between the creator and the \ncompany: this interplay distils and instils the \nFoscarini DNA in the ﬁ nal result, making its \norigins fully recognizable.\nAlso for this reason, in the history of the \nrelationships with so many creative talents a \nrecurring factor emerges, which is constancy, \nkeeping faith with a network of counterparts \nthat becomes a symposium where ideas can \nbe developed, even for years, before they see \nthe light. In the multiplicity of outcomes the \nintellectual density has been able to manifest, \nfor some time there has also been a laboratory \nChap. 1 — A new design for light\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.26.png","49\nFoscarini\n  CHAP. 2 — \nTHE DEFINITION \nOF AN IDENTITY \n49\nAbout shedding light\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.27.png","Foscarini\nCap. 2 — La definizione dell’identità Foscarini\n51\nAlessandro Vecchiato and Carlo Urbinati\nCover of the ’83 ’03 monograph dedicated to \nthe brand’s ﬁ rst 20 years of business. \nView of the current Foscarini headquarters \ninaugurated in 2003, with a photovoltaic system \nwhich makes it partially self-sufﬁ cient in terms \nof energy consumption. The project was \nawarded as one of the most interesting in the \nprovince of Venice. \nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nAfter the Compasso d’Oro \nIn 2003 Foscarini reached its twentieth year of activity: it had about 30 employees \nand constantly growing sales, most of which on the international market. The impor-\ntant honour of the Compasso d’Oro award, symbolically representing a new passage \nin the ﬁ rm’s history, encouraged Foscarini to invest in increasingly ambitious and \nchallenging projects, as in the continuation of the dialogue with the designers Patri-\ncia Urquiola and Marc Sadler, creators of Bague and Mite, two pieces of great visibility \nand success. The ﬁ rst, together with Eliana Gerotto, approached Foscarini with the \nCaboche (2005) model, which was followed by Sadler’s Twiggy (2006). Both products \nare good illustrations of the company’s approach to problem solving: the search for a \ncorrect solution to a design problem, followed by identiﬁ cation of the ideal technolo-\ngies for production. This was a period that further shaped the identity of Foscarini in \nthe sector of design lamps, also in terms of recognition on the market.                                                                                                               \nThe appeal of Caboche, apart from its way of making light, lies in its exceptional \nvisibility, with a crown of transparent spheres wrapping the light source and accen-\ntuating its effects. A nimble blend of expressive liveliness and luminous performan-\nce, but one that required multiple passages in order to reach its deﬁ nitive process, \nmodifying not only the structure but also the material. The focus shifted from glass \nto plastic, because the results with glass did not achieve the luminous effect that had \nbeen imagined, and also raised the issue of the visibility of the connection points of \nthe spheres on the structure. This latter problem was solved by choosing total tran-\nsparency, thanks to the polymethacrylate of the spheres and the support. \nIn spite of an initially lukewarm reception on the part of dealers, the lamp soon \nmet with success, so much so that during its ﬁ rst year the burgeoning number of or-\nders became a challenge for the suppliers and their production systems, forcing them \nto signiﬁ cantly expand operations. The immediate success of the piece conﬁ rmed the \ncompany’s intuition of inserting an item in the catalogue with the conviction that it \nwould be an important addition, completing the identity of the product range. \nThis reﬂ ected a mentality intrinsic to the ﬁ nest Italian design culture, where the \nhandling of marketing on the part of the entrepreneurs themselves, bent on formula-\nting products based on research and experimentation without an exclusive emphasis \non the market, often made them capable of forecasting trends.\nThe development of Twiggy is equally interesting in terms of collaboration \nbetween a designer and the company. After the success of Mite and Tite, as well as the \nvariations in the same material such as Lite, Giga-Lite and Kite, with Twiggy Sadler \ncontinued to explore the potential of the use of composites based on ﬁ breglass for an \narched ﬂ oor lamp that stands out for its ﬂ exibility and a certain visual lightness. \n51\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.28.png","Foscarini\nPhases of the craft-based processing of the \nTwiggy diffuser. From selecting and cutting \nthe composite material to checking the ﬁ nal \npaintwork under artiﬁ cial light.\n    “Here Foscarini’s know-how in the field \nof project development comes into play: \nto make things as simple as possible whi-\nle respecting the idea and the contents \nof the design itself.”\nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nAn ironic shot of Marc Sadler in his studio \nin Milan, emphasising the inspiring idea of the \nﬁ shing rod for the concept of Twiggy.\n53\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.29.png","Foscarini\n55\nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nA linear image underscored by the use of colour, where the process of simpliﬁ cation \nof all the technical components achieves a perfect synthesis: from the simple, inge-\nnious solution for height adjustment using a system of small counterweights, \nto the ample support at the base, transformed into a graphic feature that references \nthe circularity of the diffuser, where the stem takes on stability with its insertion, \nlike a ﬁ shing rod anchored to the terrain. It is here that the Foscarini’s know-how in \nthe ﬁ eld of project development comes into play: to make things as simple as possible \nwhile respecting the idea and the contents of the design itself. Nevertheless, the sim-\nplicity does not coincide with easiness: the technical side is never displayed, but that \ndoesn’t mean it isn’t there, formulated to offer users the image of a clean, immedia-\ntely comprehensible object. \nIn those years Caboche and Twiggy generated not only a certain visibility, but also \na remarkable doubling of the company’s sales, from 2006 to 2007, while relying on the \nsame number of employees, conﬁ rming the ongoing efﬁ cacy of the working methods \ndeveloped by the brand. The proportional leap called for new modes of organization, \nand hence the decision to vertically divide the roles of the two partners, while conti-\nnuing to work together on the choices of products and strategies. Alessandro Vecchia-\nto took charge of development\u002Fengineering and communication, while Carlo Urbinati \nhas focused on commercial and administrative factors.                                                                                                           \nAmong the actions implemented in this period, it is interesting to mention the \nlaunch in 2007 of MyFoscarini, an online customer service platform for dealers, with \nthe aim of improving dialogue with distributors. The innovative platform provides \nreal time responses to all the operative needs of dealers, from information on the \navailability of products to the possibility of inserting orders, tracing shipments and \ndownloading invoices, every day on a 24-hour basis in an approach of total tran-\nsparency with clients, eliminating physical and temporal distances. A solution that \ndemonstrates the holistic design approach of Foscarini, with the ability to respond \nin a creative way to any requirements, at all the levels of the company. \nThe second half of the 2000s was marked by a certain concentration on products: \nnew ideas, for example, that suggested the choice of plastic for the development of \nnew creations. The exploration of moulding technologies led to the production of \nlamps like See You (2007) by Marc Sadler, featuring an interesting optical solution and \ncharacteristic surfaces; the Tropico (2008) modular system based on a concept of \n55\nPhotographic story of Giulio Iacchetti \nassembling a Tropico lamp, the volume of which \nis obtained through the repetitive composition of \na single lozenge element. The collection consisted \nof four distinct models: Bell, Ellipse, Sphera and \nVertical. \n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.30.png","Foscarini\nTropico\nLe Soleil\n    “The second half of the 2000s was \nmarked by new ideas that suggested \nthe choice of plastic for the best deve-\nlopment of new creations”.\nTropico\nThe Tropico family offered two lozenge element \ncolours, Ivory and Ice. Further customisation of \nthe light was achieved by inserting coloured ﬁ lters \ninside the cylindrical light body. \nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nLe Soleil\nNuage\nThe use of plastic was often characterised by \na signiﬁ cant presence of colour variants, as in \nthe Le Soleil, Nuage, Binic, Yoko collections.\n57\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.31.png","Foscarini\n59\nThe Diesel with Foscarini lighting collection \noffered an extensive variety of solutions, \nutilising various materials with sophisticated \nﬁ nishes and high craftsmanship. Popular \nmodels included the Cage, Rock, Glas, Mysterio \nand Pipe collections.\nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nproduction ﬂ exibility and customization by Giulio Iacchetti; the striking volume, \nartfully deconstructed and marked by irregular bands, of Le Soleil (2009) by Vicente \nGarcia Jimenez; the small cartoonish Binic (2010) model by Ionna Vautrin; Bahia \n(2010) by Lucidi Pevere; followed later with Plass (2011) by Luca Nichetto, which applies \nthe rotational moulding process to transparent polycarbonate. Other projects of \ninterest for the experimentation behind their processes include Nuage (2012) by \nPhilippe Nigro, with its modular design for the creation of wall-mounted composi-\ntions; or Yoko (2013) by Anderssen&Voll, where in an unusual approach it is the base \nthat acts as a diffusor, topped by a transparent coloured plastic cap. Each of these \nprojects is different from the others in the sense that the plastic material has been \nreinterpreted with different technologies and formal characteristics. \nFoscarini and Diesel\nWith the outlook of opening to a new audience and expanding the company’s \nretail offerings, in 2009 Foscarini seals a licensing agreement with the fashion brand \nDiesel for the development and distribution of the lamps in the home furnishings \nline Successful Living. Based on this pact, Foscarini, with its lengthy experience in \nthe ﬁ eld of lighting, develops ideas provided by the Diesel Creative Team helmed by \nthe artistic director Wilbert Das, also handling distribution on a worldwide level, \nbut programmatically choosing not to insert the collection in the overall catalogue. \nThe collection, in fact, was a new line clearly differentiated with respect to the de-\nsign and style of Foscarini, aimed at different market segments. Over the years the \npartnership has led to development of over forty lamp models, some of which have \nmet with great success. Over a span of ten years, the collaboration has enabled both \npartners to establish dialogue with new consumer targets, exploring design solutions \nfor different styles of decorating and living. Ten years that produced some important \noutcomes, in terms of both communication and business. Looking back, the decade \nshould be seen as a key passage for the history of the brand, because forms of exper-\ntise useful for the future were developed, based on the experience of management of \nanother trademark and its insertion in the market. \nThe conversion to LED\nThe focus at the start of the decade was also on the conversion of incandescent or \nhalogen lamps to LED light sources, culminating in the presentation at the Salone del \nMobile in 2013 of a collection of equal models in the two incandescent and LED ver-\nsions, demonstrating that the luminous effect remained intact in spite of the change \n59\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.32.png","Foscarini\n61\nAttention to product quality control is one of \nFoscarini’s guiding principles. Laboratory tests \nare designed to make production more efﬁ cient \nin compliance with industry regulations.\nAbout shedding light\nof technology. This was the result of intensive work on lighting performance in qua-\nlitative terms, in awareness of the fact that LED lamps had to provide light emission \ncomparable to that of models with conventional bulbs. Especially at the outset, the \nLED models were less appealing from the standpoint of the quality and character of \nthe light itself, and the company was forced to conduct extensive research to achieve \nan effect of soft, carefully shaped and attractive light, with the LED source concealed \nas fully as possible to prevent glare, allowing the lamp to stand out as an object. This \norientation stems from the awareness that lamps are off most of the time, which \nmeans that they have to be beautiful presences; when they are turned on, they have \nto provide enveloping brightness, to convey an impression of enticing welcome, an \natmosphere that pervades the home. Inside contract projects, this particular atten-\ntion to the quality of light is conﬁ rmed by the fact that Foscarini lights are typically \nutilized in areas with a strong focus on hospitality.                                                                                  \nTowards a new identity \nIn the meantime, the company’s growth in terms of size and sales dictated \norganizational choices moving towards a new managerial approach, a process already \nin progress in 2014 when Alessandro Vecchiato decided to leave the company, \nChap. 2 — The deﬁ nition of an identity \n61\nThe ﬁ nished product inspection is \ncarried out by an in-house work group, in \ncharge of ensuring the standards deﬁ ned \nduring the design of the model are \nmaintained at all times.\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.33.png","Foscarini\n    “The orientation towards the new gui-\ndes the design choices, and the company \nremains firmly convinced that its legacy \nlies in ideas and the ability to stimulate, \ndefine and develop them, not in the \nproduction technology or the market”. \nViews of the ofﬁ ces and warehouse. \nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \n63\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.34.png","Foscarini\n65\nFoscarini is a company without a factory, \nmade up of people who work together to share \nideas and projects. The modus operandi is \nbased on sharing experiences and expertise \nwith the aim of bringing an original take on \nevery project.  \nand reinforced when Carlo Urbinati became its sole director. “To some extent, it was \nas if I had to embody a second generation of myself”, Urbinati says. In that moment \nhe also felt the need, after thirty years, to focus on and specify the DNA of the com-\npany, its unique, original character, identifying some key principles. An operation \nof self-examination conducted together with a multidisciplinary team of Università \nCa’ Foscari in Venice, leading to the deﬁ nition of the vision and mission of Fosca-\nrini while underscoring the brand’s guiding values: freedom, relation, simplicity, \navant-garde, Italianness. Foscarini works with many materials, many technologies, \nmany designers, and these reﬂ ections on corporate identity, for a company that had \nbeen remarkably transformed since its beginning, were useful to better deﬁ ne its \ncharacteristics, which also proved to be quite distinctive. The brand has taken on \nan all-around recognizability in view of the public, not only focusing on product as \nmight have happened in the past. This important passage was the result of a pathway \nchosen by the company with the aim of creating recognition based on a design appro-\nach with original aspects, and on the courage to imagine new ideas. An ‘otherness’ \nthat is not a matter of snobbery, but an intrinsic part of the company’s evolution, \ncalling for a wider-ranging concept of design, beyond products and services, exten-\nding to the entire corporate process. Faced with a particular challenge or a particular \nneed, the company always identiﬁ es original and creative solutions. A type of modus \noperandi, a mentality manifested according to the necessities that emerge in product \ndevelopment, communication, customer service or logistics. \nOver the last 20 years the lighting market has shifted towards a more techni-\ncal dimension. Foscarini has kept faith with its mission of ‘shedding light’, in the \nconviction that a product with character, of great expressive and special impact, will \nalways ﬁ nd a place in all kinds of homes, anywhere in the world. The orientation \ntowards the new – not to be confused with novelty for its own sake – guides the de-\nsign choices, and the company remains ﬁ rmly convinced that its legacy lies in ideas \nand the ability to stimulate, deﬁ ne and develop them, not in the production techno-\nlogy or the market. In other words, Foscarini continues to focus on the product – not \non the market – never seeing ideas as mere outlets for production capacity or mere \ncommercial success. Today Foscarini, more than ever, is a ‘factory of ideas’ where the \nmeaning of the product lies in the pursuit of the new, without overlooking the dimen-\nsion of ﬁ ne craftsmanship and the related forms of expertise that represent its roots. \nThe identity of Foscarini is an emanation of its culture, and creates its image: the two \naspects inﬂ uence each other, so beyond commercial successes what remains in the \ncatalogue always and in any case expresses an identity constructed over the course \nof time. “The catalogue is sacred – Carlo Urbinati says – because it is a family photo, \nrepresented in its essence”, meaning that every choice of product is a matter of great \nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \n65\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.35.png","67\nFoscarini\nThe technical department monitors the \ndevelopment and industrialisation of each \nnew product.\nAbout shedding light\nChap. 2 — The deﬁ nition of an identity \nresponsibility. At present the catalogue includes over 50 families of lamps, for more \nthan 200 different models, with a range of products in various materials like blown \nglass, composites, plastics, metals, special fabrics and papers, manufactured with \ndifferent processes in a balanced relationship between more industrial or artisanal \ndimensions. Products by designers representing different poetics, in a spectrum that \nbonds together more narrative approaches, like Filo (2017) by Andrea Anastasio, who-\nse research is in line with the artistic and expressive attitudes already cultivated by \nFoscarini in the early days (for example, with the launch of the postmodern collection \nWassily off the Wall, 1985), and products of technological experimentation in a more \nindustrial key, like the recent Chiaroscura (2021) by Alberto and Francesco Meda, a \nluminator that incorporates environmental lighting. In the middle there are various \ndesign gradients, together with special operations – like the research conducted by \nJames Wines and summarized by Light Bulb (2018) – which together with cultural \nand publishing initiatives serve to reinforce the awareness of being – and wanting to \ncontinue to be – producers of meaningful projects.\n67\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.36.png","69\nFoscarini\nCaboche \u002F2005—2021 \ndesign Patricia Urquiola con \n\u002Fwith Eliana Gerotto\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n69\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.37.png","71\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nCaboche \u002F2005-2021 — design P. Urquiola with E. Gerotto\nAbout shedding light\nThe idea behind this lamp stems from \nthe observation of a pearl bracelet: the \ndiffuser is in fact composed of a repetition \nof a single transparent sphere that \ngenerates a volume (caboche in French \nmeans noggin or head, but it also alludes \nto the cabochon cut of gemstones and \ntherefore to jewellery) that is lightweight \nand ‘vitreous’ and capable of diffusing light \nwith spectacular effects.\nThe ﬁ rst prototype involved the use of \nglass spheres placed on a brass structure, \nwith a round light source, but the result did \nnot generate the imagined light suggestion \nas it had the disadvantage of leaving the \npoints where the spheres were connected \nto the structure visibly exposed. After a \nfew tries, the design process was deﬁ ned \nand the decision was made: in order to \nachieve full transparency of the object, not \nonly the spheres but also the supporting \nmaterial had to be transparent, hence the \nchoice of polymethyl methacrylate (PMMA). \nModular plastic arches therefore form \nthe inner structure, and these are attached \nto spherical transparent elements \ndesigned to increase the diffusion of light \nwhich, from the inside, penetrates the \nspaces between the transparent elements \nand is simultaneously diffused by each \nsphere, just like in luminous crystals.\nWith the advent of electronics, the lamp \nhas been adapted to the use of LEDs with a \nnew double-sided light assembly, for more \nintense lighting.\nIn 2021 the new Caboche Plus version \nmade the lamp even simpler and more \npowerful from a lighting technology \nperspective: the spheres are secured to \nthe new zig-zag arches via a ‘twist lock’ \nattachment system for simpler assembly, \nwhile retaining the effect of total \ntransparency and diffusing the light \nwithout interference. After ﬁ fteen years, \nthis further simpliﬁ cation effort lends \neven more immateriality and light weight \nto the family of lamps, which also includes \nthe suspension, table, wall, ceiling and \nﬂ oor variants.\nEliana Gerotto and Patricia Urquiola\n71\nOpposite, the ﬁ rst prototype of Caboche still \nwith the metal frame and glass spheres. \nProduction subsequently switched to PMMA for \nboth spheres and frame, in order to enhance the \ntransparency of the light body. Above, the \nbracelet which inspired the concept.\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.38.png","73\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nPreparatory drawings of the structure \nand study of the shape and attachment \nof the sphere.\nCaboche \u002F2005-2021 — design P. Urquiola with E. Gerotto\nAbout shedding light\n73\nThe new arch, ﬁ tted with a slightly \namended sphere, distinguishes the current \nversion, Caboche Plus, which has improved \nthe attachment and the architecture of \nthe composition.      \n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.39.png","75\nFoscarini\nGregg \u002F2007 \ndesign Ludovica Serafini \n+ Roberto Palomba\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n75\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.40.png","Foscarini\n77\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nTwo stages of the blown glass processing, \nthe initial deﬁ nition of the core and part \nof the blowing.  \nGregg \u002F2007 — design Ludovica Seraﬁ ni + Roberto Palomba\n1 A. Filippini, Ludovica + Roberto Palomba, in Lux, 8, p. 84, 2007.\nAbout shedding light\n77\nLudovica Seraﬁ ni and Roberto Palomba \nhave been working with Foscarini since \n1996 focusing mainly on research on glass, \nincluding un-blown glass. The design of this \nfamily of lamps in hand-blown, etched glass \ndates back to the second half of the 2000s, \nwhen the brand started to dabble in Murano \nglass and experiment constantly with this \nmaterial translated into contemporary \nexpressive forms. Gregg’s decorative value, \nas almost an item of luminous interior décor, \nlies in its non-geometric yet smooth shape, \nenclosed in an organic volume, capable \nof changing its image depending on the \nviewing perspective. \nMetaphorically, it materialises the \nprocess of transformation from \nincandescent mass to concrete shape, an \neffect also achieved by the warm and \nuniform light emitted by the diffuser that \ncompletely surrounds the light source. \n“For some years now, we have been \ninvestigating the seemingly random laws \nthat regulate natural processes – the \ndesigners explained – in actual fact, nothing \ncan present greater complexity and at the \nsame time a sense of belonging than nature, \nwith which humans identify because it is \nwhere they belong. The organic side of \nnature succeeds in summing up the highest \ncomplexity of signs, information and \nmessages: yet, what is simpler and purer \nthan a drop of water and more sensual than \na polished stone?”.1 One of the strengths of \nGregg, which is available in the table, \nsuspension, wall and ceiling lamp versions \nand in three sizes (the midi size was \nlaunched about a decade later), is its \nversatility of use and the fact it blends in \nwith a variety of surroundings. After \nextensive research, a version in rotational \nmoulded polyethylene was also produced \n(Poly Gregg, 2011), which is \nimpact-resistant, making it ideal for use in \nthe contract industry, and also for outdoor \nuse (Gregg Outdoor, 2011), in the table and \nsuspension versions to create luminous \npresences and compositions out in the open \n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.41.png","Per qualcuno può essere semplicemente fare luce\nFoscarini\nCap. 2 — La definizione dell’identità Foscarini\n79\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nair. Ludovica Seraﬁ ni and Roberto Palomba \ncontinue to investigate unprecedented \nexpressive possibilities for blown glass with \nFoscarini, in research which is still ongoing \nand also involves Vetrofond, the artistic \nglass works that in 1990 had recently left \nMurano for the Venetian mainland and with \nwhom Foscarini embarked upon a \npartnership to create Lumiere around the \nsame time. This exploration led to the \ncreation of other successful models in blown \nglass, such as Rituals (2012), Tartan (2015), \nGem (2017) and Sofﬁ o (2018): variations on \nthe theme of light in hand-blown glass, also \nwith relief patterns, playing the dual role of \nlighting and decorating too.\nDetails of the glass surface of Tartan, \nGem, Rituals XL and Gregg. \nLudovica Seraﬁ ni and Roberto Palomba play \nwith the volumes of Gem and Tartan in a still \nframe of the video dedicated to these products.\nGregg \u002F2007 —  design Ludovica Seraﬁ ni + Roberto Palomba\nAbout shedding light\n79\nPhoto by Gianluca Vassallo, part of the \nMaestrie communication project, which \nprovides an original take on the processing \nstages of blown glass in the furnace. \n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.42.png","81\nFoscarini\nBinic \u002F2010\ndesign Ionna Vautrin\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n81\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.43.png","83\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nDrawings by Ionna Vautrin of the Fabbrica del \nvapore vases collection for Industreal. The \ndesign of Binic forms a bond of continuity of \nshape and colour with these vases.\nThe French designer Ionna Vautrin, \noriginally from Brittany, was inspired by the \nmaritime imagery of her home coastline, \nand so the iconic shape of the lamp, which \nis subtly cartoon-like, brings together the \niconography of a lighthouse – hence the \nname – with that of a wind sock on a ship. \nThe ﬁ rst prototype was twice the size but \nthere was something not quite right, hence \nthe decision to reduce its proportions to the \nﬁ nal version in the small, lightweight and \nportable format, designed to blend in with \nany setting. Binic consists of a few \nelements: a conical base with a diffuser \non top, both moulded in ABS. The diffuser, \nwhich is reminiscent of a mini projector, \nis closed with a simple, satin ﬁ nish \npolycarbonate screen, behind which the \nlight bulb is placed, projecting an intense,\nhomogeneous light. Colour, or rather the \nrange of colours in which it is available, \nhelps deﬁ ne the personality of the lamp. \n“A fun, colourful, small lamp”, as its \ndesigner deﬁ nes it, also recalling Eclisse by \nVico Magistretti, and emphasising that \ncolour is not a secondary feature. For this \nreason, and exceptionally, some special \nversions have also been launched, including \nBe\u002FColour! – a limited edition collection \ninterpreted by Ferruccio Laviani for \nFoscarini in 2018 – that breaks away from \nmonochrome to use two contrasting shades \nfor the head and the base, or the special \nversion in satin ﬁ nish red launched in 2021.  \nThe range of gentle yet bright pastel hues \n(white, pink, blue, green, yellow and \nanthracite) was updated in 2015. In the \nproduct communication too, Foscarini \nwanted to underscore the playful, \nnon-committal personality of the lamp with \nthe production of a video animation, and \nthemed packaging in simple, \nnatural-coloured cardboard was devised to \ncomplete the purchasing experience. \nThe lamp was awarded the honourable \nmention at the Compasso d’Oro in 2014. \nBinic \u002F2010 — design Ionna Vautrin\nAbout shedding light\n83\nLamp components. \nRight, a frame taken from the video \nproduced with Ionna Vautrin for the market \nlaunch of Binic.\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.44.png","85\nPlass \u002F2011\ndesign Luca Nichetto\nFoscarini\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n85\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.45.png","87\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nAs its name suggests, Plass expresses \nthe desire to bring together the qualities \nof glass with those of plastic (combining \nthe words plastic and glass), simulating the \nrich and charming effect of light being \nreﬂ ected on a pearl of ground glass as the \nsun’s rays shine on it. A tribute by the \nMurano designer Luca Nichetto to the \ntradition and culture of glass-making, with \na contemporary twist, as it makes use of \nmodern-day materials and processes. \nRotational moulding technology is used to \nshape large volumes of transparent \npolycarbonate – one of the ﬁ rst examples \nin the rotomoulding lighting sector – distin-\nguished by an engraved surface with a plea-\nted effect, further embellished by a ﬁ nish \nmarked by slight irregularities reminiscent \nof the imperfections of the glass. These \nbubbles of air – due to an initial phase of \nexperimentation in moulding – elevate what \ncan technically be considered a defect, but \nis instead reinterpreted as added value, \nsince it is reminiscent of Venetian pearls. \nSo much so that when a way was found to \nmould the piece without this imperfection, \nthe decision was made to reintroduce it \ndeliberately – by engineering its presence \nin the moulding process – in order to obtain \nthe desired effect, which is even \nemphasised by the double light source.\n The scenic effect of the suspension \nlamp is conﬁ rmed by the possibility of \ncreating compositions, including with \ndifferent heights and dimensions, through a \nmultiple canopy. The same colours have \nbeen used, sky blue and grey, as further \nreference to the world of glass and its \nchromaticism.\nPlass \u002F2011 — design Luca Nichetto\nAbout shedding light\n87\nThe game of light and shadow \ncreated on the surface by the table lamp \nversion of Plass Media. \nFrame taken from the video \npresentation of the concept for the lamp \ndesigned by Luca Nichetto. \nChap. 2 — The deﬁ nition of an identity \nThe two colour versions of Plass, \nsky blue and grey.\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.46.png","89\nFoscarini\nBuds \u002F2016\nNile \u002F2021 \ndesign Rodolfo Dordoni\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n89\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.47.png","91\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nTop, Buds (1993) and Fruits (1990). \nBelow the current version of Buds table \nlamp from 2016, next to the study of the \nversions of Fruits. \nBuds \u002F2016 — design Rodolfo Dordoni\nAbout shedding light\nBuds is linked closely to the history of \nFoscarini and the years of the brand’s close \npartnership with Rodolfo Dordoni, which \nlasted from the end of 1988 to 1993. During \nthis time, he designed a collection of table, \nﬂ oor and suspension lamps with \nbrightly-coloured blown glass diffusers \nnamed after natural elements: Fruits, \nBlossom and, in fact, Buds. This last family \nof suspension lamps comes in three shapes \nand was revived in 2007 in a polished glass \nversion with a similar colour range to \nLumiere (New Buds). Subsequently, in \n2016, the shape was restyled by widening \nthe hole on the underside to boost the light \ndiffusion. A new range of warmer, more \nsophisticated colours was launched, which \nblend in better with the surrounding shades: \nbrown, grey, green and white with a \nstraw-yellow ﬁ nish. The glossy effect of the \nmaterial has thus deliberately been toned \ndown by engaging the Vetrofond artistic \nglass works – with whom Foscarini has \npartnered since Lumiere was launched – \nin charge of blowing the three models in \nﬁ ve-layer blown glass with a tricky dosage \nprocess to achieve just the right tone of \nthe mixtures, following a closely guarded \nrecipe. In the same year, a table lamp \nversion was also introduced, using the \nsame glass shapes as the suspension, \nelegantly combining two very different \nmaterials, namely glass and plastic.\nThe diffusers are raised like elegant \nsculptures on a cylindrical transparent \nPMMA base – from which the lead comes \nout – that enhances the shape and light of \nthe glass, suspending it in an effect of \noptical refraction. \nThe Buds table lamp in some way recalls \nthe Fruits collection – where glass, again in \nthree different shapes, rested on a gold or \nsilver die-cast base in the same way – but at \nthe same time it deviates sharply from it in \n91\nNew Buds, evolution of the Buds \nsuspension lamp, available in three \nshapes and colours in 2007.\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.48.png","Foscarini\n93\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nits use of materials, shapes and colours \nwhich are completely different from the \noriginal design. \nThis skilful restyling of the classic table \nlamp also continues in the design of the \nmore recent Nile model (2021), which, \ncompared to Buds, emphasises its speciﬁ c \nfunction as a decorative lamp by choosing \nthe combination of glass and marble as \nmaterials. Pairing these two different \nmaterials is reminiscent of what the designer \npreviously accomplished with Lumiere by \ncombining aluminium and glass. Nile is a \nsculptural shape resulting from the merger \nof two intersecting volumes which appear to \ndefy the laws of gravity: a hand-blown glass \ndiffuser, open on either side, and a polished \nblack or matt white marble base. The base \nand diffuser, with their different inclinations, \nare successfully linked together thanks to an \ninvisible game of weights, positions and \njoints that creates a dynamic overall effect, \nwhere the technological component, \nalthough present, is not perceived, as \nvisually smaller as the presence of a cable \nand a lamp holder. Regardless of the \ngeometric abstraction, the composition \nis somewhat subtly ﬁ gurative and iconic, \nso much so that the designer himself stated: \n“When I looked at the item, it reminded me \nof the famous bust of Egyptian queen \nNefertiti; this is what inspired the product’s \nname: Nile”.\nSketch showing how the light is cast up and \ndown from both open ends of the large blown \nglass diffuser.\nAbout shedding light\nNile \u002F2021 — design Rodolfo Dordoni\n93\nRodolfo Dordoni pictured in his studio in \nMilan in 2021 with one of the ﬁ rst Nile lamps.\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.49.png","95\nFoscarini\nFilo \u002F2017\nMadre \u002F2019\nGioia \u002F2019\ndesign Andrea Anastasio\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nChap. 2 — The deﬁ nition of an identity \n95\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.50.png","97\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nTop, the range of hand-crafted \nblown glass components, \nconsidered for the variants of Filo.\nThe lamp came in eight \ndifferent combinations, this \nversion is the Emerald King.\nFilo \u002F2017 — design Andrea Anastasio\nAbout shedding light\nFoscarini ﬁ rst met with the artist and \ndesigner Andrea Anastasio when working \non Inventario. This dialogue led to the \ndevelopment of various projects, which all \nshare a certain amount of experimentation \nwith languages that intersects art, \ncraftsmanship and design. Filo, a table lamp \nproduced in the reading and wall lamp \nversions, in this sense overturns the \ntraditional construction of the lamp object, \nbreaking it down into its most basic units \nand then putting them back together freely \nto give every single component \nexpressiveness. As a result, the light \nsource, electrical cable and decoration \nundergo a reversal of roles and functions. \nThe electrical cable is covered with \ncoloured fabric to become the decoration \nand is then threaded through multi-coloured \nhand-blown glass spheres and bulbs, which \non the one hand visibly transform it into\na long necklace, while on the other \nensuring shape and stability, acting like \ncounterweights and keeping it securely \nattached to the hook on the metal frame. \nThe china diffuser which houses the light \nsource ideally completes the ‘jewel’, \nmetaphorically becoming its pendant. \nA playful piece that is at the same time \nconceptual, multi-material and \nmulti-coloured, with its own decorative \npower and for this reason produced in \nseveral variants obtained by the designer by \nmixing different colours, shapes and \nﬁ nishes for its components; this is why it \nwas awarded the best Euroluce product \nwith the Salone del Mobile Milano Award in \n2017. Filo perfectly embraces Foscarini’s \ndesire to break the mould and innovate, \ngoing beyond conventions and out of the \nordinary by thinking outside the box.\nSome of the features of Filo, such as its \nmulti-material aspect and the delicate deco-\nrative component, can also be found in \nGioia, nomen omen, which, according to \n97\nAndrea Anastasio pictured in the New York \nshowroom on the occasion of the presentation \nof the lamp in 2017.\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.51.png","99\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nStudy of the proportions of the Madre \ndiffuser. The lamp offers the possibility of \naccommodating leaves or branches as a \ndecorative object.\nMadre\nMadre \u002F2019, Gioia \u002F2019 — design Andrea Anastasio\nthe designer, was conceived as “a jewel \ndesigned to adorn the domestic space”. \nUsing a single ring, in a forced and almost \n‘cheeky’ combination, the lamp brings \ntogether the classical character of statuary \nmarble, in the form of a small fragment, with \nthe modernity of a larger disc of transparent \nPlexiglas, softly coloured so as to make its \nshape more evident. It is a collection that \nexploits the contrast between a natural and \nprecious material and another synthetic \nand accessible one, in a truly fascinating \ndialogue. Everything is secured to the \nwall by a small golden pin: the two moving \nelements are thus reminiscent of the \noscillating rhythm of an earring. The \ndesigner has also conceived Madre, a \npoetic object packed with associations \nwhich Anastasio describes as follows:\n“Madre is the destination of reﬂ ections \non light, its role, its essence. The form \nalludes to the wide hips of mother \ngoddesses, the divinities that protect the \nfertility of the earth. But also the vessel as \na container of life, because it was ﬁ rst \ncreated to contain food, rather than \nﬂ owers”. The upper hollow of the large \nluminous body of Madre contains a vase in \nfrosted borosilicate glass, in which to place \nbranches to create an elegant composition. \nThe opening, which interrupts the vase at \nthe centre, marks the boundary and \nexchange between internal and external \nlight, joined together here.\nAbout shedding light\n99\nGioia\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.52.png","101\nFoscarini\nChiaroscura \u002F2021\ndesign Alberto + Francesco \nMeda\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\n101\nChap. 2 — The deﬁ nition of an identity \n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.53.png","103\nCaboche \nGregg \nBinic\nPlass\nBuds \nNile\nFilo \nMadre\nGioia\nChiaroscura\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nDetails of the Chiaroscura \nlamp in the two colour variants, \ndark red and titanium. \nChiaroscura \u002F2021 — design Alberto and Francesco Meda\nOn the occasion of the exhibition Alberto \nMeda, Tension and Lightness, dedicated to the \ngreat Italian designer by the Triennale Milano in \n2023-2024, Foscarini has created a site-speciﬁ c \ninstallation for the grand staircase featuring \ncustom-made Chiaroscura lamps.\nThe joint design work of Alberto and \nFrancesco Meda resulted in the \nreinterpretation of the classic luminator – \nmodernist archetype of the ﬂ oor lamp with \nindirect up light – to be considered a \nconcurrently shape-related and a technical \nchallenge. In Chiaroscura, instead of being \nemitted only from above, the light entirely \nshines through the body of the lamp on \nthree sides, so the body is both illuminated \nand not just illuminating. Simultaneously \nunderstated yet packed with character, \nChiaroscura is a discrete presence that \nmasks a concealed technical complexity, \nin true Foscarini spirit. Manufacturing \ntechnologies, materials and shape \ndeﬁ nition were all guided by this precise \ngoal. The slender rod with triangular \ncross-section is made by composing an \nextruded PMMA prism for ambient light\n diffusion, with three aluminium segments \nderived from a single extrusion for the \nmatt parts. \nThe alternation of materials and the \ngame of transparency and opacity lightens \nthe visual impact of the shape, especially \nwhen the lamp is on. The multifaceted \nsilhouette is also characterised by the use \nof colour (dark red or titanium) where the \nspecial aluminium surface treatment \ncreates a perceptible texture along the rod. \nIn terms of lighting technology, the lamp \ncasts both a powerful indirect light, \noriginating from the LED inserted at the top, \nas well as an indirect light on the wall or \ndiffused into the room depending on how \nthe lamp is adjusted, thanks to the LED \nstrip housed inside along the full height of \none of the extruded aluminium components. \nChiaroscura can undoubtedly be deﬁ ned \nas the complete representation of a \nbalanced synthesis between a lamp with \ntechnical requirements and appearance and \none with a more ambient lighting purpose.\nAbout shedding light\n103\nAlberto and Francesco Meda\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.54.png","105\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nLight as a Shadow\nGian Paolo Lazzer\nBeniamino Mirisola\nVeronica Tabaglio\nAbout shedding light\nWhat is the Foscarini’s deeper \nidentity? Freedom, relation, simplicity, \navant-garde, Italianness: these are the \nﬁ ve fundamental concepts of the \ncompany’s DNA, a reductio ad quinque \nwhich Foscarini has gleaned from a \nprocess of analysis commissioned to \nand developed by the group Strategy \nInnovation. Over time, that ﬁ rst \nquestion has led to another: \nis there such a thing as a ‘Foscarini \nmethod’ for narrating and transmitting \nthis identity? In a light-polluted \nincreasingly noisy world, how is it \npossible to share a passion for lighting \nwithout compromising the style of the \ncompany itself?\nTo respond, we have turned to \nliterature and Jungian psychoanalysis \nto then explore the ﬁ elds of \narchitecture, science, pop culture, all \nthe way to the archetype of shadow. \nAlways a factor of mystery and \ncharm, both in art and in everyday life, \nthe shadow is an integral part of an \nidentity, pointing to its deeper, secret \naspects; perhaps it has become a \nsymbol precisely because it screens us \nfrom excess brightness, creating the \nideal conditions for reﬂ ection and \nknowledge. Beyond symbol and \nmetaphors, the shadow can profoundly \nalter objects and spaces, granting them \nnew dimensions and magnitudes.\nMore than many other prestigious \nbrands, Foscarini has explored the \ncentral role of the shadow in multiple \nfacets of the company and its design, \ntrue ‘creators of shadows’ capable of \nenchanting and fascinating. But it does \nnot simply decorate and illuminate \nhomes and spaces of life; through \nshadows, Foscarini creates the \nconditions for thinking about forms, \ndesign, meaning and – why not – even \nour identity itself.\nTherefore the approach to shadow \ncan be interpreted through eleven \nwords – some more obvious, others \nimplied and subtle – that outline the \ntrait d’union of all the company’s \nprojects, across various materials, \nperiods of time and designers.\nEssence. “Prior to her lover’s \ndeparture to a foreign land, the maiden \ntraces his shadow’s outline on the wall. \nThe next day, her father makes a \nbas-relief from the proﬁ le. Painting \nand sculpture are born when the \nshadow is captured on the wall by the \nhand that draws it” (Roberto Casati, \nThe Shadow Club). Capturing a shadow \nmeans overlooking the unimportant \ndetails to grasp the essence, the most \ndistinctive and recognizable feature – \nsometimes nothing more than a line.\nLightness. There is a lightness that \nis an attitude, nonchalant and \nvariegated, which deserves credit for \n“casting a shadow of distrust on overly \nserious things” (Umberto Eco). \nIt permits us to (literally) lighten the \nicons and the great masters, to play \nwith gravity and the subtraction of \nmaterial. But there is also a lightness of \nthoughtfulness, which through inner \n105\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.55.png","107\nFoscarini\nChap. 2 — The deﬁ nition of an identity \nreﬂ ection opens a gateway towards \nspirituality.\nEnnoblement. The shadow art \ncreated by Tim Noble and Sue Webster \nshows how the projection not of the \nobjects themselves – everyday, even \nleftover things, raw, unappealing – but \nof their shadows can transﬁ gure them \ninto extraordinary creations. Inside \nFoscarini materials are ennobled \nthrough ﬁ nishing, through the work of \nmaster designers, enhancing even the \nspaces in which the products are \nplaced. Perhaps by continuing to \nspread and revitalize design culture, \nit is possible to ennoble the company \nitself and its sector.\nDiscretion. “The one who carries the \ntorch remains in shadow” (Alessandro \nMorandotti): being in the avant-garde \ndoes not necessarily imply an invasive \nposture; there are those – like Foscarini \n– who choose a different style, with the \ndiscretion of action without seeking \nthe spotlight, seeking recognition that \nis not immediate, but goes deeper.\nEnchantment. One of the most \nsurprising effects of shadow games and \nplays is the combination of \nastonishment and suspension that \nenchants and gives rise to a unique, \nengaging aesthetic experience: “I \nthought the most beautiful thing in the \nworld must be shadow” (Sylvia Plath). \nAnd it is Foscarini’s raison d’être: to \nbring life to a series of archetypal \nforms that the eye immediately grasps \nand the heart recognizes.\nImagination. Though they are real, \nshadows do not represent reality: \nstimulating the imagination, they \ninvite us to go beyond boundaries, to \nreinvent what is well-known and to \nexplore the territory of the possible, \nof the not (yet) existing, which throws \nopen the doors of the creative act – \neven when it is simply expressed in \nthe personalized combination of \nmodular lamps.\nSeduction. Nothing is more \nattractive than what is intuitively \nperceived but has not yet emerged in \nfull light. By leaving room for mystery, \nthe shadow triggers fascination and \ninterest, which feed on and assume the \nguise of promises, all the more \ndesirable since they are indeﬁ nite. \nPlaying with the balance between \nreticence and revelation, Foscarini is \nalways capable of drawing lively \nattention to itself and its products, \ndisplaying and narrating its essence – \nwithout excess.\nDiscovery. In the realm of scientiﬁ c \nanecdote, everyone recalls Isaac \nNewton and the discovery of the laws of \ngravity as the result of a falling apple; \nbut few remember that Newton was \nseated in the shade of the apple tree, \nin meditation mode. Apart from the \npractical role that connects it to many \ngreat technical-scientiﬁ c discoveries \n(from the calculation of circumference \nto black holes), the shadow creates that \ncondition of thoughtfulness that alone \ncan lead to great insights, that \nAbout shedding light\natmosphere best suited to discovery, \nwhich can only be produced by \ngreat design.\nMovement. Much of the charm of \nshadows lies in their mutable nature. \nThey lengthen, they twist, they interact \nwith the surroundings, adding \ndynamism and vitality: whether we are \nlooking at Chinese shadow puppetry, \nthe moon landing of Apollo 11 or the \nsimple passing of the hours in a room, \nmovement is an integral part of the \nshadow – and certain products seem to \nremind us of this, making them an \neveryday gesture.\nChallenge. Coming to terms with \nyour own shadow, as Jung asserts, \nmeans standing before a truthful \nmirror of our deepest identity: it is the \nchallenge par excellence, an obligatory \npassage in order to know oneself, to \ngrow and improve. And to go beyond: \nbringing the same attitude of challenge \nand innovation in relation to materials, \nsuppliers, designers, conventions and \nconvictions of the corporate world and \nthe ﬁ eld of design.\nCreation. Finally, to conclude the \nstory in a perspective differing from \nthe many ‘indirect gazes’ illustrated \nthus far, we should remember the \ngenerative, tangible effects of shadow: \n“It is through shadow that things take \non a concrete ﬁ gure, that their \nappearance is deﬁ ned and therefore \nbecomes possible to represent, to \ndepict” (Massimo Cacciari). Designing \na lamp and its mobile shadows implies \ndesigning the essence of space, ﬁ lling \nit with meaning, bringing it to life: \ncreation.\nIt is in the light – pardon me, in the \nshadow – of all these overtones and \ntheir meanings that we should grasp \nthose ﬁ ve initial key words, \nremembering that one and only one \ncompany knows how to be ‘Light as \na Shadow’.\nStrategy Innovation is a service \ncompany focused on strategic \ninnovation, offering consultancy and \nresearch-intervention services focused \non corporate identity, scenario planning, \nsustainability, and strategic planning.\nG. P. Lazzer \u002F B. Mirisola \u002F V. Tabaglio — Light as a Shadow\n107\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.56.png","109\n \nFoscarini\nStudy of a new system \nof canopies and volumetric tests.  \n  CHAP. 3 — \nDESIGN AS \nRESEARCH\nAbout shedding light\n109\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.57.png","Foscarini\n111\n    “Being born ‘without a factory’ means \nhaving the possibility of freely exploring \nmaterials and production techniques \nto develop each new idea in the best \npossible way, relying on the excellent \nresources of the territory”. \nDevelopment and engineering \nof a new model by Foscarini’s \ntechnical department.\nChap. 3 — Design as research\nAbout shedding light\nThe approach to materials and technology \nInside Foscarini, new products come to life in an effort to grant substance to the \nunderlying idea of the design, studying the best way to transmit it, as simply as possi-\nble, also in terms of the choice of the materials and processes involved. This is the basic \npremise of ‘what’ the company does, while over the years it has reinforced its research \nand development structure and its technical division in relation to this need. In terms \nof project development, inside well-equipped laboratories, which have been further \nexpanded in the new headquarters, models and prototypes are created, in coordination \nwith testing to ﬁ nd the ideal materials with which to convey the idea behind the project. \nThe material is not the result, but it is fundamental in the development of the lamps, \nand its exploration is totally tied to the technologies of production. It is possible to \nimagine innovative solutions, things that have often not been considered by the people \nwho work with that material on a daily basis. In this framework the relationship with \nsuppliers becomes very important, because Foscarini is still a company without its own \nin-house production. The relationship with artisans and businesses, selected over time \n– for questions of production or strategy – is seen as part of Foscarini’s growth process. \nAmong these counterparts, there are genuine craftsmen specializing in speciﬁ c ﬁ elds \nof expertise, because when machines are incapable of replicating the skill of the artisan, \nit is necessary to turn to the latter. Being born ‘without a factory’ means having the \npossibility of freely exploring materials and production techniques that can be used to \ndevelop each new idea, relying on the excellent resources of the territory. It may be the \ncase, perhaps – as Carlo Urbinati writes in the introduction to the publishing project \nMaestrie (2018) – that when a project is presented it may meet with an abrupt ‘no, it can’t \nbe done’, but experience teaches us that often what that means is ‘we have never done it’. \nIn this way, with the advantage of not knowing why, the company begins to experiment \ntogether with workers and artisans, ﬁ nding the opportunities, secrets and pitfalls of \nage-old or recent technologies.\nThis dimension of exploration spreads across the board in all the company’s resear-\nch, starting from the 1980s when it went beyond the limits of blown glass alone. \nThe collaboration with master glassmakers was fundamental to ﬁ nd a red thread, whi-\nch over the years has led to the creation of products that become interesting due to their \nparticular solutions. Like the white blown glass of Rituals (2012), chalky and grooved by \nincisions reminiscent of grinding, part of the research begun by the designers Ludovica \nSeraﬁ ni and Roberto Palomba with Vetrofond1 for the Dom lamp (1998), then pursued \nwith Gregg (2007), Tartan (2015), Gem (2017).\n111\n1 The company with which Foscarini has been collaborating since 1990 for glass blowing.\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.58.png","Foscarini\nProcessing of glass with blowing canes.\nAbout shedding light\nChap. 3 — Design as research\nProcessing of composite materials at Faps.\n113\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.59.png","Foscarini\n115\nInside the Vetrofond furnace, specialist \ncraftsmen shape the glass used to make \nFoscarini lamps. Preparation of the vitreous \nmass beforehand blowing in the mould and \n(above) curing of the glass.\nAbout shedding light\nChap. 3 — Design as research\nFrom the start of the 1990s the focus on new directions of research and design, together \nwith curiosity regarding solutions still seldom explored, met with effective support and \ndevelopment possibilities inside Foscarini precisely within the company’s wide-ran-\nging experience in experimentation and production conducted with glass and working \ntechniques halfway between crafts and industry, as exempliﬁ ed in Lumiere by Dordoni, \nwhich combines a cap in blown glass with a cast tripod. In an interview at the time of \nthe lamp’s anniversary, the designer remarked that in those days the casting of alu-\nminium was a hot contemporary topic.2 And that the combination of glass and metal \ncorresponded to the desire to put two elements together, two technologies, two ways of \nproducing, factors that were to become increasingly typical in the future products of \nthe company, as this working method and operative procedure began to be applied in a \nfertile way to different materials and technologies. This widening was in tune with the \ndirections taken by contemporary design, where the technological aspect become one of \nthe priorities of research. \nIn particular, at the start of the new millennium, Foscarini had developed ways to \ntransfer applications from sectors traditionally devoted to experimentation into the \nambit of home furnishings. This was the path that led in the 2000s to the choice of \nsilicone rubber (Uto, 2005), for the pleasure of entrusting a rather hybrid object – hal-\nfway between a torch and a long cable – to the free interpretation of the user, who can \n‘manipulate’ it to adapt to different contexts. Or the experimentation with composi-\nte materials, a new frontier to explore the potentialities of shedding light. From this \nstandpoint, after the success – winning the Compasso d’Oro award – of the Mite ﬂ oor \nlamp and the Tite suspension lamp, Marc Sadler continued to investigate the technical \npossibilities of ﬁ breglass and carbon ﬁ bres in lighting. The project involved the Friu-\nli-based company Faps, specialized in composite materials and one of the ﬁ rst to utilize \nthem for furnishings. Its products included ﬁ shing rods for sportsmen, and this type \nof equipment led Sadler to begin discussing with Foscarini the possibility of exploiting \nthe material’s ﬂ exibility and strength to create Twiggy (2006) – a lamp belonging to \nthe arch typology, topped by a shade – to obtain a shifted position for the light source. \nThe result is a unique object where colour immediately played a role complementary to \nthat of the form, underscoring the slender but strong structure. This was followed by \nthe Tress (2008) family of lamps, made with the same materials and formed by a woven \nribbon – in which the electrical wire is magically made invisible thanks to a design \nstrategy that conceals it inside the weave – to create a tubular screen characterized by \nlights and shadows when in use. With Foscarini, Sadler moved forward with research on \n2 From Anni luce\u002FLight Years, exhibition brochure, p. 11, 2016.\n115\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.60.png","Foscarini\n117\n    “The relationship with artisans and the \nancient crafts know-how can sometimes \ntrigger exceptional outcomes, exploring \nall dimensions in-between craftsmanship \nand industry”. \nHand production of the mould into which the \nspecial cement mixture to make the Aplomb \nlamp is then poured.\nAbout shedding light\nChap. 3 — Design as research\nexpressive impact and technology, continuing to explore apparently unexpected possi-\nbilities of making light, also through materials, as in Jamaica (2011), a suspension lamp \nwhere the soft volume of the diffuser is produced with a sheet of paper covered by a thin \nlayer of polymer, to create the appearance and tactile presence of parchment, rolled in a \ndeconstructed way around a ﬂ uorescent ﬁ xture. This investigation of the possibilities of \nmaterial has continued more recently with Nuée (2019), where the overlay of a three-di-\nmensional technical fabric creates a shaped presence that permits adjustment of the \nlight emission inside the cloud-like diffuser, forming bright and darker zones (together \nwith another light aimed downward). \nThe experimentation with alternative processes and materials, apparently distant \nfrom the world of lighting, still leads to surprising results, as in the Aplomb cement su-\nspension lamp by Lucidi Pevere, produced in 2010 after about two years of development. \nThe long period of research was needed to obtain the correct extremely small thickness \nfor the material, and to ﬁ nd craftsmen specialized in its use, making the leap from the \nworld of construction to that of design. The two-centimetre substance hypothesized by \nthe designers made the project seem improbable at ﬁ rst, and it was also hard to identify \nthe right mixture for the concrete. A true challenge met – not without hardships – by \nthe small company Crea based at Darfo Boario, specializing in the making of concrete \ncomponents. This same company created the necessary moulds and began experimen-\ntation to reach the ﬁ nal solutions after many trials. Vetrofond, Faps and Crea are some \nof the main companies3 with which Foscarini works to ﬁ nd new solutions with which to \ngrant form to ideas. On a speciﬁ c level, the relationship with artisans and the know-how \nconnected with traditional methods can trigger exceptional outcomes, explorations of \nall the dimensions – even geographical – as in the case of the washi paper lamp Kurage \n(2015). Driven by the design synergy of Luca Nichetto and Oki Sato of the studio Nendo, it \nis made by hand thanks to a very special working technique developed by Aoya, the only \nproducer of three-dimensional washi paper, in the city of Tottori in Japan. In this case, \nexploration of dimensions also means getting beyond the question of the origin of the \nideas that can be useful to achieve the desired result.\nStill in terms of research to create new products, one key moment of technological \ntransition has been the passage to LEDs, taking place ofﬁ cially with the presentation at \nEuroluce in 2013. While on the one hand the LED has represented a practical process of \nconversion in design practice, on the other it has become an opportunity for Foscarini \nto open the way to other types of experimentation with making light. Lamp models like \n3 Please refer to the publication Maestrie (2018) for a more in-depth \nstory on the company and the collaboration with its suppliers.\n117\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.61.png","Foscarini\nThe safety and quality of products are \nessential requisites for Foscarini. Every model \nundergoes rigorous testing to comply with the \nhighest standards, both during development \nand production.  \nAbout shedding light\nChap. 3 — Design as research\n119\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.62.png","121\nFoscarini\nKurage\nLeft, inspection of the light diffusion of a \nprototype of the Kurage lamp made with prized \nJapanese washi paper. Above, hand-making of \nwashi paper using ﬁ bres from the mulberry \ntree. \nThe ﬁ breglass fabric is \nstretched and hand-wrapped \nonto the mould for Mite.\nOpposite, a laboratory \ndedicated to lighting technology \ntests.\nAbout shedding light\nChap. 3 — Design as research\nSpokes (2015) would never have happened without the possibilities offered by these \nnew light sources, capable of granting the volume – in this case a sort of lightwei-\nght metal cage – extraordinarily clean form and a new leading role in spaces, while \nguaranteeing outstanding technical lighting performance. The same conditions can \nbe seen in the project for Plena (2017), which involves a material usually utilized for \nlarge backlit screens, and where the position of the light source enhances the purity of \nthe form, ensuring reﬂ ected and diffused lighting. Another less technical and more \ndecorative example is Satellight (2017), which brings together crystal and blown white \nglass in poetic synthesis, relying on the LED for an evocative ensemble optimized by \nsoft, warm light.\nIt becomes clear that in the history of Foscarini there is a necessity to get beyond \nthe entrepreneur-designer dichotomy, once again placing artisanal know-how at the \ncentre as the basis for the success of products Made in Italy. Moreover, it would be \ndifﬁ cult today to build the reputation of a company without the dimension of making, \nwhich is back as the focus of the culture of design and communication. From this \nstandpoint, Foscarini is facilitated by its established relationships in this area. Carlo \nUrbinati remarks: “It might seem banal, but it is not: our presence is possible thanks \nto artisans, their workshops and businesses. In the various Italian districts, there \nare people who possess unique abilities. Operations driven by the pride of constant \nimprovement, repositories of excellence and know-how. Foscarini could not exist wi-\nthout these stories, these companies and their experience. They represent a precious \nheritage on which to draw when we come to grips with new challenges, due to their \nability to solve the problems we have created for ourselves”.\n121\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.63.png","123\nFoscarini\nUto \u002F2005 \ndesign Lagranja Design\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n123\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.64.png","125\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nUto \u002F2005 — design Lagranja Design\nThe Lagranja design studio, set up in \nBarcelona in 2002, was founded by the \nItalian Gabriele Schiavon and the Catalan \nGerard Sanmartí after having previously \ncollaborated, in particular, with the \nBenetton Group’s Fabrica creative centre. \nTheir idea stems from the notion that \nsuspension lamps are generally made up of \na body and an electrical cable and is based \non the desire to come up with a unique, \nsingle-material and soft object whereby the \ncable can also become a light diffuser. It is \na novel type of lighting object, which is \ndelightful to touch, high-tech and ﬂ exible \nboth in its use and its intended \nsurroundings. The duo stated: “We \nattempted to ‘draw’ that cable extension \nfrom the ceiling which we often have to \nresort to in those rooms of the home where \nthe power supply drop is ﬁ xed”.1 The long, \nsoft rod of Uto, which extends up to 3 \nmetres, can in fact be bent, mirroring the \nﬂ exibility delivered by the material, \nand hung from the ceiling with a hook. \n“Another design theme we wanted to \naddress is the versatile use of objects, \neven though we do not believe in pieces \nwhich can be transformed for other uses, \nbut in the use being capable of changing \nthe object”.\nThe gestation period for the idea was \nrather lengthy, and it comprised a series of \nsketches dating back to early 2002; it is \nonly at a later date, after they met with \nFoscarini to discuss it, that the project was \nactually developed. This led, for instance, \nto a change in the material used: it was \ninitially supposed to be made with silicone, \nbut this was subsequently replaced by \nanother similar material, as silicone easily \nsoils, weighs a lot and can be broken if \nsubjected to a strong tension. Research led \nto the discovery of a thermoplastic \nelastomer derived from the automotive \nworld and not yet used in lighting, but with \nenhanced mechanical characteristics and \nwhich was easier to clean, capable of \nﬁ ltering light, making it docile, \n‘domesticated’, and achieving the desired \neffect. The switch is hidden inside the tube \nand a polycarbonate lens\u002Fcap allows the \nlight through while closing the opening.\nAbout shedding light\n125\nThe Lagranja Design studio in Barcelona, \nfounded by Gerard Sanmartí and Gabriele \nSchiavon, during a development phase of the \nproject. \n1 F. Bulegato, Lagranja Design and the Uto lamp, \nin Lux 7, 2006, p. 78.\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.65.png","127\nFoscarini\nTwiggy \u002F2006\nTress \u002F2008\ndesign Marc Sadler\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n127\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.66.png","129\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nThanks to the counterweights inserted in the \ndedicated seat above the diffuser, the height of \nTwiggy is easy to adjust, making the most of the \nﬂ exible rod in composite material. \nOpposite, detail of the counterweights and \ndrawing illustrating the dimensions of Twice as \nTwiggy, ‘oversized’ version of the original project \ndevised for large spaces.\nMarc Sadler boasts lengthy experience \nas an industrial designer in the ﬁ eld of \nsports, which has often led him to \nexperiment with new materials and \ninnovative production processes. \nAfter designing Mite and Tite, which \nwere bestowed with the Compasso d’Oro \naward, his research continued with the \nTwiggy lamp. It is a type of ‘arc lamp’, the \narchetype of which remains the namesake \nlamp by Achille Castiglioni from 1962, but \nfrom which it differs considerably and is \ntherefore quite separate from it. To date, \nwe can say that Twiggy is not the \nantagonist of Arco but rather a lamp that \ncoexists with it, since a distance and a \nmarked identity have been created, also, \nbut not only due to the use of colour, which \nis absent in the former. \nThe rod is made up of linear sections, \nlike those making up a ﬁ shing rod or the \nsupport of a camping tent, so that when it is \ndisassembled it takes up very little space \nand when it is assembled it forms a \nharmonious curve. Fibreglass is more \nﬂ exible than carbon ﬁ bre, which is more \nrigid; that’s why the rod – which bends and \noscillates, posing a veritable technical \nchallenge during the design process – is \nsplit into a more rigid ﬁ rst element in the \nlower part (carbon ﬁ bre) and a more ﬂ exible \nsecond element in the upper part \n(reinforced ﬁ breglass). Since it is strong \nand hard-wearing, carbon ﬁ bre allows the \nvolume of the lamp to be offset from the \nbase, which is achieved – after an initial \nhypothesis that compromised the lightness \nof the whole lamp due to a massive metal \nbody – while still drawing on the idea of \nﬁ shing. So a simple disk, wide to \ncounterbalance the body and ﬂ at to be able \nto hide under a carpet (or even a table or a \nseat), is used for the attachment to the rod \nwith a pin, referring to the gesture and \nimage of a ﬁ shing rod poking out of the \nground. The diffuser is made of glass fabric \npigmented with resin with a moiré effect, \nobtained the ﬁ rst time by pure serendipity \nand subsequently adopted for its material \ntexture. The height adjustment takes \nadvantage of the ﬂ exibility: without \nintroducing complex systems and simply \nthrough the use of counterweights, which \nare inserted in a special slot above the \ndiffuser and allow the inclination to be \nadjusted ﬁ ve centimetres at a time. \nThe result is an off-the-scale object \nwhere colour, together with the ongoing \nTwiggy \u002F2006 — design Marc Sadler\nAbout shedding light\n129\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.67.png","131\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nresearch and experimentation with ﬁ nishes \nthat continues to this day, has played a \ncomplementary role to the shape, \nunderlining its slender structure. \nThis graphic feature was intended to have \na precise colour range which initially also \nincluded yellow. Lacquered and painted \nvariants in red, indigo, white, greige, black, \ngraphite and burgundy were then \nsupplemented by Twiggy Wood (2020) with a \nwooden lampshade. Twiggy therefore has a \nspeciﬁ c identity which has over the years \ngiven rise to a family of four different \nversions better to accommodate all usage \nneeds and surroundings. A model with a \nvertical rod (Twiggy Reading, 2008) which \nmakes it more similar to a ﬂ oor lamp; a \nsuspension lamp model and a ceiling lamp \nmodel with a rotating arm (2007); a version \nwith nearly double the overhang for large \nspaces (Twice as Twiggy, 2015) made \npossible by a steel wire in the rod and a \nresized base; a version with optimised length \nto light a table better (Twiggy Elle, 2021). \nLast but not least, the outdoor version, \ncharacterised by the diffuser with a woven \nsurface (Twiggy Grid, 2017) also in the ﬂ oor, \ntable and suspension lamp models.\nThe experimentation and experience \ngained with Twiggy in the processing of \ncomposite materials is applied differently \nin the Tress lamp (2008), where research \non materials is translated into a design with \na more decorative ﬂ air. The ﬂ oor lamp is \navailable in two versions and consists of a \nplaited ribbon of ﬁ breglass and resin which \ncreates a game of light and shadow with \napparent randomness. Two light sources, \nwith separate lighting mechanisms, enable \nthe interior to be illuminated, emphasising \nthe braided effect, and produce reﬂ ected \nlighting towards the ceiling.\nDetail of the LED board developed by \nFoscarini for the Twiggy project and detail of \nthe ﬁ rst prismatic screen.  \nTwiggy \u002F2006 — design Marc Sadler\nAbout shedding light\nThe development of this lamp was a \nlengthy affair and underwent several \nevolutionary phases: although the material is \nthe same as Twiggy, the technique changes \n– this time a ribbon is used instead of a \nsheet, which is then wrapped in a process \ncalled rowing. From the ﬁ rst prototypes in \ncarbon, the next step was to use a larger, \nthicker ribbon in ﬁ breglass to obtain a stable \nstructure of an extraordinary textured \nnature. In order to achieve an extremely \nclean-cut shape, without internal elements, \nthe electrical cable was concealed, with \ninnovative intuition, by submerging it into the \nweave. As with Twiggy, for Tress too the \nfamily was subsequently produced in a \nvariety of models – suspension and wall lamp \n– and dimensions.\n131\nInspection of the unﬁ nished Twiggy diffuser \nand subsequent hand painting process.\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.68.png","133\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nSketches by Marc Sadler of the Tress project \nillustrating the solution devised to make the \npassage of the electrical cable invisible, by \nincorporating it into the weave of the ribbons \nof composite material.    \nTress \u002F2008 — design Marc Sadler\nAbout shedding light\n133\nDifferent types and widths of ribbons of \ncomposite ﬁ bers are wrapped to form the lamp.\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.69.png","135\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nTwo independent light sources create a \nmesmerising lighting effect: the lower light \nsource lights up the inside completely, \nemphasising the graphics of the weave, whereas \nthe upper light source produces reﬂ ected light \ntowards the ceiling.\nTress \u002F2008 — design Marc Sadler\nAbout shedding light\n135\nTop left, the ﬁ rst prototype of the lamp.\nOpposite, study of the system to include the \npower supply cable into the weave which acts as \nboth structure, decoration, and light screen.\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.70.png","137\nFoscarini\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nAplomb \u002F2010 \ndesign Lucidi Pevere\nChap. 3 — Design as research\n137\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.71.png","139\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nCement diffuser after the \nhand-ﬁ nishing process. \nOpposite, sketches of the lamps \nfrom the Aplomb family and designers \nPaolo Lucidi and Luca Pevere in their \nstudio in Udine.\nOverriding the common perception of a \nmaterial while enhancing its textural and \nchromatic qualities is in actual fact the very \ninspiration behind Aplomb. Knowing all \nabout raw materials is a constant for Lucidi \nand Pevere who at the time this lamp was \nbeing conceived were in the process of \ndesigning outdoor vases in a variety of \nmaterials including earth and cements. \nAplomb is a compact lamp which casts a \nconcentrated and direct beam of light. Its \nname brings to mind the plumb line used in \nconstruction sites, the weight of which \nindicates the direction perpendicular to a \nhorizontal plane. In French however, the \nword Aplomb also means easy-going, \nconﬁ dent, like someone fearlessly stating \ntheir own non-conformism. For the two \ndesigners, the decision to opt for a small \nsuspension lamp was the best way to \nexpress its weight while also constituting \na reference to the world of architecture \nand concrete.\nThe heaviness usually associated with \nconcrete is refuted by the slim shape of the \nobject achieved during its development, by \nidentifying a mixture ﬂ uid enough to pour \ninto a very small mould that would also \nensure maximum resistance to impact and \nheat once hardened. The shape, achieved \nusing a craft-based process of hand \ncasting, is compact and elegant thanks also \nto the detail of the thin stem joined to the \nelectric wire by an aluminium component. \nEqually delightful is the pleasantly rough \nﬁ nish which elevates its sensory appeal, \nperfectly in keeping with the colours of the \npigments added to the amalgam: concrete \ngrey to underline its textured feel, white to \nhighlight its shape, brown for a warmer and \nmore intense hue. These colour choices \ndeliberately distance themselves from a \nspeciﬁ c trend at the time which preferred \nsmooth and cold surfaces. The colour range \nhas been supplemented with brick red, \nsand yellow, olive green and anthracite.\nThe success achieved by introducing \nconcrete as a material not only earned the \nproduct the honourable mention at the \n2014 Compasso d’Oro but it also led to the \nexpansion of the family using the same \nproduction process in wall lamp versions \n(2014) with a tapered shape, as well as in \ndifferent dimensions (Aplomb mini, 2015) or \nshapes, such as a hat-shaped diffuser \nmodel (Aplomb large 2016) where the \nthickness of the concrete has been \nminimised; outdoor versions (2017) made \nwith weather-resistant concrete.\nAplomb \u002F2010 — design Lucidi Pevere\nAbout shedding light\n139\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.72.png","141\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nAplomb \u002F2010 — design Lucidi Pevere\nAbout shedding light\n141\nOpposite, stages of Aplomb’s hand-crafting \nprocess, from preparing the cement mixture, \nto casting it in the mould, to taking the piece out of \nthe mould and then drying it. \nIn this page, sketch of Aplomb Large and \ntechnical drawing of the various components.\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.73.png","143\nFoscarini\nKurage \u002F2015\ndesign Nichetto + Nendo\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n143\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.74.png","145\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nDetails of the lamp and sketches with \na proposed use of 3D washi paper. \nRight, Kurage with its soft luminosity \nand designers Oki Sato and Luca Nichetto.\nKurage \u002F2015 — design Nichetto + Nendo\nAbout shedding light\nPoetic and ‘glocal’, the Kurage table lamp \nexpresses the coming together of two \ndesign visions, on the one hand that of the \nItalian Luca Nichetto and on the other the \nJapanese Oki Sato of Studio Nendo.\nTwo years earlier, the designers had \nworked together, remotely, to create a \ncollection of objects and these seven \npieces included a paper ﬂ oor lamp (Paper \nIce Cream) that inspired Foscarini to invest \nin its own version. The germinating notion \nwas to preserve the same sensory and \nshape-related qualities, but to create a \nplastic diffuser to industrialise the effect \ncorresponding to the texture of paper.\nAfter a long period of gestation and \nexperimentation, the ﬁ nal decision made \nwas to pay homage to the initial formal \narchetype, hence the decision to focus \nprecisely on washi paper. As a result, \nKurage reinterprets the traditional paper \nlamp, drawing on the Akari series by Isamo \nNoguchi, and it is hand-crafted thanks to a \nvery unusual processing technique \ndeveloped by Aoya, the only manufacturer \nin the world of hand-made three-\ndimensional washi paper, in the city of \nTottori in Japan. This smooth and at the \nsame time porous paper is made with the \nprized bark of the mulberry tree and ﬁ lters \nlight to create a warm and relaxed \natmosphere. Moreover, the traditional art of \nhand-making washi paper has been listed \nby UNESCO as Intangible Cultural Heritage \nof Humanity. The Japanese word kurage \nmeans jellyﬁ sh: the spherical lampshade is \nin fact reminiscent of the organic shape of \na marine animal and is simply resting, \nalmost ﬂ oating when the light is on, on the \ntransparent structure designed speciﬁ cally \nto minimise shadows. The entire assembly \nis suspended on four slender natural \ncoloured ash wood legs. The electrical \ncable is also covered with a paper ﬁ bre \nsock with the utmost attention to detail \nand tactility.\n145\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.75.png","147\nFoscarini\nSpokes \u002F2015\ndesign Garcia Cumini\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n147\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.76.png","149\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nSpokes is characterized by its soft shapes and \nlightweight volume which contains the light \nand allows it to ﬁ lter out into the room.\nVicente Garcia Jimenez and Cinzia \nCumini drew their inspiration simply by \nobserving a bicycle wheel to come up with \nthe shape of the ‘lanterns’, or oriental \naviaries, in the Spokes collection of \nlightweight, wire frame suspension lamps.\nThe spokes of a bicycle wheel became a \nsoft and simple graphic feature that they \nmultiplied to obtain an almost hypnotic \neffect in the alternating blocks and voids. \nThe effect in the surrounding setting is \npacked with charm: the two LED light \nsources point in opposite directions, \ndownwards, illuminating a worktop or table, \nand towards the heart of the lamp shining \na diffused light and projecting a pattern of \nlight and shadow all around the space. \nThe combination of these lighting \ntechnology and construction requirements, \nwith the graphic effect of the shadows \nprojected onto the wall, gives added value \nto the interiors while adding plenty of \ncharacter to the lamp, making it ideal for \nuse in both residential and collective \nsettings where it often plays the starring role.\nIn Spokes, as if in an oxymoron, the \ntheme of light weight is combined with the \nsolidity of the shape, with accentuated \nclean-cut forms: the charm of this particular \nlamp is in fact also due to the absence of \na visible electrical cable. To achieve this \nresult, the use of LED technology was \ncrucial, with two boards powered at very \nlow voltage by two opposing spokes of the \ncage, thanks to a clever technical device.\nDifferent shape versions accommodate \na variety of tastes and needs to ﬁ t into \nvarious rooms: an elongated shape, a \nversion reminiscent of a lantern and a \nversion with a wide and squashed shape, \nall in different sizes. The matt colour ﬁ nish \nalso plays a role in distinguishing the overall \nlook, enhancing the dense mesh work. \nSpokes is suitable for use in scenic \ncompositions by replicating the same model \nor in compositions with the other shapes \nin the family.\nSpokes \u002F2015 — design Garcia Cumini\nAbout shedding light\n149\nVicente Garcia Jimenez and Cinzia Cumini \nwere inspired by observing the spokes of a \nbicycle wheel, hence the name of the project.\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.77.png","151\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nThe two LED boards of the lamp are powered \nat very low voltage by two opposite spokes of the \ncage, making it possible to avoid the presence of \na visible electrical cable.\nSpokes \u002F2015 — design Garcia Cumini\nAbout shedding light\n151\nBy developing various shapes, dimensions \nand colour variants, the project emphasises its \nversatility.\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.78.png","153\nFoscarini\nPlena \u002F2017\ndesign Gargioni + Albouy \nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n153\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.79.png","155\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nTechnical details of the Plena mount, an \narch which tensions the diffuser and deﬁ nes \nits shape. \nOpposite, Eugenio Gargioni and Guillaume \nAlbouy observe the attachment systems in \nwhich the special high light reﬂ ectivity PVC \nfabric is inserted.\nPlena \u002F2017 — design Gargioni and Albouy\nAbout shedding light\nPlena is the result of the ﬁ rst partnership \nbetween young designers Eugenio Gargioni \nand Guillaume Albouy and Foscarini. \nWhat makes this suspension lamp striking \nis that despite its large size its presence is \ndynamic and lightweight, achieved thanks \nto the delicate compositional balances and \nthe use of soft, intense light, like the full \nmoon which inspired its name.\nThis lamp plays with light and bewitches \nwith its lighting effect, combining reﬂ ected \nlight with diffused light: it delivers \noutstanding lighting on the surface thanks \nto the reﬂ ected light while ﬁ ltering and \nsoftening another part upwards to light a \nroom, remaining soft and enveloping. \nThis lighting effect was particularly \nintriguing and it surprised everyone during \nthe testing phase. \nThe shape consists of two elements that \nbalance each other and come together: an \narch-shaped aluminium support houses the \nlight source while keeping in tension the \ndiffuser disc, made of fabric, like a sail \nbloating up with wind. This ﬂ at disc needs \nto be bent to be attached and inserted into \nthe support containing the light source; \nconsequently the ﬂ exible shape of Plena \nis the result of a design and of a gesture. \nThe overall image conveys a sense of \napplied force, expressed by the metal part \nwhich ‘warps’ the cloth, the star of the \nentire assembly, imprinting a natural shape, \nwhich changes depending on the \nobservation perspective. This game of \nforces also opens up the space between \nthe light source and the cloth, striking a \ndynamic balance which conveys a feeling of \nlevity. The lightweight diffuser is made of a \nspecial synthetic fabric with high light \nreﬂ ectivity, which is ﬂ exible, elastic and has \nshape memory, and is normally used for \nlarge backlit light screens. The light source \nis apparently non-existent, hidden from \nview and housed inside the diffuser support \narch. Overall, the design of Plena veers on \nthe essential, and minimises the componen-\nts, paring them down to the technicalities, \nwhereby the arch-shaped structure also \nacts as a dissipator and the transparent \nelectrical cables are self-supporting.\n155\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.80.png","157\nFoscarini\nSatellight \u002F2017\ndesign Eugeni Quitllet \nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nChap. 3 — Design as research\n157\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.81.png","159\nUto\nTwiggy\nTress\nAplomb\nKurage\nSpokes\nPlena\nSatellight\nFoscarini\nChap. 3 — Design as research\nWeightlessness is a recurring theme \nin the designs of Eugeni Quitllet, designer \nof Satellight, a sphere of light ﬂ oating in \nmid-air captured by a glass bell.\nSatellight \u002F2017 — design Eugeni Quitllet\nAbout shedding light\nIn the poetics of Eugeni Quitllet, a \nhistorical collaborator of Philippe Starck, \na constant theme is weightlessness, \na veritable passion that is evident in several \nof his projects, including Satellight, whose \nimage is reminiscent of light ﬂ oating in \nspace, captured by a glass bell which \nretains and protects it. The real challenge, \nin this sense, was to raise the light source \nin such a simple way that it would appear as \nif suspended in mid-air, a look that also won \nover the international jury of the 26th edition \nof the Compasso d’Oro award, who awarded \nthe lamp the honorable mention, for its \nsigniﬁ cant and innovative use of blown \nglass and plate glass, turning it into a \nsimple and straightforward object, but also \none that is unprecedented and profound in \nits poetic lightness.\nInspired by the universal image of the \nmoon in the night sky, Satellight is \nundoubtedly a simple lamp yet one with \na strong evocative force. The satin ﬁ nish \nmakes the diffuser appear like a textured \npresence suspended in mid-air even when \nthe lamp is switched off, whereas when it \nis switched on, its soft, warm light never \ncauses glare but instead generates \nluminous reﬂ ections on the polished, \ntransparent glass of the external cone. \nWhat’s more, the absence of any support \nstructure makes Satellight striking from \nany perspective. \nIn the table lamp version, the cable drops \ndown freely inside the cone and comes out \nthrough a small hole from the glass bell that \nrests directly on the installation surface; the \nsphere joins the transparent cone through a \nsmall ‘button’ that is not only a decorative \nelement but also the dimmer touch control. \nIn the wall lamp version, the suspended \ndiffuser effect is mirrored and results in \nabsolute visual and graphic purity.\n159\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.82.png","161\nFoscarini\nChap. 3 — Design as research\nMaking design\nStefano Micelli\nThe Italian design companies we \ncall ‘editori’ have often suppressed the \nfact that they do not have ﬁ rst-hand \ncontrol over the making of their \nproducts. Despite being aware of the \nstrong points of this organizational \napproach, those whose organizational \nmodel is based on independent \ndesigners and high-quality suppliers, \nhave often avoided making it a calling \ncard. The reasons behind this \nreticence should be sought in a \nhistorical legacy that has seen \nvertically integrated enterprise, \ncapable of covering production and \nsales, research and development, as \nwell as distribution, as the sole model \nof reference. After all, design \ndeveloped with the adjective \n‘industrial’. Without control over \nproduction, something seemed to be \nmissing. Especially the economies of \nscale that have granted solidity to that \neconomic and managerial model that \nmarked a phase of our country’s \ndevelopment. \nIn more recent years, the economic \ndebate has contributed to the rise of a \ndifferent viewpoint. \nThe network model of enterprise has \ntaken over from vertical integration. \nMany entrepreneurs have become \naware of the importance of \noutsourcing certain manufacturing \nactivities, precisely because they value \nforms of expertise that cannot be \nreplicated inside their own \norganizations. The recognition of \nspecializations on which to rely \nbecomes particularly important when \ndemand is fragmented, no longer \njustifying investments in mass \nproduction. The market wants variety: \ncompanies have the task of ﬁ nding \nsatisfying solutions, wagering on a \nmultiple array of qualiﬁ ed suppliers. \nFoscarini has always been a \nproducer of editions, in a certain \nsense. Having chosen the freedom of \na catalogue containing a great variety \nof models, materials and \ntechnologies, it would have been hard \nto imagine relying on economically \nsustainable in-house production \nprocesses. The issue, however, is not \nonly production. Foscarini has not \nlimited its action to the selection of \nthe most efﬁ cient sources to be \nassigned the task of complex \nmanufacturing. The company has \nconstructed a network of partners \nwith which to develop original \nproducts, granting three-dimensional \nform to the intuitions of talented \ndesigners, with whom to evaluate the \nconditions for economically \nsustainable fabrication. Many of the \nbestsellers in the Foscarini catalogue, \nfrom Mite to Aplomb, are the result of \npaths of research and development \nthat have taken years, with the active \ninvolvement of the designer, the \nsupplier and – obviously – the client. \nThe companies that produce the items \ntoday are the same ones that \ncontributed to the creation of the \nAbout shedding light\n161\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.83.png","163\nFoscarini\nprototypes and the resolution of \nproblems connected with the stability \nof production processes.\nTo be open to the talent of the \nmost brilliant designers, Foscarini \nassigns value to the know-how and \nexpertise of companies that have \nconserved and updated speciﬁ c \nabilities and skills in the ﬁ eld of \nmanufacturing. This knowledge with \nartisanal roots, now to a greater \nextent interacting with new digital \ntechnologies, becomes an essential \ningredient in the development of \nproducts created for limited series \nand niche markets. The passion and \nintelligence of the partners involved \nin the projects, case by case, make it \npossible to tackle apparently \ninsurmountable technical issues, \nverifying the economic sustainability \nof future production. Foscarini has \norganized a dialogue that is anything \nbut obvious. Generating relations \nbetween the designer and the \nmanufacturing, keeping the \nconstraints of the market in mind, \nis not a simple operation. It calls for \ncredibility, relational management \nand a focus on high standards of \nquality. The interaction between \ndifferent sensibilities, if properly \noverseen, becomes the origin of \nunique products capable of adapting \nto the evolution of tastes. \nThe intertwining of technical and \nformal experimentation to give rise \nto many projects deserves to be \ndescribed and brought to the fore.\nThe book Maestrie published by \nFoscarini has the aim of \ncommunicating the value of the \npartners involved, and their culture \nof making. The volume takes stock of \nthe intense dialogue that is \nestablished, helping to clarify the \ncontributions of all the players \ninvolved in the project.\nThis illustrated chronicle sheds \nlight on a new idea of value. Thanks to \nthe combination of types of expertise, \nand the access to unique dynamics of \nknow-how, an idea of quality emerges \nthat goes beyond the concept of \ncompliance with a productive \nstandard. What stands out is the \nsubjectivity of the makers, their \nsensibilities and engagement. The cul-\nture that lies at the origin of any given \nartefact is fully revealed. \nThe reasons prompting this \nnarrative are many. Those who \npurchase an object by Foscarini are \nnot simply seeking an item that \ngenerates light. The demand side is \nincreasingly well-informed and \nsophisticated, and today the \ncustomers desire something more: \nthe accent is on original objects that \ncan be the medium for unique social \nand cultural connections.\nThe artefacts in the Foscarini \ncatalogue respond to this demand: \nthey are true connectors capable of \nlinking different sensibilities and \ncultures. They are active references to \nChap. 3 — Design as research\nAbout shedding light\nthe heritage of craftsmanship of \nMurano glass, to the Italian artisans \nwho have learned to come to terms \nwith the complexity of composite \nmaterials, to the master craftsmen \nwho are able to solve apparently \nimpossible problems. They are the \nlinks to a culture of making that Italy \nhas preserved, which now represents a \nunique case on an international level. \nThe more the erudite, interconnected \ndemand grows, the more companies \nwill have to learn to explain their \nwork and the origin of their products. \nAs Foscarini has done, they will have \nto draw aside the curtain that now \nseparates the object in the catalogue \nfrom its production process. Already \ntoday, the value of these objects \ndepends on their ability to bear \nwitness to the consistency and value \nof an original cultural proposal. \nIn this perspective, Foscarini’s \ncommitment ﬁ ts into a pathway with \ndeep roots, a narrative that stimulates \nreﬂ ections, ﬁ rst of all coming to \nterms with extensively altered \nscenarios. Italian design has \ncontributed to challenge the grey \nmonotony of mass production, \nbringing colour and variety into its \nlogic. Imagination and creativity \nﬁ nally return to the centre of \nproduction processes otherwise \ndominated by technical rationality \nalone. At the start of the fourth \nindustrial revolution, Italian design \nis called upon to renew its \n‘humanism’, grappling with the \nchallenge of seeing production as \nmore than a technological issue. The \ngoal, in this case, is to reﬂ ect on and \nrethink the value of the objects that \naccompany our everyday life. Seen less \nand less as goods, more and more as \nconnections with a world of people \nand values, which through their \nlabours bring renewal to an original \nidea of quality and beauty.\nStefano Micelli is professor of \nInternational Management at the Venice \nSchool of Management of the Ca’ Foscari \nUniversity of Venice. He is the author of \nseveral articles and volumes including \nFuturo artigiano, Marsilio Editori, \nwinner of the 2014 Compasso d’Oro \naward.\nStefano Micelli — Making design \n163\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.84.png","165\nFoscarini\nTop, Reality or Illusion installation by \nFerruccio Laviani for the showroom in Spazio \nBrera, Milano Design Week 2016.\nOpposite, illustration by Noma Bar for the \nproject What’s in a lamp?. \nBelow, cover of an issue of Lux magazine, \npublished by Foscarini between 2002 and 2008.\nAbout shedding light\n  CHAP. 4 — \nCOMMUNICATING\nTHE CULTURE\nOF LIGHT\nCollection of covers of the Inventario \nbook-zine, a publishing project promoted and \nsupported by Foscarini and directed by Beppe \nFinessi. \n165\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.85.png","Foscarini\n167\nMeeting to prepare an issue \nof Lux magazine. \nSpecial pack containing the \nseven issues of the magazine. \nChap. 4 — Communicating the culture of light\nAbout shedding light\nThe publishing projects\nTracing back to a noble tradition of historical distinction of the ﬁ nest Italian com-\npanies, which besides producing also choose to transmit cultural values, incorporating \nthem in a project of communication in all its facets, over the years Foscarini has stood \napart for its way of narrating its own identity to the public and to sector professionals.\nThe relationships with various counterparts generate ideas, strategies, publishing \nprojects, facilitated in their graphic design by over two decades of collaboration with \nthe art director Artemio Croatto of Designwork, with whom a fertile relationship has \ndeveloped, based on the model of illustrious partnerships between entrepreneurial \nactivities and the graphic arts. Working with a number of authors and photographers, \nincluding Alessandro Paderni (Studio Eye), Massimo Gardone (Azimut), and more \nrecently Gianluca Vassallo (White Box Studio), Designwork continues to produce multi-\nple materials with the company – books, magazines, catalogues – which even in retro-\nspect formulate a perspective that is still original, thanks to the multiplicity of visual \nlanguages and formats in the coordinated image of Foscarini.\nThese forms of narration include a number of publishing projects, starting with the \nhouse organ Lux, edited from 2002 to 2008, from its third issue under the curatorial \nsupervision of the design historian and critic Alberto Bassi, who in 2003 was also the \nauthor of the ﬁ rst monographic volume on the company, Foscarini ’83 ’03. Twenty years \nof lighting design. Lux illustrated various themes in relation to design (transparency, \nlightness, colour, light and sound, etc.), with commentary by invited writers – journali-\nsts, art and design historians, experts in various subjects – connected with the research \nconducted on products, alongside interviews with their designers. \nThis was followed in 2010 by the launch of Inventario, a ‘bookzine’ and a working \ntool, halfway between a book and a magazine, directed by the critic Beppe Finessi \nand published with Corraini Edizioni of Mantua. With the subtitle ‘Tutto è progetto’ \n(Everything is a Project), it embodies the philosophy of the company, open to dialogue \nwith every form of creative activity: architecture, design, photography, art.\nRegarding this published product, Foscarini’s role is that of a silent supporter \nwhose sole presence, at the start and conclusion of each issue, is entrusted to the free \ncreative interpretations of photographers, different ones each time. The curatorial \napproach to the contents and their original exegesis, also in visual terms, has been \nrecognized by the assignment of the Compasso d’Oro award in 2014.1 As a whole, for \nFoscarini this new project has been a source of interactions and encounters, springing \n1. “For the ability to synthesize culturally elevated topics with lightness, \nillustrating them with a strong visual identity and quality of the \neditorial product”, we read in the motivation behind the award.\n167\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.86.png","Foscarini\n    “Foscarini’s role in the Inventario edi-\ntorial project is that of a silent supporter \nwhose sole presence is entrusted to \nthe free creative interpretations of a \ndifferent photographer each time”.\nThe Chouchin lamp interpreted by \nEmmanuel Mathez for Inventario issue no. 5. \nChap. 4 — Communicating the culture of light\n169\nAbout shedding light\nCovers and interior of some issues of \nInventario and Compasso d’Oro received \nfor the project in 2014. \n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.87.png","Foscarini\n171\nCover and interior of some publishing \nprojects. Ritratti illustrates the collection \nthrough the work of three photographers, with \ncontributions by various authors. Maestrie is \ndedicated to craftsmanship know-how \nunderpinning the creation of certain models. \nFare Luce is curated by Beppe Finessi and \ndedicated to light in the world of visual arts. \nAbout shedding light\nChap. 4 — Communicating the culture of light\nfrom the network of relationships between the magazine and the exhibitions at the \nPoldi Pezzoli museum, or participation in cultural initiatives like the Festivaletteratura \nof Mantua. For example, the contact with the designers Andrea Anastasio and Alberto \nMeda came about in these contexts, leading to collaborations that have led to various \nprojects for lamps and exhibitions.\nIn the second half of the 2010s, there were other noteworthy publishing projects. \nIn 2015 came the photography book Ritratti (Portraits), which narrates six different sto-\nries from the vantage points of the photographers Tommaso Sartori, Kasia Gatkowska \nand Andrea Ferrari. A selection of lamps is presented in different settings of inspira-\ntion – in ﬁ ve different indoor spaces around Italy, and in the evocative outdoor spaces \nof the Arsenale in Venice – together with writings by authors, architects, designers, \ncurators, critics, invited to interpret a number of key words for the company. \nIn 2017 the volume Fare Luce \u002F Shedding Light (Corraini Edizioni) was released, edited \nby Beppe Finessi. In the style of Inventario, the book brings together lighting projects \nand exclusive critical and artistic contributions, documented in a ﬁ ne range of photo-\ngraphs. That same year, Spazio Brera hosted an installation of the same title, curated \nby Giovanni Maria Filindeu. \nOne year later, Foscarini produced a new curatorial project, Maestrie, interpreting \nthe company’s aim of narrating the know-how of the artisans involved in the production \nprocess. Inside Foscarini the relationship with suppliers is a high priority, and already \nsince 2015 the company has periodically organized convivial moments of interaction \nin its headquarters, to bring these suppliers together, reinforcing relations and also \ninvolving the designers themselves. “We have chosen to be a company without a factory \nbecause experimentation is our essence – says Carlo Urbinati – and we approach design \nas a challenge thanks to the mastery of the people who work in the crafts workshops \nof our territory. With their hands and brains, and above all their hearts”. Maestrie was \nthus created as a tribute to these precious human resources; through the writings of the \neconomist Stefano Micelli and the design historian Manolo De Giorgi, it represents a way \nof paying homage and delving deeper into the culture of making. In that moment, this \ntheme was very pertinent both in terms of communication and within the debate that \nwas developing among sector professionals. \nIn 2020 the company presented Vite (Lives), based on the collaboration with the \nartist, photographer and videomaker Gianluca Vassallo, stemming from the desire to \nﬁ nd original ways to focus on light and its impact in people’s everyday lives. The book \ndocuments a voyage inside real homes – in Copenhagen, New York, Naples, Shanghai \nand Venice – where the focus is on people, seen with lamps that illuminate intimate, \nauthentic settings. The writer Flavio Soriga translated the stories of the inhabitants and \ntheir relationship with light into narrative form. Once again, this is a method that goes \n171\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.88.png","Foscarini\nVite is a multimedia project which includes \nphotos, videos and stories of people portrayed \nby Gianluca Vassallo in their own homes. \n    “Vite is a journey inside real homes \nwhere the focus is on people, seen with \nlamps that illuminate intimate, authentic \nsettings”.\nChap. 4 — Communicating the culture of light\n173\nAbout shedding light\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.89.png","Foscarini\nPostcards of Light is a project curated by Gianluca \nVassallo, which brought the design of Foscarini lamps \nto the streets of various cities across the globe, from \nStockholm to Shanghai, New York and Milan, whereby \nthey play the starring role while testifying to \nfragments of life. \nOpposite page, project by Massimo Gardone who \ninterpreted pictures from the historic Bridgeman \nImages archive by inserting a colour slide with \nFoscarini lamps illuminating the scene.\nChap. 4 — Communicating the culture of light\n175\nAbout shedding light\nSwiss Interior \u002F Photopress Archiv \u002F Keystone \u002F Bridgeman Images\nOfﬁ ce Workers Entering Data \u002F\nPhoto (c) Underwood Archives \u002F UIG \u002F Bridgeman Images\n",89,{"image":370,"text":371,"number":10},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.90.png","Foscarini\n177\nFederico Babina\nLuca Font\nStefano Colferai\nFederico Babina\nNoma Bar\nKevin Lucbert\nAlessandra Bruni\nFausto Gilberti \nWorks by a variety of artists called \nupon by Foscarini to interpret the \ncollection for the What’s in a lamp ?\nproject launched in 2023.\nAbout shedding light\nChap. 4 — Communicating the culture of light\nagainst the trend, free of the clichés of promotional photo shoots, in a shifting vantage \npoint that moves forward in step with the evolution of the company, of ways of living \nand – in this case – of communicating a company that produces lighting. In 2023 the \njourney in domestic interiors continued with a new volume, touching on other cities \nand atmospheres to represent different habitat cultures. \nThe publishing projects have also extended into the digital realm of late. One \nparticularly important development, in a designed approach to communication, is the \nproject What’s in a lamp? – begun in 2023 – which uses the company’s social network \nchannels as the driving medium. This opportunity allows Foscarini, yet again, to \nexpress itself in an original way with its own approach to storytelling, far from the \ntypical conventions of communication in the lighting sector. The ﬁ rm’s Instagram feed \nbecomes a sort of virtual art gallery. Many artists from various ﬁ elds of the visual arts \nhave been invited to freely interpret the lamps in the collection. A wide-ranging project \nthat grows over time involving, among others, Luca Font, Noma Bar, Federico Babina \nand Kevin Lucbert.\nThe cultural projects: exhibitions, events, installations\nIn ideal counterpoint to the publishing projects, or at times coinciding with them, \nthe company has also created cultural initiatives: exhibitions, events and installations.\nInvestment in culture represents one of the aspects of Foscarini’s communication \nof its universe of values, which across a wide spectrum, cover various disciplines mar-\nked by visionary thinking and exploration of different aesthetic realms.\nOne direct expression of this attitude is the brand’s participation as an ofﬁ cial spon-\nsor of the Venice Biennale, with its alternating focus on Art and Architecture, in the \ncity where the entrepreneurial adventure of Foscarini began. Even today, years after the \nmove to the mainland, Venice remains a reference point for the company. From 2008 \nto 2014 the luminous installations of Foscarini enlivened the historic locations of the \nBiennale – the Arsenale and the Giardini – as well as the lounge zones. On the one hand, \nthis demonstrates the commitment to culture and the arts, as the expression of a philo-\nsophy, not mere advertising; on the other, it illustrates the ability to come to terms with \nspaces of exceptional size, where to experiment with luminous settings organized with \nthe brand’s most iconic products, while keeping up with the character of the locations. \nThe engagement with the Biennale has also taken the form of photography exhibi-\ntions: in 2013 the bookshop of the Corderie at the Arsenale featured images made for \nthe magazine Inventario by seven outstanding international photographers (Massimo \nGardone, Max Rommel, Moreno Gentili, Lena Amuat, Emmanuel Mathez, Gionata Xerra, \nSanja Pupovac). In 2014, with Monumental, the enlargements of photos by Massimo \n177\n",{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.91.png","Foscarini\nTwo advertising campaigns, pertaining to \nthe 2004\u002F2006 and 2008\u002F2013 periods, published \nin leading international trade magazines.\nChap. 4 — Communicating the culture of light\n179\nAbout shedding light\nPhotographs by Massimo Gardone which \ninterpret the lamps in the collection as \narchitectural elements in the urban space. \n",91,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.92.png","Foscarini\n181\nIn 2013, Spazio Brera was inaugurated in \nMilan, and Spazio Soho in New York, with two \nsite-speciﬁ c art installations: Attilio Stocchi \npresents Seme\u002FSeed, whereas Stefano Arienti \nputs together an environmental installation \nwith Alghe.\nOpposite, the exhibition Monumental with \nphotographs by Gardone inside the bookshop at \nthe Venice Arsenale on the occasion of the 2014 \nArchitecture Biennale.\nImages of the Di Vaso in Fiore (2011) and Fare \nLume. Candele tra arte e design (2012) exhibitions \npromoted by Foscarini and curated by Inventario \nat the Poldi Pezzoli museum in Milan.\nAbout shedding light\nGardone put the spotlight on the volumes of a number of products, almost transforming \nthem into works of architecture and triggering a surprising game of off-scale perception.\nThe sponsorship of the Venice Biennale has thus embodied the versatile vision of \nFoscarini, in an approach to design as an aspect shared by various worlds of creati-\nvity – design, architecture and the ﬁ gurative arts – without preconceived notions or \nhierarchies. This attitude was also reﬂ ected, from 2011 to 2016, in a series of exhibitions \nduring Milano Design Week, curated by Beppe Finessi and developed in the context of \nInventario. The one-month exhibitions were held in the evocative spaces of the Poldi \nPezzoli museum in Milan, and have expanded over time, both physically – from a single \nroom to their harmonious insertion along the entire exhibit itinerary, together with the \nworks on view in the house-museum – and in terms of themes, no longer addressing \nonly the world of design, but also exploring various areas of the visual arts. The exhibi-\ntions were accompanied by a publishing project produced by Corraini, examining the \nthemes of the shows in greater depth. The format has become a stimulating appoint-\nment for all those interested in design culture, especially younger viewers. The cycle \nbegan with Di vaso in Fiore. Inventario tra natura e design (From Vase To Flower. Inventory \nbetween Nature and Design), coordinated with the 50th edition of the Salone Interna-\nzionale del Mobile, an exhibition\u002Finvestigation organized around an object – the ﬂ ower \nvase, the central focus of the cover of the ﬁ rst issue of the magazine – narrated with \nemblematic examples by some of the protagonists of design in the Third Millennium. \nIn 2012, for the second exhibition, titled Fare Lume. Candele tra Arte e Design (Shed Light. \nCandles between Art and Design), focusing on the candle as object, various works \nof art were juxtaposed with the display of design pieces; they included Candles by \nMichelangelo Pistoletto, who at the opening offered a performance, lighting the candles \nof his work from 1967.\nIn the years to follow, the series has continued with Intorno al libro. Tra Arte e Design \n(Between Art and Design), in 2013; La Casa Morbida (The Soft House) in 2014, on textile \ndesign; Geograﬁ e (Geographies) in 2015; concluding with Quasi Segreti. Cassetti tra Arte e \nDesign (Almost Secret. Drawers where Art meets Design) in 2016.\nThat year was also the moment in which to celebrate, with a special project, the 25th \nanniversary of Lumiere by Rodolfo Dordoni, one of the company’s long-term successes, \ntracing back through history by inserting it in a timeline of events that marked the \nperiod 1990-2015. These premises gave rise to the video installation Anni Luce \u002F Light \nYears, on view at Triennale Milano, curated by the architect and critic Michele Calza-\nvara and the designer and stylist Elisa Ossino. This was an opportunity for Foscarini \nto reinterpret one of its most representative objects, contextualizing it in history and \nencouraging viewers to interact, taking part in the narrative in a collective and personal \naccount. Images projected on 26 different screens – one for each year – conveyed memo-\nChap. 4 — Communicating the culture of light\n181\n",92,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.93.png","Foscarini\n2015, Project by Ferruccio Laviani \nfor Spazio Brera. \nChap. 4 — Communicating the culture of light\n183\nAbout shedding light\n2016, Project by Ferruccio Laviani\nfor Spazio Brera.\n",93,{"image":385,"text":386,"number":387},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.94.png","Foscarini\n185\nTop right and above, 2017, Maestrie \ninstallation, Peter Bottazzi, Spazio Brera. \nOpposite, 2018, Reverse Room installation, \nJames and Suzan Wines, Spazio Brera.\n2016, Reality or Illusion installation, \nFerruccio Laviani, Spazio Brera.\nAbout shedding light\nries, triggering associations of ideas and relationships, while at the same time offering \na repertory of facts and personalities, technological and creative revolutions, changes \nin styles and ways of living, all inside a ﬂ ow of mutations and achievements. \nOther moments of in-depth exploration of themes and research in design came with \nthe exhibitions – again for Milano Design Week – installed in the Spazio Brera showro-\nom, opened in Milan in 2013. In the spring of 2017 its spaces, emptied for the occasion, \nhosted the installation Fare Luce (also a book-catalogue) by the architect Giovanni Maria \nFilindeu, who created six settings corresponding to different forms of light, emphasi-\nzing emotional impressions over technical performance. Another form of immersion, \nwhere to suggest how light can give meaning to spaces and transform locations, feelin-\ngs and references were activated, as in the room on the ﬁ rst encounter with light, or the \nspaces that presented light as a gift, as energy and wonder. \nDuring the Brera Design Days, in the fall that same year, Spazio Brera welcomed the \nexhibition Maestrie connected with the publishing project of the same name, focusing \non the synergy between the company, its designers and the exceptional artisans invol-\nved, narrated through the photographs of Gianluca Vassallo, with writings by Stefano \nMicelli and Manolo De Giorgi, and a photographic contribution by Massimo Gardone, \nalong with a series of videos. A multidimensional dialogue across various exhibits, for-\nmulated in an installation by the set designer and architect Peter Bottazzi.\nIn 2018 came a traveling installation, Reverse Room, created by the American archi-\ntect James Wines and accompanied by a monograph (edited by Michele Calzavara) on \nthe work of the studio SITE, which was founded by Wines. The show, made in collabora-\ntion with his daughter Suzan Wines, included all the pieces of the Light Bulb Series – ﬁ ve \ninterpretations in a numbered limited edition of the light bulb icon – with which after \nalmost thirty years Wines resumed a relationship with Foscarini that began in 1991 \nwith the work Table Light \u002F Wall Light for the fair Abitare il Tempo in Verona. Reverse Room \nwas a chamber with dark walls, turned upside-down and sloped, with a monochro-\nme table and chairs, in which the suspension lamps sprout from the ﬂ oor, while the \ntable lamps peer down from the ceiling, challenging our perception of spaces and our \nresponse to environmental stimuli and conventions. With Wines Foscarini has inserted \nthe Light Bulb table lamp in two versions, White Light and Black Light (2018), in the catalo-\ngue. In 2022, the company – together with White Box Studio – produced the ﬁ lm James \nVS Wines – The High Rise of Meanings directed by Gianluca Vassallo.\nAt centre stage: exhibits and displays for communication and sales\nAlso in the ﬁ eld of exhibition design and retail design – associated with the events \nfor the presentation of products and their communication in the form of displays and \nChap. 4 — Communicating the culture of light\n185\n",94,{"image":389,"text":390,"number":391},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.95.png","Foscarini\nEuroluce 2017\nEuroluce 2007\nEuroluce 2009\nEuroluce 2015\nEuroluce 2011\nThe brand is present at the biennial event \nheld at the Milan Furniture Fair, Euroluce, \nonce again illustrating the collection’s \nversatility in a novel way. \nChap. 4 — Communicating the culture of light\n187\nAbout shedding light\nEuroluce 2017\n",95,{"image":393,"text":394,"number":395},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.96.png","Foscarini\nFoscarini is present not only at the trade fair \nin Milan (top, booth in 2019), but also took part \nin other events such as Courtrai in Belgium, the \nSalone del Mobile in Shanghai (above, booth in \n2016) and the trade fair in Stockholm.\nChap. 4 — Communicating the culture of light\n189\nAbout shedding light\nFor the 2016 Stockholm Furniture Fair, \nFerruccio Laviani designed a scenic tunnel which \nplays host to the eclectic Foscarini universe, \nawarded as the Best Stand of the trade fair. \nIn 2017, the brand used lightweight canvases \nto separate the spaces.\n",96,{"image":397,"text":398,"number":399},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.97.png","Foscarini\n191\nInﬁ nity at Superstudio Più in Milan in 2009. \nA large kaleidoscope containing a sequence of \nchoreographies of light alternating with videos \nand music. Project by Vicente Garcia Jimenez, \nwith videos by Massimo Gardone and music \nby Francesco Morosini. Honourable mention at \nthe Compasso d’Oro. \nAbout shedding light\nshowcases in the two showrooms – Foscarini reveals its focus on experimentation with \nexpressive languages and constantly different approaches. In most of the cases the pur-\npose is to concentrate on the brand and its speciﬁ c values, rather than mere advertising \nfor the products themselves.\nFor a long period of time, from 2005 to 2012, during Milano Design Week the com-\npany took part at Euroluce, on the occasion of the Salone del Mobile and also the Fuori-\nSalone, in the context of the format Superstudio Più in Tortona district. Here Foscarini \nstood out for its ‘immersive’ installations, captivating both the general public and \nsector professionals, seduced by audio-visual and luminous performances of exceptio-\nnal impact. Again in this case, what emerges is the originality of Foscarini’s research \non forms of communication that go beyond the traditional ‘shop window’, utilizing \nthe immaterial effects provided by new digital technologies. The ﬁ rst video installa-\ntion, in 2007, was Vertigine by Vittorio Locatelli and Carlo Ninchi (followed by another \ninstallation by the same designers in 2008). In 2009, still at Superstudio Più, the focus \nwas on Inﬁ nity: a gigantic kaleidoscope in which choreographies of light alternated with \nvideos and musical compositions to interpret the products. This project was by Vicente \nGarcia Jimenez (with Massimo Gardone for the videos and Francesco Morosini for the \nmusic), one of the company’s designers since 2005, the creator in the years to follow of \nsimilar projects. Inﬁ nity received an honourable mention for the Compasso d’Oro award \nin 2011.  Also at Superstudio Più, together with the brand for three years Garcia Jimenez \ncontinued to present multimedia itineraries, such as the environment-tunnel Inside \n(2010) full of digital effects and music; Metamorphosis (2011), a dark space containing \ngigantic glowing totem sculptures, with luminous choreography contributed by the \nlighting designer A.J. Weissbard, who has worked with the theatre director Bob Wilson; \nand Inspire (2012), with the choice of a cinema language to tell a story on 27 large scre-\nens, where visitors were immersed in an architecture of videos and three-dimensional \nacoustic tableaux. Foscarini is on hand not only during Design Week in Milan, but also \nin other events, like the Designers’ Saturday in Langenthal, Switzerland, where in 2010 \nGarcia Jimenez designed a reinterpretation on a large scale of the Tress lamp by Sadler, \nwith very long red tubular structures made by using more than 100 lamps, horizontally \npositioned in the spaces of the company Création Baumann. \nIn 2013 the appearances at Superstudio Più came to an end, because Foscarini made \nan important choice for its distribution and visibility, opening two showrooms at the \nsame time. This implied the activation of Spazio Brera, in one of the historic districts \nof Milan, and Spazio Soho on Greene Street in New York, connecting two cities distant \nfrom each other, but sharing the same design attitude. Two cities at centre stage for the \nworld of design and contemporary languages; two districts known for the presence of \nart and artists, focal points of a cosmopolitan world sensitive to cultural stimuli. \nChap. 4 — Communicating the culture of light\n191\n",97,{"image":401,"text":402,"number":403},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.98.png","Foscarini\n193\nMetamorphosis, Superstudio Più, 2011. A choreography \nof giant light sculputures: project by Vicente Garcia \nJimenez, with A.J. Weissbard as lighting designer \nand music by Francesco Morosini. \nRight, Inspire, Superstudio Più, 2012. \nAn immersive installation in which the language of \nﬁ lm-making mixes with three-dimensional acoustic \nenvironments. Project by Vicente Garcia Jimenez, \nwith videos by Massimo Gardone and music by \nFrancesco Morosini. \nBelow, Vertigine, Superstudio Più, 2007. The ﬁ rst \nvideo-installation created by Vittorio Locatelli and \nCarlo Ninchi. \nChap. 4 — Communicating the culture of light\nAbout shedding light\n193\n",98,{"image":405,"text":406,"number":407},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.99.png","Foscarini\n195\nInstallation created in 2010 with more \nthan 100 Tress lamps for the Designer’s \nSaturday event.\nAnni Luce, Triennale di Milano, 2016. Project \ncurated by Michele Calzavara and Elisa Ossino \nto celebrate the Lumiere lamp’s 25th anniversary.\nAbout shedding light\nOpen locations, not mere showrooms, through which Foscarini conveys its identity and \nat the same time generates dialogue with the outside world, in a spirit of inclusion and \nengagement. The designer of the two spaces, both located in historical buildings, is \nFerruccio Laviani, whose project is based on a series of display cases of different sizes, \nready for free conﬁ gurations. Besides encouraging direct and empathic contact with \nthe lamps, the modules function as backdrops for periodic site-speciﬁ c installations, \nbecause the showrooms have been immediately open to the creativity of artists, desi-\ngners and architects. Among the ﬁ rst to be invited, the architect Attilio Stocchi – for the \nopening in Milan – created a light sculpture of remarkable visual impact, titled Seme\u002F\nSeed. Next came the artist Stefano Arienti with an original environmental installation \non one of his most cherished themes, Algae, inspired by Arte Povera and Conceptual \nArt, for New York (2013) and then Milan (2014). In the years to follow, these have been the \nspaces for the various exhibitions organized for Design Week, as well as other special \ninstallations. This was the case during NY Design Week 2015, with the photographic \nperformance Twice Light by Gianluca Vassallo, in which the Twice as Twiggy lamp by \nSadler was seen in a giant version, becoming the protagonist – together with the people \n– of the public spaces in New York City. It was a sort of social experiment in which pairs \nof strangers were invited to pose under the arch of the lamp, giving rise to small tem-\nporary communities. This was all reassembled in the installation, where the shots were \ndisplayed on one wall to form the proﬁ le of Manhattan.\nLaviani, a long-term reference point for the trade fair displays of the company, as \nwell as a designer of products, has created most of the exhibits, apart from several \nexceptions, such as the project for Euroluce in 2009, assigned to Migliore+Servetto. \nLaviani has also designed the stand for Euroluce 2017, based on a ‘double’ Foscarini, \nseen from the outside with large lightboxes featuring the sole decoration of a fragmen-\nted logo, and a presence that was striking for its rigorous form, while inside a more \nrelaxed, playful spirit was revealed. The designer’s communicative touch has also \nstood out in the project of a theatrical red tunnel, a place of convergence of the eclectic \nuniverse of the Foscarini collection, presented at the fair in Stockholm in 2016. A jury of \njournalists assigned the prize for best stand in the fair to this project, and its replica is \npresently on view at the company headquarters, where by crossing it guests and visitors \ncan have an immediate experience of the catalogue. Laviani is also the designer behind \nthe latest settings, including the window displays of the new Milanese facility of Spa-\nzio Monforte – which replaces Spazio Brera – with inventions that are always original, \nalso to enliven and interpret the internal space in different ways. Since 2019 Spazio \nMonforte is the representative location of the brand in Milan, in an area with \na history of venues hosting the ﬁ nest companies in the ﬁ eld of lighting design. \nChap. 4 — Communicating the culture of light\n195\n",99,{"image":409,"text":410,"number":411},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.100.png","197\nFoscarini\nTo display and \nto show oneself\nBeppe Finessi  \nChap. 4 — Communicating the culture of light\nDeeply interested in an idea of \nconstant change, and naturally brought \nup with an unconditional love of \ndifferences, embraced day by day to \ndemonstrate an eclectic essence, \nFoscarini continues to strive to always \nbe different, through a history of \ncreations developed across forty years \nof production, the offspring of dozens \nof authors, all unique in terms of \nbackground, culture, and origins. \nA diversity that has increasingly \nbecome the main characteristic of the \ncompany’s identity. This is an attitude \nthat allows the ﬁ rm, in a natural way, \nto never stand still, in a dynamic of \nconstant renewal. “Like a catalogue \ncomposed of many individual pages, \nour project stems from the grouping of \nunique stories and various sensibilities, \nlinked together by the common \ndenominators of research, innovation \nand poetry”, says Carlo Urbinati, \nfounder of the company.\nTo translate and conﬁ rm this DNA in \nthe moments when the company \npresents its lamps in trade fairs or \ncommercial spaces – where \nrecognizability is normally the goal – \nobviously constitutes an ulterior \nchallenge. Because displaying items and \nshowing oneself at the same time is \nusually an exercise activated through \ncoordinated image projects that insist \nupon reiterating languages, forms, \nstylemes, signs, even colours and \nﬁ nishes. But for a company with the \ncharacteristics of Foscarini, these \nmoments become new opportunities to \nbanish the obvious, and to show oneself \n– indeed – in an always shifting guise. \nDiscovering, many years ago, that there \nwas already a pedigreed designer \n‘in-house’, Ferruccio Laviani, with \nwhom to establish a partnership based \non a very signiﬁ cant word: freedom. \nThat of the company described above, \nand that of a creative architect who is \nhard to classify, who shuns repetition  \nand is truly capable (in his own words) \nof doing “everything and its opposite”. \nThe author of installations where often \nthe only constant is the highly \nidentifying presence of the Foscarini \nlogo, redesigned by Artemio Croatto\u002F\nDesignwork and still timely in its \nproportions, but also accelerated, \nbroken down and pushed to the limits \nof its own recognizability by the \narchitectural solutions proposed.\nDisplays that are always able to \nexpress originality, as already happened \ntwenty years ago at Euroluce 2005: \na space of vivid character, forcefully \nasserted by the colours red and black, \nwhich in the deep darkness made the \nproducts the protagonists, bringing \ntheir image to the fore. \nAlso on the next occasion (Euroluce \n2007), the image proposed was a \nvolume of “black leather conveyed in \nmultifaceted volumes, suggesting \nthe forms of a diamond”. \nA project that highlighted the versatility \nof the brand, “a company that gathers, \ndevelops and enhances multiple design \nAbout shedding light\n197\n",100,{"image":413,"text":414,"number":415},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.101.png","199\nFoscarini\nideas and creative spirits”. \nIn those years of rapid growth, \nFoscarini needs to display and to show \noneself increased. For Euroluce 2009 the \narchitects commissioned for the project, \nIco Migliore and Mara Servetto, had \nproposed “a sort of urban metaphor of \na possible city, where the central square, \nan agora of dialogue on the quality of \nlight, was the fulcrum of a dynamic \nvision open to free pathways of \ndiscovery of the company’s new \nproducts”. A space ﬁ rmly controlled in \nits layout, of theatrical effect, to \ncommunicate with immediate clarity \nthe values, products and identity \nof Foscarini.\nFor Euroluce 2011 Laviani’s touch \nreturned (since then he has designed all \nthe subsequent initiatives of Foscarini \nat Euroluce), generating a multimedia \nstand featuring virtual volumes, traced \nby slender metal cables that suspended a \nnumber of spatial nodes in the void, \nmarked by a vivid orange colour as if to \nimply the edges of ‘containers’ where \neach lamp was housed in an almost \nethereal way, and presented by a video \nwith the remarks of the designers.\nTwo years later (2013), visitors were \nwelcomed into a very orderly booth, \nclearly effective for this reason, with \na forcefully architectural image, where \nthe exterior featured grey concrete \ncladding with very free contemporary \ngraphics, and the interior offered spaces \nof different colours for each individual \nlamp.\nAt the next edition (2015) Laviani \nenvisioned a spectacular space, \nrendered functional by a progression of \nsteps at different levels that permitted \n“an overall view to underline the \ncharacter and versatility of the \ncollection”. The emotional impact was \nthe result of a skilful game of darkness \nand twilight, with the lamps of the \ncompany as the logical protagonists, \nperceived as unique and thus enhanced.\nThat same year, at Spazio Brera, \nLaviani imagined a sequence of arches \nmarked by simple light bulbs that lit up \ngateways of clearly theatrical character, \nall in a red colour that returned as a seal \nof identity.\nThe game of spaces that seem to link \ntogether in pursuit of each other, also \ncontinued in later projects such as the \none for Shanghai (2016), where the \ncolour red returned on a wall that \nopened and shifted to welcome visitors \nthrough gigantic openings chained \ntogether, in a trompe-l’oeil game of \nperspective in a gesture worthy of \nFelice Varini. \nThe same type of disorientation was \nbestowed on the visitors that same year \nto Reality or Illusion (Spazio Brera) \nwhere a game of geometric and abstract \nsigns that ricocheted across walls, ﬂ oor \nand ceiling, in a striking invention \nbetween Alessandro Mendini and \nWenzel Hablik. \nAgain, that same year in Stockholm, \nthe available space of the trade fair \nbecame a ‘theatrical tunnel’ with the \nChap. 4 — Communicating the culture of light\nusual red hue, “an imaginary world \ninhabited by the lamps, arranged in an \nunexpected way, inviting people to look \nat reality from another vantage point”, \nas Laviani explained his project called \nAt a Glance.\nThe space created for the next \nEuroluce (2017) was instead in \nplanimetric ‘disorder’, with large panels \nthat shaped and paced different \ndirections and paths, and the name of \nthe company at the perimeter, enlarged \nbut fragmented, while inside backdrops \nclad in reﬁ ned ‘tapestries’ as in a \ncabinet of curiosities produced a more \nintimate, warm and measured tone, \nsurrounding the new experiments on \nproducts inserted in glass volumes with \nmuseum-like impact.\nThe following year, at Spazio Brera, \nJames and Suzan Wines, of the \nformidable studio SITE, overturned the \nprimary elements of the space, and with \nReverse Room welcomed the audience \ninto a world that had literally been \nturned upside-down. A space with a \nclearly daring compositional matrix, \nsustained by the same courage \nexpressed by Laviani for Euroluce 2019: \na project of deconstructivist overtones, \nformulated in “a sort of skin made with \npanels of transparent polycarbonate, \npersonalized through the dismantling \nof the Foscarini logo in red”. \nA compositional model in no way \naligned with normal commercial logic, \nreiterating what it wanted and still \nwants to be: “We chose that exhibit \ndesign to narrate what we are: an \nincubator of ideas”, Carlo Urbinati \nemphasized with lucid pride.\nThe latest presentation in time has \nintroduced a novel linguistic \ndevelopment for Ferruccio Laviani, who \nin the updated pavilions of Euroluce \n(2023) envisioned a large booth in which \nto deftly shufﬂ e the cards of his various \nreferences, constructing a space that \nalludes to the Japanese house but also \nlinks back to the Cabanon of Le \nCorbusier, with an eye on the art of \nHaegue Yang and without overlooking \nthe architecture of Richard Neutra. \nA setting made with the plywood panels \nusually utilized for shipping crates, \nenhanced by reﬁ ned colour ﬁ elds to \n“create an atmosphere that is domestic \nbut industrial at the same time: a \nreﬂ ection of the essence of the \ncompany, which makes its lamps by \ncombining ﬁ ne craftsmanship and \nindustrial expertise”. Once again, a \ndisplay that adds a precise facet to the \nFoscarini identity.\nBeppe Finessi, architect, PhD, is active \nin the ﬁ elds of education (he teaches at the \nSchool of Design of the Milan Polytechnic), \ncriticism (editor of the publishing project \nInventario) and research, through \nexhibitions and publications on the great \nmasters of Italian design and the new \nprotagonists of the international scene.\nBeppe Finessi — To display and to show oneself \nAbout shedding light\n199\n",101,{"image":417,"text":418,"number":419},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.102.png","201\nFoscarini\nChouchin lamps at the Coca Cola \nheadquarters in Madrid, Spain. Project: Stone \nDesign. Pictures: Alberto Monteagudo.\nThe Twiggy and Tuareg lamps captured by \nAndrea Ferrari for Ritratti.\nAbout shedding light\n201\n  CHAP. 5 — \nDESIGNING SPACE \nWITH LIGHT\n",102,{"image":421,"text":422,"number":423},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.103.png","Foscarini\nCap. 5 — Progettare gli spazi con la luce\n203\nExamples of Foscarini Evolution: a travelling \nproject-event where compositions of standard \nmodels from the collection are used to create \nlarge luminous sculptures.\nAbout shedding light\nChap. 5 — Designing space with light\nLights as transformative dimensions of space \nWith its products, Foscarini has always paid particular attention to the personali-\nzation of space. Starting from serial production, the lamps offer architects and consu-\nmers different possible conﬁ gurations based on the combination of forms and their \nuse in compositions. To demonstrate the ﬂ exibility of the collection, also in response \nto the requirements of large contract settings, in 2008 the company created Fiber Evo-\nlution, a traveling project-event produced in collaboration with Marc Sadler and pre-\nsented in a number of important European cities (selected as the best installation at \nDesigner’s Saturday in Langenthal, Switzerland in 2010), New York and Melbourne. The \ninitiative was then expanded in the format Foscarini Evolution, combining the reinter-\npretations of the Mite, Tite, Lite and Twiggy families with models by other designers. By \ncombining standard models of the collection, large luminous sculptures were genera-\nted, true theatrical installations formulated in relation to the space. This initiative of-\nfers a glimpse of the fact that one of the particular characteristics of Foscarini’s design \nlies in the special relationship triggered by the lamp-as-object in the designated space. \nThe company, in fact, puts constant emphasis on the development of lamps capable \nof enhancing their contexts with objects that have a distinctive aesthetic and design \ncharacter, presences that are not concealed or camouﬂ aged in the interior, but instead \nplay an active role to produce an atmosphere in tune with the people who choose and \nexperience them. Lamps that bring a certain type of quality into their surroundings, \nin terms of style, materials and colours, and are thus capable of communicating even \nwhen not in use; when they are turned on, they become a central component of the \nsetting, a fulcrum of perception, like an artiﬁ cial sun that guides the interpretation of \nthe space. Thus deﬁ ned, the product becomes a valid tool for the construction of a cha-\nracteristic aesthetic and expressive tableau, both in the residential sector and in spaces \nfor collective and public use.\nVarious research initiatives and projects, in particular, punctually underscore this \ntype of aptitude for insertion in the setting and shaping the space. The deconstructed \nchandelier Big Bang (2005) by Enrico Franzolini with Vicente Garcia Jimenez, from this \nstandpoint, is endowed with great plasticity and visual impact, allowing it to be inter-\npreted in large proportions that amplify its already strikingly theatrical presence; it \nis an interesting option for large spaces, also in different compositions, where it lends \nitself to the construction of evocative luminous works of architecture. A certain level of \nexperimental exploration is also found in the Allegro (2007) suspension lamp in metal \ntubing by atelier oï, with three variants of form, this time with a focus on interaction \nwith space, even of a multisensory nature. This model represents another step forward \n203\n",103,{"image":425,"text":426,"number":427},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.104.png","Foscarini\n    “The lamp becomes a valid tool for the \nconstruction of a characteristic aesthetic \nand expressive tableau, both in the \nresidential sector and in spaces for col-\nlective and public use”.\nAbout shedding light\nLeft: Allegro Assai in Le Bombarde \nrestaurant, Venice Biennale 2008, Italy. \nPicture: Studio Eye. \n Clockwise: Gregg lamps in the \nMinotti showroom in Shanghai, China. \nPicture: Suisicong. \nUto on the tables of the F12 restaurant in \nStockholm, Sweden. Project: Lomar Arkitekter.\nPicture: Åke E:son Lindman. \nSpokes at the Danubius Hotel Helia in \nBudapest, Hungary. Project: TIBA Architects \nStudio.\nChap. 5 — Designing space with light\n205\n",104,{"image":429,"text":430,"number":431},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.105.png","Foscarini\n207\nLeft: Havana outdoor suspension lamp in \nthe outdoor space of Le Bombarde restaurant, \nVenice Biennale 2008, Italy.\nRight: special composition of Big Bang lamps \nwithin the Venice Biennale bookshop, Italy.\nAbout shedding light\nChap. 5 — Designing space with light\nin the typological evolution of the suspension lamp: a sort of luminous sculpture that \nbecomes an instrument when touched, emitting a sound produced by the vibration \nof its parts. Through the events and light installations presented over the years at the \nVenice Biennale and during Milano Design Week, for example, Foscarini has further \ninvestigated the particular traits of some of its products, also in architectural-envi-\nronmental contexts of remarkable size. Alone, in groups, and positioned at different \nheights, also playing with repetition and modular design, the lamps in the Foscarini \ncatalogue set the tone of projects inside interiors where they become a fulcrum of at-\ntention and visibility. Also on the wall, with Bahia (2010) by Lucidi Pevere, positioned in \na composition with different directions to create graphic motifs that are also appealing \nwhen the lamps are off. \nIn other cases, the lamp-object becomes a presence, almost a ﬁ gurative subject, \nwhere the colour and ﬁ nishes granted by materials, together with the solutions con-\nnected with their design, play a precise role in the enhancement of what surrounds \nthem. Just observe the string of lamp-sculptures – a plot line, we might say, that aptly \nrepresents the company’s catalogue in terms of image – created by Laviani, starting \nwith Orbital (1992) and Dolmen (1996), in which the latter is already representative of a \nway of living inside alternative, ﬂ exible interiors. Over the years, Laviani has explored \npossible spatial conﬁ gurations of light, as in the resonant spherical volume formed \nby metal disks of Supernova (2000), the geometric composition of Teorema (2005), or \nthe totem composed of tubular parts of the Tuareg (2013) ﬂ oor lamp, which offers the \npossibility of adjusting the ﬂ ow of light as desired in the space. A few years later, with \nUptown (2019), the artful overlay of sheets of coloured glass, in a tribute to the Futurist \naesthetic and the Postmodern styling of Memphis, serves to amplify the chromatic \neffect, especially when the lamp is on and the hues come to life. The lamp is thus tran-\nsformed into an object for contemplation, a sculpture of light and colour. \nExisting in space also implies using light to give form to luminous objects, already \ninvestigated with Blob (2002) by Karim Rashid in his initial approach and reprised \nin typological terms with the organic Gregg (2007) by Ludovica Seraﬁ ni + Roberto \nPalomba and Solar (2011) by Jean-Marie Massaud. In this case we are looking at a new \ntype of object that reproduces the intimacy of a hearth; a volume in roto-moulded \npolyethylene that also takes on the function of a luminous décor complement – a table, \nan ambient lamp, or as furnishings for green areas – to utilize on its own or in multiple \ncompositions for settings or pathways of light in the open air. Sun-Light of Love (2019) \nby Tord Boontje is another case in point, for its ability to focus attention and to become \na strong centre of attraction with its centripetal force in the space: it is like an artiﬁ cial \n207\n",105,{"image":433,"text":434,"number":435},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.106.png","Foscarini\n    “Lamps that are capable of commu-\nnicating even when switched off; when \nthey are turned on, they become a central \ncomponent of the setting, a fulcrum of \nperception, like an artificial sun that gui-\ndes the interpretation of the space”.\nLeft: the three models of Allegro lamp \ndecorate Taizu restaurant in Tel Aviv, Israel. \nProject: Pitsou Kedem & Baranowitz \n– Amit Design Studio. Picture: Amit Geron. \nRight: Aplomb in the lobby of the DoubleTree \nHilton Hotel in Mogliano Veneto, Italy. Project: \nStudio Marco Piva. Picture: Gianluca Vassallo.\n209\nAbout shedding light\nChap. 5 — Designing space with light\n",106,{"image":437,"text":438,"number":439},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.107.png","Foscarini\n211\nTwiggy at The Cook restaurant in Genoa, Italy. \nPicture: Veronica Onofri for Attilio Cavo 2017. \nThe Gregg and Spokes suspension lamps at \nYakiniku Rikyu restaurant in Madrid, Spain. Project: \nStone Design. Picture: Alberto Monteagudo.\nAbout shedding light\nChap. 5 — Designing space with light\nsun, reﬂ ecting the poetic intent of its designer, whose rays of steel, each with its own \norientation, screen and reﬂ ect the direct light upward and downward. A symbolic \npiece, also in the choice of chromatic options, where gold – for example – expresses the \nradiant energy that is unleashed.\nThe potential for furnishing spaces with light is pursued by Foscarini in residential \nsettings and public facilities, where the company’s products are selected and inserted, \nalthough it has no speciﬁ c contract division. The public spaces can also be those of \nculture, like museums, foundations and galleries. For the exhibition Alberto Meda. \nTension and Lightness at the Design Museum of Triennale Milano (October 2023 – March \n2024), the grand staircase of the Palazzo dell’Arte has welcomed a site-speciﬁ c installa-\ntion created by the designer himself. The protagonists are over thirty Chiaroscura\nlamps, seventeen on each side, and made to measure: from the largest with a height \nof over ﬁ ve metres to the smallest with a height of 57 centimetres. The lamps with a \ntriangular section, hidden in the gaps between the columns in an arrangement that \nfully respects the architecture, form a genuine luminous set in this case, almost a cho-\nreography through the various dimming effects applied to the light. \nOne sector that has seen radical transformations over the last twenty years is that \nof hospitality in all its guises, which together with the retail world is a constant focus \nof refurbishing and renewal of sales and image spaces, to adapt to changing internatio-\nnal tastes, market trends and the periodic necessities of brands, especially in the world \nof fashion. Over time the icons of Foscarini have earned a special place within this \nﬁ eld, chosen by architects, interior designers, retail managers, but also stylists and \n211\nAplomb in the P House, São Paulo, Brazil. \nProject: studio mk27 – Marcio Kogan + Lair Reis. \nInteriors: Diana Radomysler. \nPicture: Fernando + Sergio Guerra. \n",107,{"image":441,"text":442,"number":443},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.108.png","Foscarini\n213\nClockwise: Allegro at the Merus Winery, \nNapa Valley, USA. Project e Picture: Uxus Design. \nSpokes at the Mon Liban restaurant, Lyon, \nFrance. Project: Bastien Jovelet \u002F Nouvel Angle. \nPicture: Sabine Serrad. \nPlass at the Hotel Park Hyatt Hangzhou, \nHangzhou, China. Project: GOA Architects + Yabu \nPushelberg. Picture: Zhu Hai. \nAbout shedding light\nChap. 5 — Designing space with light\nart buyers at the service of the media that convey the results of these projects. Every \nproduct, with its own speciﬁ c identity, establishes a dialogue of contrast or greater \nharmony with the various contexts. The lamps are often selected for their ability to act \nas a fulcrum of visibility inside a given environmental situation: as has been demon-\nstrated in many public venues around the world that make use of the lighting creations \nof the Venetian ﬁ rm. Among the prevailing formulas for the success on the market of \nItalian furniture makers over the last few decades, contract applications are deﬁ ni-\ntely a key development, meaning medium and large orders from around the world, \nencouraged and sustained by the presence of an architect (often the creator themselves \nof the products selected for supply). These projects naturally depend on the efﬁ ciency \nand capacity of response in terms of quality and timing of the manufacturer. Recently \nthese orders may call for the complete supply of everything involved in the creation of \na ‘turnkey’ project. In relation to this latter approach, companies are organizing their \nown structures, in strategic collaboration with producers of kitchens, upholstered fur-\nnishings or lamps. This passage from the single object to an all-around dimension also \nseems to shift the focus from product design to interior design, but in this scenario \nFoscarini represents an exception, because since it does not do its own manufactu-\nring, it can remain independent with respect to the logic of large commissions and the \nengagement with designers operating inside this type of logic\u002Fstrategy. The Venetian \nﬁ rm, in its autonomy, can conserve the identifying characteristics typical of small and \nmedium Italian companies, without the need to pursue big numbers, by necessity or \nchoice. Foscarini, rather than working on the design of systems, can move exclusively \non the front of product design and on the scale of the ‘variable series’.\nFor these reasons, inside Foscarini the design research concentrates on the single \npiece, always taking its cue from a proposal that is developed with the designers, wi-\nthout necessarily representing some facet of a corporate style. Nonetheless, the choice \nof every project is a responsibility, because it has to be consistent with the ‘family \nalbum’ represented by the catalogue. The project must therefore have its own dimen-\nsion of identity, in tune with the freedom of exploration embodied by the company. \n“We have to be independent in spirit, otherwise we would end up always reproducing \nourselves, and we would become a way of being”, says Carlo Urbinati, and this sort of \nstatement conceptually explains the choices made over time, as well as those to be \nmade in the future. For this reason, we can conclude by saying that if there were no \ncompanies like Foscarini, capable of wagering on the development of courageous and \nsometimes difﬁ cult projects – often taken forward in the awareness of a commercial \noutcome that is impossible to foresee, implying risk in terms of investment – certain \ntypes of products would probably not exist. \n213\n",108,{"image":445,"text":446,"number":447},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.109.png","215\nFoscarini\nDolmen \u002F1996—2017\nTuareg \u002F2013 \nTobia \u002F2019\nUptown \u002F2019\ndesign Ferruccio Laviani\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nChap. 5 — Designing space with light\n215\n",109,{"image":449,"text":450,"number":451},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.110.png","217\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nThe Dolmen lamp taken apart.\nTeorema, ﬂ oor lamp by Ferruccio Laviani \ndesigned in 2005, which is reminiscent of Piet \nMondrian’s geometric abstract art and of the free \ncomposition of planes in space. Above, Aretha.\nPictured on the right: designer Ferruccio Laviani.\nDolmen \u002F1996-2017 — design Ferruccio Laviani\nAbout shedding light\nAn architect and designer, Laviani \n– a former pupil of Ettore Sottsass, Achille \nCastiglioni and Michele De Lucchi – works \nwith companies in the furniture industry, for \nwhom beyond designing products, he also \ntakes care of corporate identity, always with \na highly contemporary and recognisable \nstyle. He is also in charge of artistic \ndirection and setting up exhibitions and \nevents. He made his début in the world of \nlighting together with Foscarini in 1992, \ndesigning the Orbital sculpture-lamp, a \npiece with a strong symbolic value, which \nhe subsequently draws on for other projects \nsuch as Dolmen (1996).\nIn the latter, featuring streamlined \ncomponents, the aluminium box – to be \nplaced on the walls, leaning against it or \nlaying on its side, or to be hung from the \nceiling – encloses and ampliﬁ es the effect \nof the two ﬂ uorescent light sources through \ntwo Lexan polycarbonate screens, white at \nthe front and transparent at the rear. Its \nredesign in 2017 gave the narrow, \nlightweight, luminous parallelepiped new \nproportions, making it thinner and more \naesthetically clean-cut. The four \nequal-diameter holes marking the front \nsurface generate alternating matt and \nluminous surfaces, discreetly diffusing light, \nwhich was initially generated by the \nﬂ uorescent tube, a task now performed by \nLEDs. The screen behind it is tasked with \nilluminating, using the walls of the \nsurroundings as a reﬂ ective plane.\nLaviani’s liking for totemic designs is also \nexempliﬁ ed by the Teorema (2005) and \nAretha (2006) ﬂ oor lamp models which in a \nway owe their concept to Piet Mondrian’s \ngeometric abstract art and free compositions \nof planes, even coloured ones, in space. In \nthe former, made of polycarbonate and metal,\nthe light source is encased in a lightweight \nstructure made of differently perforated and \ncoloured sheet metal lines and inserts. The \nlatter, more essentially, plays with the light \nreﬂ ected (but a thin cut allows light to shine \nout of the rear too) by the lacquered \naluminium structure deﬁ ned by blocks and \nvoids. It was bestowed with the Wallpaper \nDesign Award for best lamp in 2007. \nThe construction of Tuareg (2013) is \nentirely different: this three-dimensional \ncomposition focuses attention within a \nspace. The tubular aluminium components \nrecall an assembly of branches and reeds, \ngenerating a powerfully graphic and scenic \neffect resulting from a complex traditional \nindustrialisation process. An adjustable, \nindependently-operated LED light source is \nincorporated into the end of three tubular \nelements to vary the lighting effect. \nThe clean-cut appearance is accentuated \nby integrated touch switches and the system \nused to hide the power cables within the \ntubular elements.\n217\n",110,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.111.png","219\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nTuareg is inspired by man-made \narchitectures which are nevertheless bound to \nthe world of nature with materials such as \nbranches and canes according to an instinctive, \ndynamic creative logic.\nAbout shedding light\nTuareg \u002F2013 — design Ferruccio Laviani\n219\nThe initial idea took the form of a \nthree-dimensional composition of tubular \naluminium elements. Independent LED light \nsources have been incorporated into the \nextremities of three of these elements which \ncan be adjusted by 360 degrees.\n",111,{"image":457,"text":458,"number":459},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.112.png","221\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nUptown is equally alluring: this lamp \nconsists of three silk-screen coloured glass \nslab bodies in shades of yellow, primary red \nand blue which, overlapping one another, \ngive rise to new colourful hues. Transparency \nhas guided the development of this design: \ncharming even when it is switched off, \nUptown plays the absolute star of the setting \nwhen it lights up, as the slabs load up with \ncolour and the light is projected upwards. \nThis transparent luminator draws its \ninspiration from American glass skyscrapers. \nThe apparent simplicity is in fact the result of \nextreme precision in making a highly intricate \nobject appear straightforward, for example by \nconcealing the 45-degree cut that renders \nthe point where the glass panes meet \nimperceptible. \nThe same year, Tobia introduced the \nmobile luminator, thanks to an elemental and \ngraphic shape delivered by the tubular \nstructure. With an ironic touch, the nomadic \nnature of the concept behind this lamp is \nconveyed by the knot in the centre \nencouraging the observer to grab it, and is \nmirrored – although not with the same \nfunction – in the wall version, characterised \nby the dual directionality of the light. \nAlthough the metal tube, which in the ﬂ oor \nlamp version also acts as a three-legged \nbase, has a section of just two centimetres, \ncareful engineering has allowed all the \ntechnology necessary to ensure outstanding \nlight performance to be housed inside. \nTobia combines simplicity and personality \nalso thanks to colour, which can either \nminimise or emphasise its presence within \na setting.\nTobia is a slim and compact, portable \nluminator which is easy to move thanks to the \nknot in the middle. The lightness of a sign to \noutline a body and a form to narrate a function.\nTobia \u002F2019, Uptown \u002F2019 — design Ferruccio Laviani\nAbout shedding light\n221\nIconic, colourful, a scenic graphic sign \nwith a strong visual impact, Uptown is \na piece of luminous architecture which draws \nits inspiration from the metropolis.\nAbove, project by Gianluca Vassallo \ninterpreting Uptown as a skyscraper in NY.\n",112,{"image":461,"text":462,"number":463},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.113.png","223\nFoscarini\nBig Bang \u002F2005 \ndesign Franzolini con\n\u002Fwith Garcia Jimenez\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nChap. 5 — Designing space with light\n223\n",113,{"image":465,"text":466,"number":467},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.114.png","225\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nBottom right: ﬁ rst prototype of the Big Bang \nlamp in the Rosi Serli store in Trieste, Italy. Top, \npainting by Enrico Franzolini. \nBig Bang \u002F2005 — design Franzolini with Garcia Jimenez\nAbout shedding light\nThe Big Bang lamp makes a remarkable \nplastic impression, its apparently chaotic \nshape having been created by the carefully \ndevised intersection, as if in an interlocking \ngame, of methacrylate elements which \ntogether generate multiple contrasts of light \nand shadow. Based on a concept by the \narchitect designer Enrico Franzolini, \nin partnership with Vicente Garcia Jimenez, \nit reﬂ ects the interests of the former in the \nabstract expressionism of Emilio Vedova \nand Franz Kline. One of its possible \ngenealogies is still Light Box, a work from \nthe 90s which Giulio Cappellini wanted to \npresent at the Salone del Mobile in Milan in \n1994 – which Franzolini also exhibited in a \nsolo exhibition at the Plurima Gallery in \nUdine – where the backlit cuts of the doors, \nvariously arranged according to ‘rational\nchaos’, can be considered to be the \ntwo-dimensional premise to Big Bang. \nThe ﬁ rst two experimental prototypes \n– which were tested in a shop in Trieste – \nwere followed by a third prototype that was \npresented to Foscarini, conﬁ dent that the \nsolution could also be suitable for mass \nproduction. Irregular intersections of planes \nin space thus create a volume with the \nutmost ﬂ exibility and high visual impact, \ncasting direct light downwards and diffused \nlight in its surroundings. The two-tone \nvariant further accentuates the encounter \nbetween different surfaces and the contrast \nbetween the ‘inside’ and the ‘outside’ of \neach element. The special arrangement of \nthe methacrylate plates guarantees optimal \nlight reﬂ ection while at the same time \navoiding glare. The L and XL versions \n(2016) boost the already accentuated \nscenic effect of this lamp, making it ideal \nfor large settings in which it creates \ncharming luminous architectures, also \nin compositions.\n225\nChaos and geometry: an explosion of \nintersecting planes, creating an architecture \nof surfaces, lights and shadows, with an \noutstanding scenic effect.\n",114,{"image":469,"text":470,"number":471},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.115.png","227\nFoscarini\nAllegro \u002F2007 \ndesign atelier oï\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nChap. 5 — Designing space with light\n227\n",115,{"image":473,"text":474,"number":475},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.116.png","229\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nAllegro and Allegretto take shape thanks to \nthe force of gravity. Made with metal lines that \ndesign the light and emit sounds when they \nbrush, they owe their name precisely to their \n‘musicality’.\nAllegro \u002F2007 — design atelier oï\nAbout shedding light\nThis collection of lamps dates back to \na fascinating design take on a simple object \nsuch as rope, set up by atelier oï at the \nSwiss Cultural Centre in Milan in April 2006 \nduring Milano Design Week.\nThe ‘rigid-ropes’, in other words ropes \nfeaturing strategic points that have been \ntreated to become rigid, had already been \nexperimented with in 2005 by the oï group \n– a trio of Swiss designers consisting of \nLouis Armand, Aurel Aebi and Patrick \nReymond – in the scenery for the \npresentation of the works by the winners \nof the Bourse Fédérale des Arts Appliquées \nSuisse in Lausanne and at an event at the \nNeue Räume in Zurich, put together in \npartnership with Ronan and Erwan \nBouroullec. In this scenery, the rope \nbecomes a tool for creating compositions, \nwhich stimulates the senses: ﬂ exible, rigid, \nbent, soft, being unwound and then \nrewound, it gives rise to an imaginary \nlandscape packed with spatial, luminous \nand sonorous stimuli with seating and large \nsuspended lamps. These experiments led to \nthe project developed together with \nFoscarini to create suspension lamps \nconsisting of slim metal lines, waiving \ntransparency and thereby achieving a \ndelightful game of light and shadow created \nby the metal rod. These suspension lamps \nreveal a hidden nature as they shift slightly: \nindeed, the oscillation causes the \naluminium rod elements to vibrate and emit \na soft and magical sound. This subtle bond \nwith music explains the fact they are \navailable in three shape variants, along with \ntheir names: Allegro Assai, Allegro Vivace, \nAllegro Ritmico – each one in a speciﬁ c \ncolour ﬁ nish (gold, copper and graphite). \nTheir design determines the overall shape, \nwhich is in no way static or ﬁ xed: each rod \n– which is attached to the upper part – is \nput into position by the force of gravity, \ngiving rise to the ﬁ nal composition. It \nprovides diffused lighting, directed down \nand reﬂ ected onto the ceiling while at the \nsame time emphasising the rods making up \nthe body of the lamp. The Allegretto family \n(2009) has smaller proportions and is also \navailable in three different models in terms \nof shape and size with respect to the parent \nfamily and is designed for installation in \nsmaller settings.\n229\nInstallation by atelier oï at the \nSwiss Cultural Centre in Milan during \nthe 2006 Milano Design Week.\n",116,{"image":477,"text":478,"number":479},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.117.png","231\nFoscarini\nBahia \u002F2010 \ndesign Lucidi Pevere\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nChap. 5 — Designing space with light\n231\n",117,{"image":481,"text":482,"number":483},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.118.png","233\nDolmen\nTuareg \nTobia\nUptown\nBig Bang\nAllegro\nBahia\nFoscarini\nChap. 5 — Designing space with light\nBahia’s game of lights and shadows and \nits unique design allow for graphic \ncompositions on the wall. Its design emerges \nfrom the overlapping of three plates, slightly \nasymmetrical in their proﬁ les and the \nreciprocal layout.\nBahia \u002F2010 — design Lucidi Pevere\nAbout shedding light\nWith Bahia, Lucidi Pevere pondered \nabout how to decorate a wall with light, \ncreating an impactful composition capable \nof delivering remarkable visual depth. Its \noverlapping, concentric, irregular \ncomponent planes are reminiscent of \narchipelagos or of the overhead view of an \nisland in the ocean. The designers admitted \nthat the difﬁ culty lay in starting out with \nshapes that were recognisable to the human \neye, that referred somewhat to nature yet \nwithout being perfect circles, and then \nworking on the irregularity in an attempt to \nbalance it, to contain it, both in the three \nelements themselves and in the way they \ncame together. By observing the wall lamps \nthat were on the market at the time, which \nwere often mere variants on existing \nproduct families, the designers set \nthemselves the goal of making the product \nthey made impactful, also through the use \nof white, to create a game of presence\u002F\nabsence in the setting, while also using a \nhighly reduced thickness to make \nit unobtrusive despite its size. The aim was \nalso to hide the light as much as possible, \ndistributing it radially without making it clear \nexactly where it is located inside the lamp, \nbut at the same time to have variations in \nshade – by alternating light and dark – \nto make its component volumes perfectly \nperceptible. When it is switched off, the \nlamp stands out not so much for its shape \nbut rather for its shadows, which emphasise \nits volume, roundness and thickness. \nIndeed, the shape is achieved by three \ninjection-moulded polycarbonate \nshell-shaped diffusers – an experiment was \ninitially conducted using deep-drawn metal \n– stacked on top of one another. The density \nof the material was controlled in order to \nobtain the desired degree of transparency \nand opacity in the individual ‘layers’; as well \nas the ﬁ nish, glossy on the inside to diffuse \nlight more intensively, and a gentler satin \nﬁ nish on the outside for softer light. Spacers \nwere placed between the second and third \ndiffuser, following a purpose-devised \nasymmetrical arrangement and alternation \nbetween the ﬁ rst two concave surfaces and \nthe smaller convex one at the front \nconcealing the light source. The result of \nthis articulated composition, which has its \nvery own ‘kinetic’ effect, is a game of light \nand shadow, of concentric glows reﬂ ected \non the wall, also in multiple compositions to \ncreate graphic patterns with a variety of \norientations.\n233\n",118,{"image":485,"text":486,"number":487},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.119.png","235\nFoscarini\nLuminous mystery\nMassimo Curzi\nChap. 5 — Designing space with light\nI will begin this short essay by \ntrying to ﬁ nd similarities between the \nradiance of light and the spread of \nmusic in an architectural space, in the \nperception of a potential visitor who \ngrasps the parallels and proximities. \nAs we know, every architectural space \nhas its own atmosphere, which acts on \nour senses and determines its \ncharacter, thanks to multiple physical \nbut also symbolic and abstract \naspects. Architectural space can \nhave a personality that is so strong \nas to make our visit become a \nmemorable experience. \nDuring a lifetime we visit an \ninﬁ nite number of places and enter \ncountless buildings: these experiences \naccumulate in our memory, \nunconsciously inﬂ uencing our taste. \nOut of all these places, we remember \nonly a few in a vivid, powerful way, and \nI like to think that many of them are \nimprinted in our minds also by virtue \nof their light, the way we moved inside \nthem, the way the light ﬁ ltered \nthrough openings in the perimeter, \nsetting their rhythms and marking the \nhours of the day.\nThese are memories in which light \nplays a silent part, blending into our \noverall perceived experience. Just as \nevery place, every work of architecture \nhas its own light, so every place also \nhas its own sound, dictated by the \nﬂ oor under our steps, the walls that \nreverberate in different ways with our \nspeech, depending on whether they are \nsmooth or rough. There is also the \npresence of a character that resonates \nthrough the architectural structure of \nthe space. Besides the natural sound \nof a location, our perceptions allow us \nto ﬁ nd other afﬁ nities between site \nand music, drawing on our cultural \nbackground in musical matters: \nalmost on an unconscious level, we \ncan instinctively pair an architectural \nspace with a type of music. Classical, \njazz, pop, rock: music always \naccompanies our experiences, and \noften we are the ones who match \nplaces, moments and architectural \nspaces with music, to expand the \nimpact of an experience. Knowing how \nto combine a certain music with a \nplace and an atmosphere means the \nability to create empathy with the \narchitectural space and the way we \ninhabit it. Likewise, the choice of a \nlighting element is the result of this \nsame kind of sensibility. Light radiates \nin space, encountering obstacles and \nseparations along the way. When we \npenetrate an interior, we can notice \nthe ﬁ rst reverberations on the ﬂ oor or \nthe walls, but it is only when we reach \nthe point of perceiving its entire form \nthat we can understand its importance \nin the creation of this tuning of \ncharacteristics and the harmony of \natmospheres. We may ask a lighting \nﬁ xture to brighten surfaces for the \npurpose of speciﬁ c functions, but at \nthe same time we may have other \nrequirements. As in the space-music \nAbout shedding light\n235\n",119,{"image":489,"text":490,"number":491},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.120.png","237\nFoscarini\nChap. 5 — Designing space with light\nrelationship, again in this \naccompaniment the luminous element \ncan emphasize an atmosphere, or even \nradically change its character.\nThe light can also radiate outside \nthe single room, but the body that \nemits it can be glimpsed only by \nentering the space: in an instant, the \nrevelation of the light source triggers a \nrelationship between the architectural \nquality of a place and its atmosphere, \nand the character of the owner of the \nhouse. These three elements are \nsummed up in the theatrical quality of \nthe lighting ﬁ xture. In the current \nscenario, where LED technology leads \nto extreme miniaturization of the light \nsource, the form of the luminous body \nbecomes the means with which to \nunderscore one aspect of the character \nof places or people. It sums up the \natmosphere we want to create, \nrevealing the narrative that exists \nbehind places and spaces. \nThe luminous body accentuates the \naromas, sounds and music toward \nwhich the architecture reaches, \napproaching without ever touching, \nexcept through this luminous mystery \nthat gives form to the lamp.\nIn this world where forms \nassociated with materials accumulate \nand alternate at great speed, the \ncompanies that produce lighting ﬁ xtu-\nres play a very important role as \nforerunners of new trends and \nlifestyles. They conduct ongoing \nresearch on technical lighting, but also \non styles and shapes, in the awareness \nthat every designed form functions as \na messenger of cultures, ways of \nliving, ways of dwelling. The single \nlighting ﬁ xture is capable of \ntriggering inﬁ nite interpretations of \ninhabitable spaces, engaging the use \nfrom a functional standpoint, but also \nin terms of emotions and atmosphere.\nIn these years, Foscarini has always \ndemonstrated that it is capable of \nstaying ahead of the times, adding \npieces to its collection that are \nextremely consistent with its very \npersonal character, and often adding \nnew contaminating, unexpected \nelements. This research has been \nconducted thanks to continuing \nrelationships with sensitive ‘authors’ \nwho are able to perceive the new \ntrends of design, creating projects that \nare never obvious or derivative, but \ninstead indicate new, always special \npaths, often connected to the tradition \nwhile at the same time ﬁ tting \nperfectly into the contemporary \ncontext. The lamps included in the \ncatalogue have demonstrated their \nability to transform over the course \nof several decades, shifting from being \niconic and disruptive objects to the \nstatus of true design classics. In a \ncompetitive ﬁ eld like that of technical \nlighting design, Foscarini has proven \nthe efﬁ cacy of a very personal \napproach to research on form that \nsimultaneously brings out the value \nof materials and the ability of skilled \nAbout shedding light\nartisans to transform them. Behind \nevery luminous creation, we see the \nwork of men and women who \nprofoundly grasp the nature of a \nmaterial and the techniques with \nwhich to transﬁ gure and shape it. \nFoscarini has developed close personal \nrelationships with these artisans, \nlearning from their experience while \nalso ﬁ nding new viewpoints, making \nthe company stand out for its \ndifferences with respect to the \nuniformity of the market. With \ncourage, in every case Foscarini has \nexperimented with new directions; \nwith curiosity, it has often turned to \nauthors who are not precisely \ndesigners, with the aim of escaping \nfrom conventional paths, attempting \nto come to grips with ‘other’ \nviewpoints. This attitude has \npermitted the ﬁ rm to somehow create \na hybrid catalogue of products, trying \nto follow new design hypotheses, \nwidening the perspective with \nsuggestions of a different nature. \nContaminations with other cultures \nthat have not produced excesses, \nattempting to transform the research \non a mass product into the creation of \ndevices that become messengers of \nthought. The clear ambition is to make \nan industrial product with a deﬁ nite \nfunction become a cultural project \ncapable of using form, material and \ncolour to transform a place, an \natmosphere and inhabited space, \nanywhere in the world. An inﬁ nite \nseries of chain reactions, always \nuncontrollable, leading to new, \nunexpected and constantly surprising \nworlds. To bring luminous elements \ncloser to becoming true works of art.\nMassimo Curzi is an architect and \neditor of the magazine Casabella.\nMassimo Curzi — Luminous mistery\n237\n",120,{"image":493,"text":494,"number":495},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.121.png","239\nFoscarini\nFare Luce installation designed \nby Giovanni Maria Filindeu.\nAbout shedding light\n  CHAP. 6 — \nIMAGINING THE \nFUTURE \n239\n",121,{"image":497,"text":498,"number":499},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.122.png","Foscarini\nCap. 6 — Nuovi progetti guardando al fututro\n241\nFare Luce, installation designed for Foscarini \nSpazio Brera by Giovanni Maria Filindeu, on the \noccasion of the 2017 Fuorisalone collateral \nexhibition.\nAbout shedding light\nChap. 6 — Imagining the future \nIn 2021 Foscarini celebrated the 20th anniversary of the ﬁ rst Compasso d’Oro the \ncompany received, with Mite and Tite by Marc Sadler. To pay homage to the project, \na special version was created, Mite Anniversario, not altering the design – the lamp \nis identical to the original in its volume – but updating it, by starting with certain \ndetails, especially regarding the materials. From the matte ﬁ nish of the body to \nthe addition of a marble base to reﬂ ect a sort of acquired classic status, to the use \nof a thinner carbon thread assembled with a spiral movement, intensiﬁ ed in a \ndownward progression. \nDuring the same year, along with this contemporary luminator, a similar model \nwas released, the result of interaction with Alberto Meda, in his ﬁ rst project for the \ncompany, in tandem with his son Francesco. The piece fully embodies the approach \nof the Milanese designers, with a language that combines reﬁ ned form with a ﬁ nely \ntuned technical dimension, the result of laborious and fertile collaboration with the \nbrand. Chiaroscura concentrates its idea on the ﬂ ow of light, making it coincide with \nthe form: rather than being emitted only from above, the light crosses the body of the \nlamp on three sides, both receiving and spreading luminosity. The choice of investing \nin Chiaroscura has allowed Foscarini to explore the potential breadth of its identity, \ncapable of containing ideas apparently distant from its image, while at the same time \nopening a dialogue with designers who represent a distinctive school of thought in \nthe ﬁ nest tradition of Italian design.  \nOne year later, Foscarini entered an agreement for the acquisition of the German \ncompany Ingo Maurer – founded in 1966 by the designer Ingo Maurer, who died in \n2019 – a fundamental chapter in the history and contemporary panorama of design, \ndue to the mastery with which the ﬁ rm creates and produces lamps, spectacular \none-offs and lighting systems. Maurer’s creations are renowned as works that merge \nthe ordinary and the extraordinary, challenging and amusing the observer at the \nsame time, in a fascinating tension between technique and expressive ﬂ air. \nBased on its solid positioning on a global level, in this way the Venetian company \nsets out to reinforce its path of growth and development, boosting its ability to bring \nmulti-faceted and distinctive vision into the world of lighting through the practice \nof excellence. “With this operation – Carlo Urbinati commented – we have decided to \ninvest in the unique quality of Ingo Maurer, a brand that has been a constant source \nof inspiration for us, since we have always admired its freedom of perspective and its \ncreative approach. We have taken the opportunity to have the honour and the respon-\nsibility of ensuring an ongoing narrative for Ingo Maurer in the world, sustaining the \nbrand’s further growth on global markets”. \nThrough this acquisition, Foscarini has reinforced its role in lighting on a worl-\ndwide level, with the precise objective of bringing out the value of the ﬁ rm’s unique \n241\n",122,{"image":501,"text":502,"number":503},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.123.png","Foscarini\nFare Luce installation. By delving into six \nsettings which correspond to different forms of \nlight, the relationship the latter entertains with \narchitecture is celebrated.   \nAbout shedding light\nChap. 6 — Imagining the future \nThe Battiti project is the result of pure \nresearch, inspired by the desire to explore new \nexpressive languages, meanings and ways of \nusing light. A moment of active reﬂ ection, \nwhereby light is utilised to construct – as if it \nwere a material.\n243\n",123,{"image":505,"text":506,"number":507},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.124.png","Foscarini\n245\n    “We have had the honour and \nresponsibility of investing in the \nuniqueness of Ingo Maurer, a brand that \nwe have always admired for its freedom \nof perspective and creative \napproach”.\nTwo iconic models by Ingo Maurer: \nZettel’z and Luccellino. Top: Ingo Maurer \nand Carlo Urbinati captured in 2017. \nAbout shedding light\nChap. 6 — Imagining the future \naesthetic language, guaranteeing future development in tune with its historical iden-\ntity. This was seen clearly in its participation in Milano Design Week 2023, featuring \nthe presentation of new lamps. \nUrbinati also stated: “We are formulating path that indicates two signals for \nthe future, both with the acquisition of Ingo Maurer in which we have decided to \ninvest in order to preserve this unique, very special creative heritage, supporting the \nﬁ rm’s growth and helping it to evolve without losing its particular character, and \nby continuing with great determination to foster a certain type of design-company \nrelationship”. In a historical phase in which the identifying roots of the Italian design \nindustry are being rather deftly orientated to coincide with the luxury market – whi-\nch according to Foscarini is something different than design –, the company wants to \nhold fast to its speciﬁ cities, independence and role in the research and development \nof each new product, formulated in close collaboration with the designers. “We will \ncontinue to push projects forward, – says Urbinati – aware of the fact that this is our \ntrue heritage, our true identity. We believe that a future for our lamps will always \nexist, because there will always be people who want to personalize the place they call \nhome. Foscarini can offer them products with which they can identify, something \nspecial that extends a warm welcome when you return to your abode”. \nIn this sense, for Foscarini it remains crucial to conserve its independence and \nautonomy, also as possibilities to go beyond the narrow boundaries of market de-\nmand or ﬁ nancial proﬁ tability, to exercise freedom of research, experimentation and \ndesign, based on time-tested and carefully nurtured forms of expertise and sensibi-\nlities. These characteristics of the company now come to grips with new conditions \nand challenges, starting with the issue of sustainability, which must be interpreted \nand approached in a comprehensive way. \nThe trajectories of research that have accompanied the growth of Foscarini in \nrecent years are thus aligned along new paths, which will create dialogue and inte-\nraction with the choices made in the past and the history of the company, factors that \nhave led to the outstanding international positioning of the Venetian company.\nIn substance, these are different levels of relation between Foscarini and a \nnumber of indispensable reference points for design culture, capable of stimulating \nnew directions and explorations; likewise, meeting these challenges will become \nnecessary in relation to new cultural, socio-technical and economic conditions, with \nemerging systems of values and a new culture and role for design. \nFirst of all, then, comes the relationship with the company’s own history – force-\nfully marked by a fourth decade of activity – combined with the determined pursuit \nof a dialogue with what can be seen symbolically as the ‘historical’ aspects of the \nidentity of design: on the one hand, the functionalism of high technological and \n245\n",124,{"image":509,"text":510,"number":511},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.125.png","Foscarini\n247\n    “People choose the space they \ncall home, and we can offer them a light \nwith which they can identify, something \nspecial that extends a warm welcome \nwhen they come home at the end \nof the day”. \nAbout shedding light\nChap. 6 — Imagining the future \naesthetic quality of the Milan school (companies and designers), which in the ﬁ eld of \nlighting only connects FontanaArte, Arteluce, Artemide, Flos and Luceplan; on the \nother, the research stimulated by the creative dimension or by innovation in techno-\nlogy, materials and sources, linking the Castiglioni brothers to Maurer.\nIn a scenario which has radically changed for design companies – with the advent \nof new markets and the momentous reorganisation of company ownership beyond \nhistoric family capitalism – introducing strategies that target an all-encompassing \nproduct line-up, favouring the commercial, communicative and relational dimension, \nFoscarini has elevated the role of design as a research and innovation factor. A visio-\nnary approach with respect to different supply-based market scenarios in relation to \npeople’s new needs, desires, hopes and expectations.\n247\n",125,{"image":513,"text":514,"number":515},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.126.png","249\nFoscarini\nDesign, enterprise and new \nconditions of the hybrid era \nAlberto Bassi \nChap. 6 — Imagining the future \nAs they head past the ﬁ rst \nquarter of the new century, \ncompanies, designers and the design \nsystem are faced with unprecedented \noverall conditions. The situation is \nmarked, among other things, by \ntechnological and digital transitions, \nnew systems of knowledge, the \nobligatory adaptation to an economy \nat its limit and the logic of all-around \nsustainability, within a globalization \noriented towards a techno-scien-\nce-sustained ﬁ nancial capitalism. \nThe present situation calls for \ndifferent tools and methods of \nanalysis and operation, but at the \nsame time it opens the way towards \nvarious interesting possibilities, in \nrelation to new systems of values, \nbehaviours and intentions: from the \ncrisis of the model of growth and \ninﬁ nite consumption to the ‘long \ntail’ and market niches, as well as a \ndifferent relationship between local \nand global; from the obligatory needs \nfor recognizable identities and \nstrategies (of quality and \nresponsibility) of companies and \nproducts, to updated models of \nconsumption that are experiential, \npersonalized and aware; from the \nhorizons of technologies of \ncommunication, design, distribution \nand production connected with the \ndigital realm and networks, to the \npressing requests – aimed at the \ndesign culture of companies – to \n‘take care’ (in the cultural and \nconcrete senses of the term, through \nsocial, ethical and aware design) of \npeople and the planet.\nInside the global scenario, as the \nresult of internationalization but \nalso of endogenous structural and \npolitical-economic-cultural limits, \nthe Italian context has been deeply \nmodiﬁ ed. Starting with small and \nmedium-size companies, which \nalongside the particular model of \nfamily ownership, active inside \ndistrict systems with a social founda-\ntion, have seen the rise of a \nphenomenon of aggregation of \nmultiple enterprises based on \nﬁ nancial priorities. This has shifted \nthe logic and perspectives towards \nshort-term investment and \ncommunication-marketing, \nobjectively penalizing the typical \nItalian product-oriented business \napproach, facilitated by ﬂ exible and \nvaried production systems, and by \nclose dialogue with design research \nand culture. At the same time, the \nrole of the designers has changed, \nmoving closer towards the \n(presumed or real) standardizing \ndemands of the market, at the expen-\nse of an identifying dimension of \nofferings, research and innovation.\nThe problems and perspectives \ncalled into play actually seem much \nwider in range, if – as companies, \ndesigners and design systems whose \noperative modes have a recognizable \nand powerful impact within the \nAbout shedding light\n249\n",126,{"image":517,"text":518,"number":519},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.127.png","251\nFoscarini\nconditions of the world – there is the \nintention of observing and coping \nwith some of the contemporary \ncontradictions. Such as, for example, \nthe need to get beyond the \nmisunderstanding of the replacement \nof doing with thinking, of means with \nends; of distinguishing ‘making as \nproduction’ from ‘making as pursuit \nof quality and meaning’; of putting \ninto focus the if and why of designing, \nproducing, communicating, \ndistributing and handling at the end \nof the product life cycle of objects, \nsystems and services, as well as \nconstructing the conditions for this \nto happen while respecting the \nenvironment and the conditions of \nwork. Faced with critical \ninterpretations of the contemporary \nworld aimed at challenging and at the \nsame time conﬁ guring relevant and \nfeasible futures, the recurring \nrebuttals urge us to ‘be realistic’, to \naccept the conditions in place, the \nstatus quo of the dominant economic \nand ideological roles and powers, in \nkeeping with a method that to be \nhonest is demonstrating its inability \nto deal with accelerated dynamics of \ntransformation, setting priorities on \ncrises that have become structural \nand permanent.\nThe role and operation of \ncompanies and designers currently \nhave to come to terms with the \npossibility of a cultural, theoretical \nand operative assessment of the \nmeaning-value that can be attributed \nto design, also prompting reasoning \nregarding ethical positions, \ndemocratic attitudes, all the way to \npolitical options (understood in \nrelation to an idea and project of the \npolis) connected with free choices and \nthe consequences of one’s actions.\nFor a prominent international \ncompany such as Foscarini – with its \nown recognizability based on research \naround the design of products and \nservices, with a history marked by \nremarkable results and \ncollaborations, together with the \ncourageous choice to maintain a \nposition of ownership whose roots \nlike in an identifying dimension of \nthe Italian enterprises engaged in \ndesign-driven innovation – the \nchallenge seems to ﬁ nd an original \nand independent way of existing in \nthe context of transformations of the \neconomy, the society and the culture, \nmaking the corporate identity and \nhistory establish dialogue with new \nreference points and conditions. \nIn what has been deﬁ ned as the \n‘hybrid age’, this implies coming to \ngrips with decisive themes like the \ntechnological and digital revolution, \nenvironmental and economic \nproblems, starting with labour, but \nalso a positive opening to different \nintentions and possibilities, beyond \na post-globalization that presents \nmany shadow zones. \nTo get past the currently strict \nChap. 6 — Imagining the future \neconomic and socio-cultural \nconstraints – without negating the \nrelationship with the market and \nconsumers – raising the perspective \nto include scenarios of wider impact, \ncan constitute a new opportunity for \nthe most innovative design culture \nand companies to be ‘responsible’ (in \ntune with the words of Adriano \nOlivetti).\nAlberto Bassi, design historian and \ncritic, is a professor at the Iuav \nUniversity of Venice.\nAlberto Bassi — Design, enterprise and new conditions of the hybrid era  \nAbout shedding light\n251\n",127,{"image":521,"text":522,"number":523},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.128.png","About shedding light\nLIST OF WORKS \n1983 — 2023\n\u002F BIOGRAPHIES\n253\n253\nAbout shedding light\nLIST OF WORKS \n1983 — 2023\n\u002F BIOGRAPHIES\n253\n",128,{"image":525,"text":526,"number":527},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.129.png","Foscarini\nList of works        1983—2023\n1982–1989\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand lacquered metal\nTable, Floor, Ceiling, Wall\nClessidra\n1982–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and varnished \nmetal\nTable, Floor, Suspension, Wall\nGraphos\n1983–1990\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand varnished metal\nTable, Floor, Ceiling, Wall\nIndice\n1983–1994\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand polished brass\nTable\nRefl oz\n1983–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nStripes glass \nand varnished metal\nTable, Floor, Ceiling, Wall\nRolli\n1984–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nSatined glass, blown molded \nglass and coated metal\nSuspension, Celing, Wall\nFloppi\n1984–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor, Wall\nPivot\n1984–2008\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor, Ceiling, Wall\nPlana \u002F Plana 2\n1985–1992\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable\nKigò\nAbout shedding light\n255\n1985–1991\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand varnished metal\nSuspension\nLift\n1985–1995\ndesign Adam D. Tihany \nwith Joseph Mancini\nBlown glass and metal\nTable, Wall\nWassily off the Wall\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nGlass slats, aluminium\nFloor\nColora\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown acid-etched glass, \nABS and chromed metal\nTable\nLuna\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nTilla\n1986–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nStripes glass, metal \nand cristal glass base\nFloor, Suspension, Wall\nMonolite\n1987–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nMolded glass and metal\nSuspension\nDomino\n1988–1999\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nRanda\n1988–1992\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable\nSamarcanda\n1988–1996\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nSuspension, Celing, Wall\nSkeet\n255\nFoscarini\nList of works        1983—2023\n1982–1989\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand lacquered metal\nTable, Floor, Ceiling, Wall\nClessidra\n1982–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and varnished \nmetal\nTable, Floor, Suspension, Wall\nGraphos\n1983–1990\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand varnished metal\nTable, Floor, Ceiling, Wall\nIndice\n1983–1994\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand polished brass\nTable\nRefl oz\n1983–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nStripes glass \nand varnished metal\nTable, Floor, Ceiling, Wall\nRolli\n1984–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nSatined glass, blown molded \nglass and coated metal\nSuspension, Celing, Wall\nFloppi\n1984–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor, Wall\nPivot\n1984–2008\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor, Ceiling, Wall\nPlana \u002F Plana 2\n1985–1992\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable\nKigò\nAbout shedding light\n255\n1985–1991\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass \nand varnished metal\nSuspension\nLift\n1985–1995\ndesign Adam D. Tihany \nwith Joseph Mancini\nBlown glass and metal\nTable, Wall\nWassily off the Wall\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nGlass slats, aluminium\nFloor\nColora\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown acid-etched glass, \nABS and chromed metal\nTable\nLuna\n1986–1993\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nTilla\n1986–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nStripes glass, metal \nand cristal glass base\nFloor, Suspension, Wall\nMonolite\n1987–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nMolded glass and metal\nSuspension\nDomino\n1988–1999\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nRanda\n1988–1992\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable\nSamarcanda\n1988–1996\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nSuspension, Celing, Wall\nSkeet\n",129,{"image":529,"text":530,"number":531},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.130.png"," \nFoscarini\n1990–1998\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable, Wall\nAchille\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable, Wall\nFluo\n1990\n \ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nCeiling, Wall\nFolio\nShelly\n1990–2003\ndesign Rodolfo Dordoni\nBlown glass \nand die-cast metal\nTable\nFruits\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nWall\nLuis\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nMetal and polycarbonate\nSuspension\nTandem\n1990\ndesign Rodolfo Dordoni\nBlown glass and brushed \nor varnished aluminium\nTable, Floor, Reading, \nCeiling\nLumiere\n1991–1995\ndesign Ruben Mochi\nPrinted glass \nand die-cast metal\nTable\n1992–1997\ndesign Prospero Rasulo\nBlown glass and metal\nWall\nAlcea\n1992–2005\ndesign Rodolfo Dordoni\nBlown glass and chromed \nor varnished metal\nTable\nBijou\n1992–2000\ndesign Marco Mencacci\nBlown glass and metal\nSuspension\nLucindo\nList of works        1983—2023\nAbout shedding light\n257\n1992–2001\ndesign Patrice Butler\nVarnished aluminium \nand satined glass\nCeiling\nNostromo\n1992–1998\ndesign Marco Mencacci\nBlown glass\nSuspension\nRamon\n1992–1999\ndesign Patrice Butler\nBlown glass and metal\nSuspension\nVenice\n1992\ndesign Ferruccio Laviani\nSilkscreen-printed glass \nand lacquered metal\nFloor\nOrbital\n1993\ndesign Ferruccio Laviani\nSilkscreen-printed glass\nWall\nBit\n1993–1998\ndesign Rodolfo Dordoni\nBlown glass and metal\nFloor\nBlossoms\n1993–2006\ndesign Rodolfo Dordoni\nEtched blown glass\nSuspension\nBuds\n1993–2001\ndesign Luc Ramael\nParchment and metal\nTable\nClips\n1993\ndesign Jozeph Forakis\nPolypropylene or \npolyethylene and metal\nFloor, Suspension, Wall\nHavana\n257\n \nFoscarini\n1990–1998\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable, Wall\nAchille\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nTable, Wall\nFluo\n1990\n \ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nCeiling, Wall\nFolio\nShelly\n1990–2003\ndesign Rodolfo Dordoni\nBlown glass \nand die-cast metal\nTable\nFruits\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nWall\nLuis\n1990–1995\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nMetal and polycarbonate\nSuspension\nTandem\n1990\ndesign Rodolfo Dordoni\nBlown glass and brushed \nor varnished aluminium\nTable, Floor, Reading, \nCeiling\nLumiere\n1991–1995\ndesign Ruben Mochi\nPrinted glass \nand die-cast metal\nTable\n1992–1997\ndesign Prospero Rasulo\nBlown glass and metal\nWall\nAlcea\n1992–2005\ndesign Rodolfo Dordoni\nBlown glass and chromed \nor varnished metal\nTable\nBijou\n1992–2000\ndesign Marco Mencacci\nBlown glass and metal\nSuspension\nLucindo\nList of works        1983—2023\nAbout shedding light\n257\n1992–2001\ndesign Patrice Butler\nVarnished aluminium \nand satined glass\nCeiling\nNostromo\n1992–1998\ndesign Marco Mencacci\nBlown glass\nSuspension\nRamon\n1992–1999\ndesign Patrice Butler\nBlown glass and metal\nSuspension\nVenice\n1992\ndesign Ferruccio Laviani\nSilkscreen-printed glass \nand lacquered metal\nFloor\nOrbital\n1993\ndesign Ferruccio Laviani\nSilkscreen-printed glass\nWall\nBit\n1993–1998\ndesign Rodolfo Dordoni\nBlown glass and metal\nFloor\nBlossoms\n1993–2006\ndesign Rodolfo Dordoni\nEtched blown glass\nSuspension\nBuds\n1993–2001\ndesign Luc Ramael\nParchment and metal\nTable\nClips\n1993\ndesign Jozeph Forakis\nPolypropylene or \npolyethylene and metal\nFloor, Suspension, Wall\nHavana\n",130,{"image":533,"text":534,"number":535},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.131.png"," \nFoscarini\n1993–1996\ndesign Gordon Guillaumier\nBlown glass and metal\nFloor\nSenglea\n1993–2012\ndesign Giovanni Levanti\nBlown glass \nand industrial glass\nWall\nQuadro\n1994–2001\ndesign Piero Lissoni\nBlown glass and metal\nSuspension\nBasic\n1994–1996\ndesign Piero Lissoni\nBlown glass and metal\nSuspension\nCap\n1994–1997\ndesign Angelo Micheli\nBlown glass and metal\nSuspension\nCielo\n1994\ndesign Defne Koz\nBlown glass and metal\nCeiling, Wall\nCircus\n1994–2006\ndesign Piero Lissoni\nMolded glass\nWall\nFlat\n1994–2003\ndesign Valerio Bottin\nBlown glass\nWall\nMistral\n1994–1996\ndesign Valerio Bottin\nBlown glass and metal\nSuspension\nSphera\n1994–1997\ndesign Prospero Rasulo\nBlown glass\nWall\nStilla\n1996–1998\ndesign Piero Lissoni\nGlass and metal\nTable\nBugia\nList of works        1983—2023\nAbout shedding light\n259\n1994–1996\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor\nVis a Vis\n1995\ndesign Tom Dixon\nBlown glass and metal\nSuspension\nLightweight\n1996\ndesign Ferruccio Laviani\nPolycarbonate \nand aluminium\nFloor, Suspension, Wall\nDolmen\n1996\ndesign Valerio Bottin\nBlown glass\nWall\nDouble\n1996–2012\ndesign Defne Koz\nBlown glass\nTable, Floor\nDress\n1996–2018\ndesign Lievore Altherr Molina\nBlown glass and polished \naluminium\nTable\nEsa\n1996–2003\ndesign Itamar Harari\nBlown glass \nand polished aluminium\nTable, Floor\nMir\n1996–1998\ndesign Francesco Lucchese\nBlown glass\nSuspension\nMix\n259\n \nFoscarini\n1993–1996\ndesign Gordon Guillaumier\nBlown glass and metal\nFloor\nSenglea\n1993–2012\ndesign Giovanni Levanti\nBlown glass \nand industrial glass\nWall\nQuadro\n1994–2001\ndesign Piero Lissoni\nBlown glass and metal\nSuspension\nBasic\n1994–1996\ndesign Piero Lissoni\nBlown glass and metal\nSuspension\nCap\n1994–1997\ndesign Angelo Micheli\nBlown glass and metal\nSuspension\nCielo\n1994\ndesign Defne Koz\nBlown glass and metal\nCeiling, Wall\nCircus\n1994–2006\ndesign Piero Lissoni\nMolded glass\nWall\nFlat\n1994–2003\ndesign Valerio Bottin\nBlown glass\nWall\nMistral\n1994–1996\ndesign Valerio Bottin\nBlown glass and metal\nSuspension\nSphera\n1994–1997\ndesign Prospero Rasulo\nBlown glass\nWall\nStilla\n1996–1998\ndesign Piero Lissoni\nGlass and metal\nTable\nBugia\nList of works        1983—2023\nAbout shedding light\n259\n1994–1996\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass and metal\nFloor\nVis a Vis\n1995\ndesign Tom Dixon\nBlown glass and metal\nSuspension\nLightweight\n1996\ndesign Ferruccio Laviani\nPolycarbonate \nand aluminium\nFloor, Suspension, Wall\nDolmen\n1996\ndesign Valerio Bottin\nBlown glass\nWall\nDouble\n1996–2012\ndesign Defne Koz\nBlown glass\nTable, Floor\nDress\n1996–2018\ndesign Lievore Altherr Molina\nBlown glass and polished \naluminium\nTable\nEsa\n1996–2003\ndesign Itamar Harari\nBlown glass \nand polished aluminium\nTable, Floor\nMir\n1996–1998\ndesign Francesco Lucchese\nBlown glass\nSuspension\nMix\n",131,{"image":537,"text":538,"number":539},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.132.png"," \nFoscarini\n1996–2000\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and metal\nWall\n1997–2000\ndesign Lievore Altherr \nMolina\nBlown glass, metal or wood\nFloor\nCaliz\n1996–1998\ndesign Giovanni Levanti\nBlown glass \nand industrial glass\nSuspension\nQuadralta\n1996–2009\ndesign Valerio Bottin\nBlown glass and chromed \nor varnished metal\nFloor, Wall\nVitt\n1996–2000\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and birch\nTable\nZen\n1997–2008\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nSilkscreen-printed glass\nCeiling, Wall\nHola\n1998–2001\ndesign Giulio Gianturco\nBlown glass and metal\nReading \nBlues\n1998–2011\ndesign Valerio Bottin\nBlown glass\nSuspension\nCross\n1998–2007\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nSuspension\nDom\n1998–2010\ndesign Prospero Rasulo\nBlown glass\nCeiling, Wall\nQua\nList of works        1983—2023\nOlly\nAbout shedding light\n261\n1998–2001\ndesign Itamar Harari\nPolycarbonate and metal\nTable, Floor, Suspension\nJoint\n1998–2012\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nShape\n1998–2013\ndesign Valerio Bottin\nPolyethylene \nand varnished metal\nTable, Floor\nTotem\n1998–2005\ndesign Denis Santachiara\nBlown glass and metal\nTable\nElfo\n1999–2000\ndesign Alex Hochstrasser\nBlown glass\nSuspension, Ceiling\nHoc\n2000–2010 \ndesign Valerio Bottin\nPolycarbonate \nand chromed metal\nTable, Suspension\nBubble\n2000–2012\ndesign Aldo Cibic\nBlown glass and metal\nTable\nCocò\n2000 \ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nFloor, Suspension\nCompasso d’Oro \n2001\nMite \u002F Tite\n2002–2014 \ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nTable\nLite\n261\n \nFoscarini\n1996–2000\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and metal\nWall\n1997–2000\ndesign Lievore Altherr \nMolina\nBlown glass, metal or wood\nFloor\nCaliz\n1996–1998\ndesign Giovanni Levanti\nBlown glass \nand industrial glass\nSuspension\nQuadralta\n1996–2009\ndesign Valerio Bottin\nBlown glass and chromed \nor varnished metal\nFloor, Wall\nVitt\n1996–2000\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and birch\nTable\nZen\n1997–2008\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nSilkscreen-printed glass\nCeiling, Wall\nHola\n1998–2001\ndesign Giulio Gianturco\nBlown glass and metal\nReading \nBlues\n1998–2011\ndesign Valerio Bottin\nBlown glass\nSuspension\nCross\n1998–2007\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nSuspension\nDom\n1998–2010\ndesign Prospero Rasulo\nBlown glass\nCeiling, Wall\nQua\nList of works        1983—2023\nOlly\nAbout shedding light\n261\n1998–2001\ndesign Itamar Harari\nPolycarbonate and metal\nTable, Floor, Suspension\nJoint\n1998–2012\ndesign Carlo Urbinati \nand Alessandro Vecchiato\nBlown glass\nWall\nShape\n1998–2013\ndesign Valerio Bottin\nPolyethylene \nand varnished metal\nTable, Floor\nTotem\n1998–2005\ndesign Denis Santachiara\nBlown glass and metal\nTable\nElfo\n1999–2000\ndesign Alex Hochstrasser\nBlown glass\nSuspension, Ceiling\nHoc\n2000–2010 \ndesign Valerio Bottin\nPolycarbonate \nand chromed metal\nTable, Suspension\nBubble\n2000–2012\ndesign Aldo Cibic\nBlown glass and metal\nTable\nCocò\n2000 \ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nFloor, Suspension\nCompasso d’Oro \n2001\nMite \u002F Tite\n2002–2014 \ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nTable\nLite\n",132,{"image":541,"text":542,"number":543},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.133.png"," \nFoscarini\n2003–2020\ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nWall\nKite \u002F Mini Kite\n2004–2021\ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread and steinless steel \nFloor, Suspension\nGiga-Lite \u002F Mega-Kite\n2000\ndesign Ferruccio Laviani\nAluminium or stainless \nsteel\nSuspension\nSupernova\n2000\ndesign Valerio Bottin\nBlown glass and metal\nTable, Suspension, Wall\nTutù\n2001–2007\ndesign Ferruccio Laviani\nBlown glass \nand stainless steel\nTable\nLenin\n2001–2012\ndesign Pio and Tito Toso\nVarnished glass\nCeiling, Wall\nManta\n2001–2003\ndesign Valerio Bottin\nBlown glass and metal\nWall\nSpring\n2001–2006\ndesign Luca Nichetto \nand Gianpietro Gai\nVarnished aluminium\nFloor\nRha\u002FThor\n2002–2012\ndesign Valerio Bottin\nBlown glass and metal\nWall\nAffi x\n2002–2020\ndesign Karim Rashid\nPolypropylene\nFloor, Wall\nBlob \u002F Blob Outdoor\nList of works        1983—2023\nAbout shedding light\n263\n2002–2006\ndesign Aldo Cibic\nBlown glass and metal \nTable, Suspension, Ceiling\nLampoon\n2002–2006\ndesign Luca Nichetto \nand Gianpietro Gai\nBlown glass \nCeiling, Wall\nMaui\n2003–2010\ndesign Patricia Urquiola, \nEliana Gerotto\nSilicone wire mesh\nTable\nBague\n2003–2018\ndesign Matilde Alessandra\nPolycarbonate\nCeiling, Wall\nEllepi\n2003–2020\ndesign Luca Nichetto \nand Gianpietro Gai\nExpanded polyurethane\nSuspension\nO-Space\n2003–2016\ndesign Studio Kairos\nPolycarbonate\nWall\nYet\n2004–2013\ndesign Luca Nichetto \nand Gianpietro Gai\nPolished methacrylate\nCeiling, Wall\nGea\n2005–2008\ndesign Jozeph Forakis\nMetal and polycarbonate\nTable, Reading, Wall\nCloud\n2005\ndesign Jozeph Forakis\nPolyethylene and \nvarnished metal\nFloor, Suspension\nHavana Mono \u002F Outdoor\n263\n \nFoscarini\n2003–2020\ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread\nWall\nKite \u002F Mini Kite\n2004–2021\ndesign Marc Sadler\nFibreglass fabric with \nKevlar® or carbonium \nthread and steinless steel \nFloor, Suspension\nGiga-Lite \u002F Mega-Kite\n2000\ndesign Ferruccio Laviani\nAluminium or stainless \nsteel\nSuspension\nSupernova\n2000\ndesign Valerio Bottin\nBlown glass and metal\nTable, Suspension, Wall\nTutù\n2001–2007\ndesign Ferruccio Laviani\nBlown glass \nand stainless steel\nTable\nLenin\n2001–2012\ndesign Pio and Tito Toso\nVarnished glass\nCeiling, Wall\nManta\n2001–2003\ndesign Valerio Bottin\nBlown glass and metal\nWall\nSpring\n2001–2006\ndesign Luca Nichetto \nand Gianpietro Gai\nVarnished aluminium\nFloor\nRha\u002FThor\n2002–2012\ndesign Valerio Bottin\nBlown glass and metal\nWall\nAffi x\n2002–2020\ndesign Karim Rashid\nPolypropylene\nFloor, Wall\nBlob \u002F Blob Outdoor\nList of works        1983—2023\nAbout shedding light\n263\n2002–2006\ndesign Aldo Cibic\nBlown glass and metal \nTable, Suspension, Ceiling\nLampoon\n2002–2006\ndesign Luca Nichetto \nand Gianpietro Gai\nBlown glass \nCeiling, Wall\nMaui\n2003–2010\ndesign Patricia Urquiola, \nEliana Gerotto\nSilicone wire mesh\nTable\nBague\n2003–2018\ndesign Matilde Alessandra\nPolycarbonate\nCeiling, Wall\nEllepi\n2003–2020\ndesign Luca Nichetto \nand Gianpietro Gai\nExpanded polyurethane\nSuspension\nO-Space\n2003–2016\ndesign Studio Kairos\nPolycarbonate\nWall\nYet\n2004–2013\ndesign Luca Nichetto \nand Gianpietro Gai\nPolished methacrylate\nCeiling, Wall\nGea\n2005–2008\ndesign Jozeph Forakis\nMetal and polycarbonate\nTable, Reading, Wall\nCloud\n2005\ndesign Jozeph Forakis\nPolyethylene and \nvarnished metal\nFloor, Suspension\nHavana Mono \u002F Outdoor\n",133,{"image":545,"text":546,"number":547},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.134.png"," \nFoscarini\n2005–2008\ndesign Ferruccio Laviani\nMetal and polycarbonate\nFloor\nTeorema\n2005–2008\ndesign James Irvine\nGlass and aluminium\nFloor\nHaloscope\n2005–2020\ndesign Patricia Urquiola, \nEliana Gerotto\nPMMA, blown glass, \naluminium and chromed \nmetal\nTable, Floor, Suspension, \nCeiling, Wall\nCaboche\n2005\ndesign Enrico Franzolini, \nVicente Garcia Jimenez\nMethacrylate \nand coated metal\nSuspension\nBig Bang \u002F L \u002F XL\n2006\ndesign Enrico Franzolini, \nVicente Garcia Jimenez\nMethacrylate \nand coated metal\nCeiling, Wall\nBig Bang\n2005–2008\ndesign Pio and Tito Toso\nBlown glass \nand varnished metal\nWall\nScreen\n2005\ndesign Lagranja Design\nThermoplastic elastomer \nand polycarbonate\nSuspension\nUto \u002F Uto Outdoor\n2006–2008\ndesign Ferruccio Laviani\nCoated metal\nFloor\nAretha\nList of works        1983—2023\nAbout shedding light\n265\n2006\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nTable, Floor, Reading, \nSuspension, Ceiling\nTwiggy\n2007–2015\ndesign Rodolfo Dordoni\nBlown glass\nSuspension\nNew Buds\n2007–2014\ndesign Luca Nichetto and \nMassimo Gardone\nTechnical fabric \nand varnished metal\nCeiling, Wall\nWagashi\n2007\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown acid-etched glass \nand varnished metal or \npolycarbonate\nTable, Floor, Suspension, \nCeiling, Wall\nGregg\n2011\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolyethylene \nand varnished metal\nFloor, Suspension\nPoly Gregg \u002F Outdoor\n2007\ndesign atelier oï\nVarnished aluminium and \nchromed metal\nSuspension, Ceiling\nAllegro\n2009\ndesign atelier oï\nVarnished aluminium \nand chromed metal\nSuspension\nAllegretto\n2007–2012\ndesign Pio and Tito Toso\nBlown glass\nCeiling, Wall\nEasy\n2007\ndesign Vicente Garcia \nJimenez\nMethacrylate, coated \naluminium and polycarbonate\nWall\nFields\n265\n \nFoscarini\n2005–2008\ndesign Ferruccio Laviani\nMetal and polycarbonate\nFloor\nTeorema\n2005–2008\ndesign James Irvine\nGlass and aluminium\nFloor\nHaloscope\n2005–2020\ndesign Patricia Urquiola, \nEliana Gerotto\nPMMA, blown glass, \naluminium and chromed \nmetal\nTable, Floor, Suspension, \nCeiling, Wall\nCaboche\n2005\ndesign Enrico Franzolini, \nVicente Garcia Jimenez\nMethacrylate \nand coated metal\nSuspension\nBig Bang \u002F L \u002F XL\n2006\ndesign Enrico Franzolini, \nVicente Garcia Jimenez\nMethacrylate \nand coated metal\nCeiling, Wall\nBig Bang\n2005–2008\ndesign Pio and Tito Toso\nBlown glass \nand varnished metal\nWall\nScreen\n2005\ndesign Lagranja Design\nThermoplastic elastomer \nand polycarbonate\nSuspension\nUto \u002F Uto Outdoor\n2006–2008\ndesign Ferruccio Laviani\nCoated metal\nFloor\nAretha\nList of works        1983—2023\nAbout shedding light\n265\n2006\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nTable, Floor, Reading, \nSuspension, Ceiling\nTwiggy\n2007–2015\ndesign Rodolfo Dordoni\nBlown glass\nSuspension\nNew Buds\n2007–2014\ndesign Luca Nichetto and \nMassimo Gardone\nTechnical fabric \nand varnished metal\nCeiling, Wall\nWagashi\n2007\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown acid-etched glass \nand varnished metal or \npolycarbonate\nTable, Floor, Suspension, \nCeiling, Wall\nGregg\n2011\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolyethylene \nand varnished metal\nFloor, Suspension\nPoly Gregg \u002F Outdoor\n2007\ndesign atelier oï\nVarnished aluminium and \nchromed metal\nSuspension, Ceiling\nAllegro\n2009\ndesign atelier oï\nVarnished aluminium \nand chromed metal\nSuspension\nAllegretto\n2007–2012\ndesign Pio and Tito Toso\nBlown glass\nCeiling, Wall\nEasy\n2007\ndesign Vicente Garcia \nJimenez\nMethacrylate, coated \naluminium and polycarbonate\nWall\nFields\n",134,{"image":549,"text":550,"number":551},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.135.png"," \nFoscarini\n2007–2012\ndesign Designwork\nBlown glass and metal\nTable\nTosca\n2007–2011\ndesign Luca Nichetto \nMethacrylate\nFloor\nEmpire\n2007–2014\ndesign Marc Sadler\nTrasparent polycarbonate\nCeiling, Wall\nSee You \u002F Outdoor\n2008–2018\ndesign Giulio Iacchetti\nThermoplastic resin \nand chromed metal\nSuspension\nTropico\n2008\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material \nTable, Floor, Suspension, \nWall\nTress\n2011–2020\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, metal\nFloor, Suspension\nTress Stilo\n2009–2016\ndesign Studio Baruffi  \n& De Santi\nVarnished aluminium\nSuspension\nWave\n2009–2014\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate\nSuspension\nFly-Fly\nList of works        1983—2023\nAbout shedding light\n267\n2009\ndesign Rodolfo Dordoni\nBlown glass and brushed \nor varnished aluminium\nTable, Reading, Ceiling, \nWall\nLumiere XX\n2009\ndesign Vicente Garcia \nJimenez\nInjection moulded polycarbo-\nnate and varnished metal\nSuspension, Wall\nLe Soleil\n2009–2014\ndesign Marco Zito\nVarnished aluminium\nWall\nFlap\n2010–2014\ndesign Marco Zito\nVarnished aluminium\nTable\nTua\n2016\ndesign Lucidi Pevere\nHand pouring concrete, \nalluminium \nand polycarbonate\nSuspension\nAplomb Large \u002F Mini\n2010\ndesign Lucidi Pevere\nHand pouring concrete \nand alluminium\nFloor, Suspension, Wall\nAplomb\n2017\ndesign Lucidi Pevere\nHand pouring concrete \nand alluminium\nSuspension\nAplomb Outdoor\n2010\ndesign Luca Nichetto\nCurved ash plywood \nand PMMA\nSuspension\nTroag\n2010\ndesign Lucidi Pevere\nInjection moulded \npolycarbonate\nCeiling, Wall\nBahia \u002F Bahia mini\n2010\ndesign Ionna Vautrin\nBatch-dyed ABS \nand polycarbonate \nTable\nBinic\n267\n \nFoscarini\n2007–2012\ndesign Designwork\nBlown glass and metal\nTable\nTosca\n2007–2011\ndesign Luca Nichetto \nMethacrylate\nFloor\nEmpire\n2007–2014\ndesign Marc Sadler\nTrasparent polycarbonate\nCeiling, Wall\nSee You \u002F Outdoor\n2008–2018\ndesign Giulio Iacchetti\nThermoplastic resin \nand chromed metal\nSuspension\nTropico\n2008\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material \nTable, Floor, Suspension, \nWall\nTress\n2011–2020\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, metal\nFloor, Suspension\nTress Stilo\n2009–2016\ndesign Studio Baruffi  \n& De Santi\nVarnished aluminium\nSuspension\nWave\n2009–2014\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate\nSuspension\nFly-Fly\nList of works        1983—2023\nAbout shedding light\n267\n2009\ndesign Rodolfo Dordoni\nBlown glass and brushed \nor varnished aluminium\nTable, Reading, Ceiling, \nWall\nLumiere XX\n2009\ndesign Vicente Garcia \nJimenez\nInjection moulded polycarbo-\nnate and varnished metal\nSuspension, Wall\nLe Soleil\n2009–2014\ndesign Marco Zito\nVarnished aluminium\nWall\nFlap\n2010–2014\ndesign Marco Zito\nVarnished aluminium\nTable\nTua\n2016\ndesign Lucidi Pevere\nHand pouring concrete, \nalluminium \nand polycarbonate\nSuspension\nAplomb Large \u002F Mini\n2010\ndesign Lucidi Pevere\nHand pouring concrete \nand alluminium\nFloor, Suspension, Wall\nAplomb\n2017\ndesign Lucidi Pevere\nHand pouring concrete \nand alluminium\nSuspension\nAplomb Outdoor\n2010\ndesign Luca Nichetto\nCurved ash plywood \nand PMMA\nSuspension\nTroag\n2010\ndesign Lucidi Pevere\nInjection moulded \npolycarbonate\nCeiling, Wall\nBahia \u002F Bahia mini\n2010\ndesign Ionna Vautrin\nBatch-dyed ABS \nand polycarbonate \nTable\nBinic\n",135,{"image":553,"text":554,"number":555},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.136.png"," \nFoscarini\nList of works        1983—2023\n2011—2022\ndesign Werner Aisslinger\nBatch-dyed ABS, \npolycarbonate \nand varnished metal\nTable, Suspension\nBehive\n2011\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate or ABS and \nvarnished metal or steel\nTable, Reading, \nSuspension, Ceiling, Wall\nBirdie\n2011\ndesign Ionna Vautrin\nLacquered hand-blown \nglass\nSuspension\nChouchin + Mini\n2015\ndesign Ionna Vautrin\nLacquered hand-blown \nglass\nSuspension, Celing, Wall\nChouchin Reverse\n2011–2022\ndesign Nendo\nVarnished aluminium\nSuspension\nMaki\n2011–2018\ndesign Change Design\nPolyethylene terephthalate \nand nylon\nSuspension\nPlanet\n2011–2016\ndesign Lucidi Pevere\nVarnished aluminium \nand polycarbonate\nCeiling, Wall\nFalena\n2011–2018\ndesign Jozeph Forakis\nInjection moulded \npolycarbonate\nWall\nTivu\n2011\ndesign Lievore Altherr \nMolina\nInjection moulded ABS\nTable\nAnisha\n2011–2016\ndesign Odo Fioravanti\nPolycarbonate\nWall\nFold\nAbout shedding light\n269\n2011–2017\ndesign Odoardo Fioravanti\nPolycarbonate \nand coated steel\nFloor\nColibrì\n2011\ndesign Giulio Iacchetti\nCoated steel, ABS and \nsuper magnet made \nof “rare earth”\nTable, Reading\nMagneto\n2011\ndesign Jean-Marie Massaud\nRotational moulded \npolyethylene, porcelain \nstoneware top shelf and \nvarnished metal\nFloor, Outdoor\nSolar\n2011–2018\ndesign Marc Sadler\nPaper, PMMA \nand varnished metal\nSuspension\nJamaica\n2011–2020\ndesign Simon Pengelly\nTranslucent polycarbonate \nand varnished steel\nWall\nInnerlight\n2011\ndesign Luca Nichetto\nPolycarbonate\nTable, Suspension\nPlass \u002F Plass media\n2012–2018\ndesign Ionna Vautrin\nBlown glass, ABS and \npolycarbonate\nTable\nDoll\n2015\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass, ABS \nand varnished metal\nCeiling, Wall\nRituals\n2012\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Suspension\nRituals \u002F Rituals XL\n269\n \nFoscarini\nList of works        1983—2023\n2011—2022\ndesign Werner Aisslinger\nBatch-dyed ABS, \npolycarbonate \nand varnished metal\nTable, Suspension\nBehive\n2011\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate or ABS and \nvarnished metal or steel\nTable, Reading, \nSuspension, Ceiling, Wall\nBirdie\n2011\ndesign Ionna Vautrin\nLacquered hand-blown \nglass\nSuspension\nChouchin + Mini\n2015\ndesign Ionna Vautrin\nLacquered hand-blown \nglass\nSuspension, Celing, Wall\nChouchin Reverse\n2011–2022\ndesign Nendo\nVarnished aluminium\nSuspension\nMaki\n2011–2018\ndesign Change Design\nPolyethylene terephthalate \nand nylon\nSuspension\nPlanet\n2011–2016\ndesign Lucidi Pevere\nVarnished aluminium \nand polycarbonate\nCeiling, Wall\nFalena\n2011–2018\ndesign Jozeph Forakis\nInjection moulded \npolycarbonate\nWall\nTivu\n2011\ndesign Lievore Altherr \nMolina\nInjection moulded ABS\nTable\nAnisha\n2011–2016\ndesign Odo Fioravanti\nPolycarbonate\nWall\nFold\nAbout shedding light\n269\n2011–2017\ndesign Odoardo Fioravanti\nPolycarbonate \nand coated steel\nFloor\nColibrì\n2011\ndesign Giulio Iacchetti\nCoated steel, ABS and \nsuper magnet made \nof “rare earth”\nTable, Reading\nMagneto\n2011\ndesign Jean-Marie Massaud\nRotational moulded \npolyethylene, porcelain \nstoneware top shelf and \nvarnished metal\nFloor, Outdoor\nSolar\n2011–2018\ndesign Marc Sadler\nPaper, PMMA \nand varnished metal\nSuspension\nJamaica\n2011–2020\ndesign Simon Pengelly\nTranslucent polycarbonate \nand varnished steel\nWall\nInnerlight\n2011\ndesign Luca Nichetto\nPolycarbonate\nTable, Suspension\nPlass \u002F Plass media\n2012–2018\ndesign Ionna Vautrin\nBlown glass, ABS and \npolycarbonate\nTable\nDoll\n2015\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass, ABS \nand varnished metal\nCeiling, Wall\nRituals\n2012\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Suspension\nRituals \u002F Rituals XL\n",136,{"image":557,"text":558,"number":559},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.137.png"," \nFoscarini\n2012–2016\ndesign Luca Nichetto\nExpanded polyethylene \ncovered in fabric \nand varnished metal\nFloor\nStewie\n2012–2019\ndesign Philippe Nigro\nPolycarbonate and ABS\nCeiling, Wall\nNuage\n2013–2018\ndesign Anderssen & Voll\nPMMA and polycarbonate\nTable\nYoko\n2013–2016\ndesign Simon Pengelly\nPolycarbonate \nand varnished metal \nor aluminium\nWall\nFlip\n2013–2018\ndesign Jean-Marie Massaud\nCoated aluminium\n and metal, PMMA \nand “rare earth”\nFloor\nLightwing\n2013\ndesign Ferruccio Laviani\nVarnished aluminium \nand polycarbonate\nFloor\nTuareg\n2015\ndesign Garcia Cumini\nVarnished steel \nand aluminium\nSuspension\nSpokes\n2015\ndesign Lucidi Pevere\nVarnished injection-molded \nABS and aluminium\nWall\nLake\n2015\ndesign Nichetto + Nendo\nWashi paper and ashwood\nTable\nKurage\n2015\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nSuspension, Ceiling \nTartan\nList of works        1983—2023\nAbout shedding light\n271\n2015\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nFloor, Suspension\nTwice as Twiggy\n2016\ndesign Rodolfo Dordoni\nBlown glass and PMMA\nTable, Suspension\nBuds\n2016–2019\ndesign Marco Zito\nBlown glass and aluminium\nSuspension\nCaiigo\n2017\ndesign Andrea Anastasio\nPorcelain, textile cable, \nblown glass \nand varnished metal\nTable, Reading, Wall\nFilo\n2017–2021\ndesign Lucidi Pevere\nAluminium and PMMA\nSuspension\nArumi\n2017\ndesign Eugeni Quitllet\nBlown glass and aluminium\nTable, Suspension, Wall\nSatellight\n2017\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand satined metal\nTable, Suspension, Ceiling,\nWall\nGem\n271\n \nFoscarini\n2012–2016\ndesign Luca Nichetto\nExpanded polyethylene \ncovered in fabric \nand varnished metal\nFloor\nStewie\n2012–2019\ndesign Philippe Nigro\nPolycarbonate and ABS\nCeiling, Wall\nNuage\n2013–2018\ndesign Anderssen & Voll\nPMMA and polycarbonate\nTable\nYoko\n2013–2016\ndesign Simon Pengelly\nPolycarbonate \nand varnished metal \nor aluminium\nWall\nFlip\n2013–2018\ndesign Jean-Marie Massaud\nCoated aluminium\n and metal, PMMA \nand “rare earth”\nFloor\nLightwing\n2013\ndesign Ferruccio Laviani\nVarnished aluminium \nand polycarbonate\nFloor\nTuareg\n2015\ndesign Garcia Cumini\nVarnished steel \nand aluminium\nSuspension\nSpokes\n2015\ndesign Lucidi Pevere\nVarnished injection-molded \nABS and aluminium\nWall\nLake\n2015\ndesign Nichetto + Nendo\nWashi paper and ashwood\nTable\nKurage\n2015\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nSuspension, Ceiling \nTartan\nList of works        1983—2023\nAbout shedding light\n271\n2015\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nFloor, Suspension\nTwice as Twiggy\n2016\ndesign Rodolfo Dordoni\nBlown glass and PMMA\nTable, Suspension\nBuds\n2016–2019\ndesign Marco Zito\nBlown glass and aluminium\nSuspension\nCaiigo\n2017\ndesign Andrea Anastasio\nPorcelain, textile cable, \nblown glass \nand varnished metal\nTable, Reading, Wall\nFilo\n2017–2021\ndesign Lucidi Pevere\nAluminium and PMMA\nSuspension\nArumi\n2017\ndesign Eugeni Quitllet\nBlown glass and aluminium\nTable, Suspension, Wall\nSatellight\n2017\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand satined metal\nTable, Suspension, Ceiling,\nWall\nGem\n",137,{"image":561,"text":562,"number":563},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.138.png"," \nFoscarini\n2017–2021\ndesign Calvi Brambilla\nPMMA and aluminium\nCeiling, Wall\nSuperfi cie\n2017\ndesign Eugenio Gargioni, \nGuillaume Albouy\nVarnished PVC \nand aluminium\nSuspension\nPlena\n2017\ndesign Studio Natural\nSilicone, ABS and PMMA\nTable\nCri Cri\n2017\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nTable, Floor, Reading, \nSuspension\nTwiggy Grid\n2018\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and \nvarnished aluminium\nTable\nSoffi o\n2018\ndesign James Wines \u002F SITE\nBlown glass and aluminium\nTable\nLight Bulb\n2019\ndesign Tord Boontje\nVarnished metal \nand aluminium\nSuspension\nSun–Light of Love\n2019\ndesign Marc Sadler\nTechnical fabric \nand varnished metal\nSuspension\nNuée\n2019\ndesign Andrea Anastasio\nBlown glass, \nvarnished aluminium \nand polycarbonate\nTable\nMadre\nList of works        1983—2023\nAbout shedding light\n273\n2019\ndesign Ferruccio Laviani\nSilk-screened tempered \nglass, PMMA \nand chromed metal\nFloor\nUptown\n2019–2022\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPVC, PMMA, ABS \nand varnished metal\nFloor\nPalomar\n2019\ndesign Ferruccio Laviani\nMethacrylate and coated \naluminium\nFloor, Wall\nTobia\n2019–2021\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nAluminium, ABS and PMMA\nWall\nBeep\n2019\ndesign Andrea Anastasio\nPMMA, marble, polycarbo-\nnate, polished brass \nand varnished aluminium\nWall\nGioia  \n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Floor, Suspension, \nWall\nGem Mix&Match\n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Floor, Suspension, \nWall\nGregg Mix&Match\n273\n \nFoscarini\n2017–2021\ndesign Calvi Brambilla\nPMMA and aluminium\nCeiling, Wall\nSuperfi cie\n2017\ndesign Eugenio Gargioni, \nGuillaume Albouy\nVarnished PVC \nand aluminium\nSuspension\nPlena\n2017\ndesign Studio Natural\nSilicone, ABS and PMMA\nTable\nCri Cri\n2017\ndesign Marc Sadler\nCoated ﬁ breglass-based \ncomposite material, \nPMMA varnished metal \nand aluminium\nTable, Floor, Reading, \nSuspension\nTwiggy Grid\n2018\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and \nvarnished aluminium\nTable\nSoffi o\n2018\ndesign James Wines \u002F SITE\nBlown glass and aluminium\nTable\nLight Bulb\n2019\ndesign Tord Boontje\nVarnished metal \nand aluminium\nSuspension\nSun–Light of Love\n2019\ndesign Marc Sadler\nTechnical fabric \nand varnished metal\nSuspension\nNuée\n2019\ndesign Andrea Anastasio\nBlown glass, \nvarnished aluminium \nand polycarbonate\nTable\nMadre\nList of works        1983—2023\nAbout shedding light\n273\n2019\ndesign Ferruccio Laviani\nSilk-screened tempered \nglass, PMMA \nand chromed metal\nFloor\nUptown\n2019–2022\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPVC, PMMA, ABS \nand varnished metal\nFloor\nPalomar\n2019\ndesign Ferruccio Laviani\nMethacrylate and coated \naluminium\nFloor, Wall\nTobia\n2019–2021\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nAluminium, ABS and PMMA\nWall\nBeep\n2019\ndesign Andrea Anastasio\nPMMA, marble, polycarbo-\nnate, polished brass \nand varnished aluminium\nWall\nGioia  \n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Floor, Suspension, \nWall\nGem Mix&Match\n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass \nand varnished metal\nTable, Floor, Suspension, \nWall\nGregg Mix&Match\n",138,{"image":565,"text":566,"number":567},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.139.png"," \nFoscarini\n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and varnished \nmetal\nTable, Floor, Suspension, \nWall\nRituals Mix&Match\n2020\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate \nand varnished metal\nTable, Reading\nBirdie Easy\n2021\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate \nand varnished metal\nTable          \nBirdie Zero\n2020\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nCoated and moulded PMMA \nor ABS\nSuspension\nBump\n2020\ndesign Marc Sadler\nWood, ﬁ breglass coated \nwith composite material, \nPMMA, polycarbonate \nand aluminium\nFloor, Suspension\nTwiggy Wood\n2021\ndesign Patricia Urquiola, \nEliana Gerotto\nPMMA, polycarbonate \nand coated metal\nTable, Floor, Suspension, \nCeiling, Wall\nCaboche Plus\n2021\ndesign Marc Sadler\nFibreglass fabric, \ncarbonium thread. \nBase in  marquiña marble \nFloor\nMite Anniversario\nList of works        1983—2023\nAbout shedding light\n275\n2021\ndesign Rodolfo Dordoni\nBlown cased glass and \nCarrara or marquiña marble\nTable\nNile\n2021\ndesign Alberto + Francesco \nMeda\nCoated aluminium \nand metal, PMMA\nFloor\nChiaroscura\n2022\ndesign Marc Sadler\nWood, ﬁ breglass coated \nwith composite material, \nPMMA, polycarbonate \nand aluminium\nFloor\nTwiggy Elle \u002F Elle Wood\n2023\ndesign Rodolfo Dordoni\nBorosilicate glass, ABS, \nPMMA\nTable\nFleur\n2022\ndesign Ferruccio Laviani\nBlown glass \nand coated steel\nSuspension\nTonda \n2023\ndesign Rodolfo Dordoni\nVarnished steel or blown \nglass or Bone China \nporcelain, borosilicate \nglass, aluminium \nand polycarbonate\nTable\nChapeaux\n2023\ndesign Andrea Anastasio\nGlazed ceramic \nand aluminium\nSuspension, Wall\nFregio \n275\n \nFoscarini\n2019\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass and varnished \nmetal\nTable, Floor, Suspension, \nWall\nRituals Mix&Match\n2020\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate \nand varnished metal\nTable, Reading\nBirdie Easy\n2021\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nPolycarbonate \nand varnished metal\nTable          \nBirdie Zero\n2020\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nCoated and moulded PMMA \nor ABS\nSuspension\nBump\n2020\ndesign Marc Sadler\nWood, ﬁ breglass coated \nwith composite material, \nPMMA, polycarbonate \nand aluminium\nFloor, Suspension\nTwiggy Wood\n2021\ndesign Patricia Urquiola, \nEliana Gerotto\nPMMA, polycarbonate \nand coated metal\nTable, Floor, Suspension, \nCeiling, Wall\nCaboche Plus\n2021\ndesign Marc Sadler\nFibreglass fabric, \ncarbonium thread. \nBase in  marquiña marble \nFloor\nMite Anniversario\nList of works        1983—2023\nAbout shedding light\n275\n2021\ndesign Rodolfo Dordoni\nBlown cased glass and \nCarrara or marquiña marble\nTable\nNile\n2021\ndesign Alberto + Francesco \nMeda\nCoated aluminium \nand metal, PMMA\nFloor\nChiaroscura\n2022\ndesign Marc Sadler\nWood, ﬁ breglass coated \nwith composite material, \nPMMA, polycarbonate \nand aluminium\nFloor\nTwiggy Elle \u002F Elle Wood\n2023\ndesign Rodolfo Dordoni\nBorosilicate glass, ABS, \nPMMA\nTable\nFleur\n2022\ndesign Ferruccio Laviani\nBlown glass \nand coated steel\nSuspension\nTonda \n2023\ndesign Rodolfo Dordoni\nVarnished steel or blown \nglass or Bone China \nporcelain, borosilicate \nglass, aluminium \nand polycarbonate\nTable\nChapeaux\n2023\ndesign Andrea Anastasio\nGlazed ceramic \nand aluminium\nSuspension, Wall\nFregio \n",139,{"image":569,"text":570,"number":571},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.140.png"," \nFoscarini\n2023\ndesign Andrea Anastasio \nGlazed ceramic \nand aluminium\nWall\nIntervallo\n2023\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nTable, Suspension, Wall, \nCeling\nHoba\n2023\ndesign Gabriele and Oscar \nBuratti \nMetal and PMMA\nCeiling, Wall\nAnoor\n2023\ndesign Felicia Arvid\nPaper and wood\nSuspension\nPli\nList of works        1983—2023\nAbout shedding light\n277\n277\n \n277\nFoscarini\n2023\ndesign Andrea Anastasio \nGlazed ceramic \nand aluminium\nWall\nIntervallo\n2023\ndesign Ludovica Serafi ni\n+ Roberto Palomba\nBlown glass\nTable, Suspension, Wall, \nCeling\nHoba\n2023\ndesign Gabriele and Oscar \nBuratti \nMetal and PMMA\nCeiling, Wall\nAnoor\n2023\ndesign Felicia Arvid\nPaper and wood\nSuspension\nPli\nList of works        1983—2023\nAbout shedding light\n277\n",140,{"image":573,"text":574,"number":575},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.141.png","Foscarini\nBIOGRAPHIES\n\u002F ANALYTICAL \nINDEX\n279\nAbout shedding light\nFoscarini\nBIOGRAPHIES\n\u002F ANALYTICAL \nINDEX\n279\nAbout shedding light\n",141,{"image":577,"text":578,"number":579},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.142.png","Biographies\nFoscarini\nDesigners A—Z\nAndrea Anastasio\nAfter studying philosophy, he conducted research on the \ninnovation of traditional craftsmanship techniques, \ncollaborating with architecture practices, publishing houses \nand museums. He has been the director of the Italian \nEmbassy Cultural Centre in New Delhi since 2023. \nFascinated by the poetics of art and its convergences with \ndesign, he designs furniture and objects in a cross-conta-\nmination of languages and meanings. He designed Filo, \nMadre, Gioia, and curated the Battiti project in partnership \nwith ‘Ceramica Gatti’ in Faenza in 2022. From that research \nproject, Intervallo and Fregio lamps were born.\natelier oï\nA Swiss studio consisting of Aurel Aebi, Armand Louis \nand Patrick Reymond. From the onset, they have aimed \nat breaking down the barriers between the various \nspheres of design and at emphasising the cross-conta-\nmination possibilities of the various disciplines, ranging \nfrom architecture, to interiors, product design and also \nstage design. A multi-disciplinary approach, experimen-\ntation and a close relationship with the material form \nthe core values of their creative philosophy, which has \nbeen rewarded with a host of accolades. They are \nbehind the design of Allegro, Allegretto.\nA German architect, whose creations span the entire \nspectrum of experimental and artistic approaches, \nincluding industrial design and architecture. He has \ncontributed towards the introduction of new materials and \ntechniques in the world of product design, for which he \nhas received numerous awards. Some of his works are \npart of the permanent collections of many international \nmuseums, such as the MoMA and the Metropolitan \nMuseum in New York and the Neue Sammlung Museum in \nMunich. He has received the Compasso d’Oro honourable \nmention for the Behive lamp.\nWerner Aisslinger \n281\nAbout shedding light\nFilo, Madre, Gioia, Fregio, Intervallo\nAllegro, Allegretto\nBehive\nBiographies\nFoscarini\nDesigners A—Z\nAndrea Anastasio\nAfter studying philosophy, he conducted research on the \ninnovation of traditional craftsmanship techniques, \ncollaborating with architecture practices, publishing houses \nand museums. He has been the director of the Italian \nEmbassy Cultural Centre in New Delhi since 2023. \nFascinated by the poetics of art and its convergences with \ndesign, he designs furniture and objects in a cross-conta-\nmination of languages and meanings. He designed Filo, \nMadre, Gioia, and curated the Battiti project in partnership \nwith ‘Ceramica Gatti’ in Faenza in 2022. From that research \nproject, Intervallo and Fregio lamps were born.\natelier oï\nA Swiss studio consisting of Aurel Aebi, Armand Louis \nand Patrick Reymond. From the onset, they have aimed \nat breaking down the barriers between the various \nspheres of design and at emphasising the cross-conta-\nmination possibilities of the various disciplines, ranging \nfrom architecture, to interiors, product design and also \nstage design. A multi-disciplinary approach, experimen-\ntation and a close relationship with the material form \nthe core values of their creative philosophy, which has \nbeen rewarded with a host of accolades. They are \nbehind the design of Allegro, Allegretto.\nA German architect, whose creations span the entire \nspectrum of experimental and artistic approaches, \nincluding industrial design and architecture. He has \ncontributed towards the introduction of new materials and \ntechniques in the world of product design, for which he \nhas received numerous awards. Some of his works are \npart of the permanent collections of many international \nmuseums, such as the MoMA and the Metropolitan \nMuseum in New York and the Neue Sammlung Museum in \nMunich. He has received the Compasso d’Oro honourable \nmention for the Behive lamp.\nWerner Aisslinger \n281\nAbout shedding light\n",142,{"image":581,"text":582,"number":583},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.143.png","Yoko\nPli\nAnoor\nFoscarini\nBiographies\nDesign studio headquartered in Oslo, founded by Torbjørn \nAnderssen and Espen Voll. Their work ranges from \nfurniture, lighting, household accessories and textile \ndesign for some of Europe’s most renowned international \nbrands. The two designers share the desire to sustain the \nScandinavian design tradition while breaking its rules with \nelements of surprise. They designed the Yoko table lamp.\nAnderssen & Voll \nFelicia Arvid Jaeger\nGabriele and Oscar Buratti\nHer career started off as a fashion designer and she later \nstudied architecture at the Glasgow School of Arts. \nHer design philosophy derives from her experience as a \nseamstress and her expertise in creating 3D shapes with \nfabrics based on the Nordic tradition. Her sound-absor-\nbing wall panel Klipper for Caimi Brevetti clinched her the \nCompasso d’Oro award in 2022. The Pli suspension lamp \nconstitutes her début in the world of lighting. \nThey make up the Buratti Architetti architecture and \ndesign studio who work across all disciplines, from \nbuilding architecture and urban areas to the interior \ndesign of domestic settings and commercial premises, \nfurniture and object design to outfi tting exhibitions and \nshowrooms. They boast a number of collaborations \nwith major companies in the furniture industry (such as \nB&B Italia, Flexform, FontanaArte, Moroso, Poltrona \nFrau) and well-known brands (La Perla, Automobili \nLamborghini, Pagani Automobili, Oroblù, Acerbis). \nThey designed Anoor for Foscarini.\nAbout shedding light\nDesigners A—Z\nFor years, he has supplemented his job as an architect \nwith that of industrial designer, in the lighting industry \nin particular. He has designed many models since the 90s, \nsome of which are still in the catalogue today: Mistral, \nSphera, Double, Vitt, Cross, Totem, Bubble, Tutù, Spring, \nAffix. He works with the University of Padua \nin the search for new solutions for the lighting industry.\nValerio Bottin\nTord Boontje \nCalvi Brambilla\nHe trained at the Eindhoven Design Academy and at \nthe Royal College of Art in London, where he set up his \nown studio. His work is inspired by nature, materials, \ndecoration and technology. He has an experimental \napproach which has led him to range from industrial \nproduction to unique pieces. Sun–Light of Love is his \ncontribution to reinventing space in lighting.\nFabio Calvi and Paolo Brambilla, two architects, set up \nthe Calvi Brambilla fi rm in Milan. Their work ranges from \narchitecture, to interiors, furniture design and lighting. \nThey designed Superfi cie, a wall lamp with an impressive \ngeometry, a tribute to Italian avant-garde artists.\n283\nMistral, Sphera, Double, Vitt, Cross, Totem, Bubble, Tutù, \nSpring, Affix\nSun–Light of Love \nSuperficie\nFoscarini\nBiographies\nDesign studio headquartered in Oslo, founded by Torbjørn \nAnderssen and Espen Voll. Their work ranges from \nfurniture, lighting, household accessories and textile \ndesign for some of Europe’s most renowned international \nbrands. The two designers share the desire to sustain the \nScandinavian design tradition while breaking its rules with \nelements of surprise. They designed the Yoko table lamp.\nAnderssen & Voll \nFelicia Arvid Jaeger\nGabriele and Oscar Buratti\nHer career started off as a fashion designer and she later \nstudied architecture at the Glasgow School of Arts. \nHer design philosophy derives from her experience as a \nseamstress and her expertise in creating 3D shapes with \nfabrics based on the Nordic tradition. Her sound-absor-\nbing wall panel Klipper for Caimi Brevetti clinched her the \nCompasso d’Oro award in 2022. The Pli suspension lamp \nconstitutes her début in the world of lighting. \nThey make up the Buratti Architetti architecture and \ndesign studio who work across all disciplines, from \nbuilding architecture and urban areas to the interior \ndesign of domestic settings and commercial premises, \nfurniture and object design to outfi tting exhibitions and \nshowrooms. They boast a number of collaborations \nwith major companies in the furniture industry (such as \nB&B Italia, Flexform, FontanaArte, Moroso, Poltrona \nFrau) and well-known brands (La Perla, Automobili \nLamborghini, Pagani Automobili, Oroblù, Acerbis). \nThey designed Anoor for Foscarini.\nAbout shedding light\nDesigners A—Z\nFor years, he has supplemented his job as an architect \nwith that of industrial designer, in the lighting industry \nin particular. He has designed many models since the 90s, \nsome of which are still in the catalogue today: Mistral, \nSphera, Double, Vitt, Cross, Totem, Bubble, Tutù, Spring, \nAffix. He works with the University of Padua \nin the search for new solutions for the lighting industry.\nValerio Bottin\nTord Boontje \nCalvi Brambilla\nHe trained at the Eindhoven Design Academy and at \nthe Royal College of Art in London, where he set up his \nown studio. His work is inspired by nature, materials, \ndecoration and technology. He has an experimental \napproach which has led him to range from industrial \nproduction to unique pieces. Sun–Light of Love is his \ncontribution to reinventing space in lighting.\nFabio Calvi and Paolo Brambilla, two architects, set up \nthe Calvi Brambilla fi rm in Milan. Their work ranges from \narchitecture, to interiors, furniture design and lighting. \nThey designed Superfi cie, a wall lamp with an impressive \ngeometry, a tribute to Italian avant-garde artists.\n283\n",143,{"image":585,"text":586,"number":587},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.144.png","Venice collection, Nostromo\nPlanet\nCocò, Lampoon\nFoscarini\nAn architect who trained in London and New York, he focu-\nses on lighting projects, architecture and interior design, \ncreating a new decorative language that incorporates all \nthe multicultural complexity presented by the diversity and \ncontradictions of the modern world. After working a few \nyears in China, he moved to London where he has worked \nsince the late 90s. He devised the Venice collection and \nthe Nostromo system.  \nPatrice Butler \nChange Design\nAldo Cibic \nMulti-disciplinary design studio based in Venice founded \nby Renato Montagner. The fi rm works in industrial, \ninteriors, trade, retail as well as in fashion design. \nChanging rules and combining design experiences from \ndifferent fi elds has enabled Change Design to explore new \nscenarios and create a new market for innovative \nproducts. They designed Planet, the suspension lamp \nmade from high-tech, innovative fabric. \nAn architect and designer, he has been one of the \nfounders of Sottsass Associati and one of the leading \nexponents of the Memphis group. In 1989, he founded \nthe Cibicworkshop which, in addition to carrying out \narchitecture and interior design projects in Italy and \nabroad, also focuses on industrial design, experimen-\nting with the production of his own designs as well as \npartnering up with various companies. He expressed \nhis approach to glass in the Cocò table lamps and in \nthe Lampoon family.\nBiographies\nAbout shedding light\n \nThe Garcia Cumini Associati studio was established in \nUdine (Italy) in 2012 by Vicente Garcia Jimenez and Cinzia \nCumini, bringing together their consolidated experience \nin the design, products and communication fi elds. \nThey range from product design to installation set-up and \nart direction. They designed the Spokes project, lamps \nwith a graphic and luminous effect in slim metal spokes. \nVicente Garcia Jimenez alone designed the Fields wall \nlamp model and the Le Soleil lamps, and joined forces with \nEnrico Franzolini to design the Big Bang suspension lamp. \n \nGarcia Cumini\nDesignwork\nTom Dixon \nVisual communication, graphic design, corporate \nidentity, art direction: these are the spheres of activity \nof Artemio Croatto and his studio Designwork, which \nwas established in Udine in 2002. Its clients include \nsome of the leading brands in Italian and international \ndesign, famous publishing houses and major cultural \ninstitutions. In 2010, the close partnership with Foscarini \nled him to contribute to the creation of the publishing \nproject “Inventario”, which he is the art director of. \nThis project won the prestigious Compasso d’Oro award \nin 2014. He designed the Tosca blown glass and metal \ntable lamp with Roberto Barazzuol.\nThe contemporary prototype of a cosmopolitan, self-taught \ndesigner, mid-way between manager, craftsman and \ninventor; he is passionate about the decorative potential \nof materials and craft-based processes, and is currently one \nof the most famous designers with his London-based brand. \nIn the mid 90s, he created the Lightweight collection, \ncombining coloured metal and blown glass in a suspended \ninstallation.  \n285\nDesigners A—Z\nph. Mattia Balsamini\n285\nSpokes, Fields, Le Soleil, Big Bang \nTosca\nLightweight\nFoscarini\nAn architect who trained in London and New York, he focu-\nses on lighting projects, architecture and interior design, \ncreating a new decorative language that incorporates all \nthe multicultural complexity presented by the diversity and \ncontradictions of the modern world. After working a few \nyears in China, he moved to London where he has worked \nsince the late 90s. He devised the Venice collection and \nthe Nostromo system.  \nPatrice Butler \nChange Design\nAldo Cibic \nMulti-disciplinary design studio based in Venice founded \nby Renato Montagner. The fi rm works in industrial, \ninteriors, trade, retail as well as in fashion design. \nChanging rules and combining design experiences from \ndifferent fi elds has enabled Change Design to explore new \nscenarios and create a new market for innovative \nproducts. They designed Planet, the suspension lamp \nmade from high-tech, innovative fabric. \nAn architect and designer, he has been one of the \nfounders of Sottsass Associati and one of the leading \nexponents of the Memphis group. In 1989, he founded \nthe Cibicworkshop which, in addition to carrying out \narchitecture and interior design projects in Italy and \nabroad, also focuses on industrial design, experimen-\nting with the production of his own designs as well as \npartnering up with various companies. He expressed \nhis approach to glass in the Cocò table lamps and in \nthe Lampoon family.\nBiographies\nAbout shedding light\n \nThe Garcia Cumini Associati studio was established in \nUdine (Italy) in 2012 by Vicente Garcia Jimenez and Cinzia \nCumini, bringing together their consolidated experience \nin the design, products and communication fi elds. \nThey range from product design to installation set-up and \nart direction. They designed the Spokes project, lamps \nwith a graphic and luminous effect in slim metal spokes. \nVicente Garcia Jimenez alone designed the Fields wall \nlamp model and the Le Soleil lamps, and joined forces with \nEnrico Franzolini to design the Big Bang suspension lamp. \n \nGarcia Cumini\nDesignwork\nTom Dixon \nVisual communication, graphic design, corporate \nidentity, art direction: these are the spheres of activity \nof Artemio Croatto and his studio Designwork, which \nwas established in Udine in 2002. Its clients include \nsome of the leading brands in Italian and international \ndesign, famous publishing houses and major cultural \ninstitutions. In 2010, the close partnership with Foscarini \nled him to contribute to the creation of the publishing \nproject “Inventario”, which he is the art director of. \nThis project won the prestigious Compasso d’Oro award \nin 2014. He designed the Tosca blown glass and metal \ntable lamp with Roberto Barazzuol.\nThe contemporary prototype of a cosmopolitan, self-taught \ndesigner, mid-way between manager, craftsman and \ninventor; he is passionate about the decorative potential \nof materials and craft-based processes, and is currently one \nof the most famous designers with his London-based brand. \nIn the mid 90s, he created the Lightweight collection, \ncombining coloured metal and blown glass in a suspended \ninstallation.  \n285\nDesigners A—Z\nph. Mattia Balsamini\n",144,{"image":589,"text":590,"number":591},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.145.png","Fruits, Bijou, Blossoms, Buds, Lumiere, Nile, Chapeaux, \nFleur\nColibrì, Fold\nHavana, Cloud, Tivù\nA Milanese architect, art director and designer for some \nof the most famous furniture brands, he was one of the \nleading fi gures in Italian design, the creator of timeless \nstylish products. A touchstone for Foscarini, he designed \nFruits, Buds, Blossoms, Bijou, and the various versions of \nLumiere, the contemporary, blown glass restyling of the \nclassic bedside lamp and the more recent Nile, combining \nglass with marble. His latest projects for Foscarini include \nChapeaux and Fleur both distinguished by transparency \nand lightness.\nRodolfo Dordoni\nOdo Fioravanti\nJozeph Forakis\nAn Industrial Design graduate from the Faculty of Design \nat the Politecnico di Milano, he pursues products, also \nexperimenting with graphics and exhibition design. \nHis projects have been awarded prestigious international \naccolades. He has been a lecturer and professor at a number \nof universities and schools. He won the Compasso d’Oro \nwith the Frida wooden chair in 2011. Since 2022 he has been \nappointed member of the Advisory Board of the School of \nDesign Presidency at Politecnico di Milano. He was \nappointed Global Design Advisor for LG Electronics in 2023. \nHe designed the Colibrì reading lamp and the Fold wall lamp.\nA New Yorker, he set up his own studio with an offi ce in \nMilan and one in New York. His work is renowned for \nthe innovative use of materials and production \ntechniques, as well as his interest in the infl uence of \ndigital technologies on products and on everyday \nobjects. His products have received multiple \nacknowledgements, including the inclusion of Havana \nin the permanent design collection at the MoMA in \nNew York. Other projects he has devised include: \nTivù and Cloud.\nFoscarini\nBiographies\nph. Ramak Fazel\nHe completed his university studies in Florence and in \nVenice where he graduated in architecture. His artistic \nresearch as a youth led to multiple participations in \ncollective and personal exhibitions, starting with the \nBiennale in Venice in the decorative arts section. \nIn parallel with his artistic research, he developed his \nengagement in the fi elds of architecture and industrial \ndesign. Together with Vicente Garcia Jimenez he designed \nBig Bang, an unprecedented type of lighting.\nEnrico Franzolini\nGianpietro Gai\nEugenio Gargioni, Guillaume Albouy\nGianpietro Gai has focused on product design and \ncommunication since 2001 and founded the \nGai+Barozzi studio together with Beatrice Barozzi. \nHe taught technology at the Faculty of Design and \nArts of the Free University of Bozen-Bolzano between \n2008 and 2014 and at the University of the Republic \nof San Marino between 2018 and 2020. For Foscarini, \nwhere he was a product development consultant, he \ndesigned the Rha, Thor, Maui, O-Space, Gea lamps \nwith Luca Nichetto.\nEugenio Gargioni graduated in Industrial Design in Genoa \nand after a period of professional collaborations, he \nfounded the Euga Design studio in Milan together with \narchitect Paola Traversa. Guillaume Albouy graduated in \nMechanical Engineering in Toulouse, completing his \neducation with a Master’s degree in Industrial Design; \nhe moved to Milan where he founded the Ghiom studio. \nTheir creative paths came together to generate Plena.\n287\nAbout shedding light\nDesigners A—Z\n287\nBig Bang\nRha, Thor, Maui, O-Space, Gea\nPlena\nA Milanese architect, art director and designer for some \nof the most famous furniture brands, he was one of the \nleading fi gures in Italian design, the creator of timeless \nstylish products. A touchstone for Foscarini, he designed \nFruits, Buds, Blossoms, Bijou, and the various versions of \nLumiere, the contemporary, blown glass restyling of the \nclassic bedside lamp and the more recent Nile, combining \nglass with marble. His latest projects for Foscarini include \nChapeaux and Fleur both distinguished by transparency \nand lightness.\nRodolfo Dordoni\nOdo Fioravanti\nJozeph Forakis\nAn Industrial Design graduate from the Faculty of Design \nat the Politecnico di Milano, he pursues products, also \nexperimenting with graphics and exhibition design. \nHis projects have been awarded prestigious international \naccolades. He has been a lecturer and professor at a number \nof universities and schools. He won the Compasso d’Oro \nwith the Frida wooden chair in 2011. Since 2022 he has been \nappointed member of the Advisory Board of the School of \nDesign Presidency at Politecnico di Milano. He was \nappointed Global Design Advisor for LG Electronics in 2023. \nHe designed the Colibrì reading lamp and the Fold wall lamp.\nA New Yorker, he set up his own studio with an offi ce in \nMilan and one in New York. His work is renowned for \nthe innovative use of materials and production \ntechniques, as well as his interest in the infl uence of \ndigital technologies on products and on everyday \nobjects. His products have received multiple \nacknowledgements, including the inclusion of Havana \nin the permanent design collection at the MoMA in \nNew York. Other projects he has devised include: \nTivù and Cloud.\nFoscarini\nBiographies\nph. Ramak Fazel\nHe completed his university studies in Florence and in \nVenice where he graduated in architecture. His artistic \nresearch as a youth led to multiple participations in \ncollective and personal exhibitions, starting with the \nBiennale in Venice in the decorative arts section. \nIn parallel with his artistic research, he developed his \nengagement in the fi elds of architecture and industrial \ndesign. Together with Vicente Garcia Jimenez he designed \nBig Bang, an unprecedented type of lighting.\nEnrico Franzolini\nGianpietro Gai\nEugenio Gargioni, Guillaume Albouy\nGianpietro Gai has focused on product design and \ncommunication since 2001 and founded the \nGai+Barozzi studio together with Beatrice Barozzi. \nHe taught technology at the Faculty of Design and \nArts of the Free University of Bozen-Bolzano between \n2008 and 2014 and at the University of the Republic \nof San Marino between 2018 and 2020. For Foscarini, \nwhere he was a product development consultant, he \ndesigned the Rha, Thor, Maui, O-Space, Gea lamps \nwith Luca Nichetto.\nEugenio Gargioni graduated in Industrial Design in Genoa \nand after a period of professional collaborations, he \nfounded the Euga Design studio in Milan together with \narchitect Paola Traversa. Guillaume Albouy graduated in \nMechanical Engineering in Toulouse, completing his \neducation with a Master’s degree in Industrial Design; \nhe moved to Milan where he founded the Ghiom studio. \nTheir creative paths came together to generate Plena.\n287\nAbout shedding light\nDesigners A—Z\n",145,{"image":593,"text":594,"number":595},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.146.png","Bague, Caboche\nBlues\nSenglea\nFoscarini\nA Venetian, she obtained her diploma in Communication \nTechniques in Milan. She has worked as a graphic \ndesigner for the Parisian magazine, Elle, and for the \nVenice Biennale, while she co-operates with some major \nItalian brands as image and product consultant. \nTogether with Patricia Urquiola, she designed Caboche, \na precious-looking lamp which stems from a combination \nof technology and creativity, along with the Bague \ntable lamp. \nEliana Gerotto\nGiulio Gianturco \nGordon Guillaumier \nA self-taught designer, he graduated in medicine from \nPadua and turned his passion into his profession, leaving \nsurgery to focus solely on design. With a passion for \ntechnical materials, stainless steel in particular, he began \ndesigning objects in the early 90s. He designed the Blues \nreading lamp.  \n \nBorn in Malta, he studied in Switzerland and England \nand then graduated in Industrial Design from the \nEuropean Institute of Design in Milan. After fi nishing \nhis studies, he remained in Milan and worked together \nwith Rodolfo Dordoni pursuing design and product \ndevelopment. At the turn of the century he opened \nhis own studio: in addition to art and design \nmanagement consulting, always for furniture \nmanufacturers, he created various objects, including \nthe Senglea fl oor lamp. \nBiographies\nph. Andrea Basile\nAbout shedding light\nAn architect and designer originally from Israel, he \ngraduated in architecture in Florence and moved to Milan \nand Venice where he worked at the Zanuso studio and \nAtelier Alchimia. In between architectural projects and \ntrade fair installations, he collaborates with a number of \nindustrial design brands in his Venice-based studio. \nHe designed the Mir collection and the Joint family. \nItamar Harari \nAlex Hochstrasser \nGiulio Iacchetti\nA Swiss designer and inventor, he founded the MOLUK \ntoy company in Zurich. He started off his career in \nlighting design before specializing in the creation of \ncontemporary children’s toys. His projects have won \nnumerous international awards and have been \nexhibited at major museums such as the MoMA in \nNew York. His minimalist and playful approach is \nevident in the Hoc lamp. \nHe focuses on industrial design and his intense activity \ninvolves collaborations with prestigious design brands. \nHis distinguishing features include the pursuit and \ndefi nition of new types of objects such as the Moscardino \ncutlery (with Matteo Ragni), Compasso d’Oro. \nIn 2009, he was awarded the Prize for Innovation by the \nPresident of the Italian Republic. For Foscarini, he \ndesigned the Tropico suspension lamp collection and\nthe Magneto table and reading lamp.\n289\nDesigners A—Z\n289\nMir, Joint\nHoc\nTropico, Magneto\nFoscarini\nA Venetian, she obtained her diploma in Communication \nTechniques in Milan. She has worked as a graphic \ndesigner for the Parisian magazine, Elle, and for the \nVenice Biennale, while she co-operates with some major \nItalian brands as image and product consultant. \nTogether with Patricia Urquiola, she designed Caboche, \na precious-looking lamp which stems from a combination \nof technology and creativity, along with the Bague \ntable lamp. \nEliana Gerotto\nGiulio Gianturco \nGordon Guillaumier \nA self-taught designer, he graduated in medicine from \nPadua and turned his passion into his profession, leaving \nsurgery to focus solely on design. With a passion for \ntechnical materials, stainless steel in particular, he began \ndesigning objects in the early 90s. He designed the Blues \nreading lamp.  \n \nBorn in Malta, he studied in Switzerland and England \nand then graduated in Industrial Design from the \nEuropean Institute of Design in Milan. After fi nishing \nhis studies, he remained in Milan and worked together \nwith Rodolfo Dordoni pursuing design and product \ndevelopment. At the turn of the century he opened \nhis own studio: in addition to art and design \nmanagement consulting, always for furniture \nmanufacturers, he created various objects, including \nthe Senglea fl oor lamp. \nBiographies\nph. Andrea Basile\nAbout shedding light\nAn architect and designer originally from Israel, he \ngraduated in architecture in Florence and moved to Milan \nand Venice where he worked at the Zanuso studio and \nAtelier Alchimia. In between architectural projects and \ntrade fair installations, he collaborates with a number of \nindustrial design brands in his Venice-based studio. \nHe designed the Mir collection and the Joint family. \nItamar Harari \nAlex Hochstrasser \nGiulio Iacchetti\nA Swiss designer and inventor, he founded the MOLUK \ntoy company in Zurich. He started off his career in \nlighting design before specializing in the creation of \ncontemporary children’s toys. His projects have won \nnumerous international awards and have been \nexhibited at major museums such as the MoMA in \nNew York. His minimalist and playful approach is \nevident in the Hoc lamp. \nHe focuses on industrial design and his intense activity \ninvolves collaborations with prestigious design brands. \nHis distinguishing features include the pursuit and \ndefi nition of new types of objects such as the Moscardino \ncutlery (with Matteo Ragni), Compasso d’Oro. \nIn 2009, he was awarded the Prize for Innovation by the \nPresident of the Italian Republic. For Foscarini, he \ndesigned the Tropico suspension lamp collection and\nthe Magneto table and reading lamp.\n289\nDesigners A—Z\n",146,{"image":597,"text":598,"number":599},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.147.png","Haloscope\nCircus, Dress\nUto\nFoscarini\nHe has been an English designer. After graduating in \nfurniture design from the Royal College of Art, he moved \nto Milan in 1984 where he worked as a consultant for \nOlivetti and Toshiba under the direction of Michele De \nLucchi and Ettore Sottsass. He became a partner of \nSottsass Associati in 1993, and later opened his own \nindependent studio. Stylistically characterised by \ngeometric formalism, in addition to his private activity, he \nwas a professor of industrial design at the Hochschule für \nGestaltung Karlsruhe. He designed the Haloscope glass \nand aluminium fl oor lamp. \nJames Irvine\nDefne Koz\nLagranja Design\nIndustrial designer born in Turkey and professionally \ntrained in Italy. She trained at the studio belonging to \nEttore Sottsass in Milan. She is a partner of Studio \nKoz-Susani Design, headquartered in Chicago. Her work \nranges from designing household objects to technological \ndevices, with a particular focus on the sensory quality of \nmaterials. She designed the Dress lamp and the Circus \nwall and ceiling lamp.\nA multi-disciplinary design studio in charge of interiors, \noutfi tting and product design based in Barcelona with \noffi ces also in Istanbul and Singapore. Combining \nteaching with industrial design, exhibition design, \ncommercial interior design as well as home and hotel \ndesign. Founded by the Catalan Gerard Sanmartì and \nthe Paduan Gabriele Schiavon, who met at the Fabrica \nresearch centre in Treviso. They designed the Uto \nlamp, a novel type of illuminating object.\nBiographies\nBorn in Palermo, after graduating in architecture, his \ninterest in the artistic avant-garde and radical design drove \nhim to move to Milan to attend the Domus Academy and \nthen start working with Andrea Branzi. His work has always \nbeen mid-way between vision and reality, utopian openings \nand product. He has for some time shared his time between \nprofessional work and teaching at specialised schools and \nuniversities. He designed the Quadro wall lamp and the \nQuadralta suspension lamp, combining blown glass with \nindustrial glass.\nGiovanni Levanti \nFerruccio Laviani\nHe graduated in architecture at Politecnico di Milano, \nattending courses by Marco Zanuso and Achille \nCastiglioni. He opened his own design studio in 1991 \nafter a blossoming collaboration with Michele De \nLucchi. He thus embarked upon an intense professio-\nnal period as a designer, graphic designer and \narchitect, designing objects, commercial venues, \ninstallations, offi ces and residential accommodation. \nOrbital, his fi rst lamp, was followed over the years by\nDolmen, Supernova, Lenin, Teorema, Aretha and the\nmore recent Tuareg, Uptown, Tobia and Tonda.\n291\nAbout shedding light\nDesigners A—Z\nLievore Altherr Molina \nStudio Lievore Altherr Molina was set up in Barcelona by \nAlberto Lievore, Jeannette Altherr and Manel Molina. \nIts core activity is product design, interior design, \npackaging, consultancy and artistic direction for several \ncompanies, and it has received numerous international \naccolades. They designed the Caliz family of lamps as well \nas the Esa and Anisha table lamps.\n291\nQuadro, Quadralta\nOrbital, Dolmen, Supernova, Lenin, Teorema, Aretha, \nTuareg, Uptown, Tobia, Tonda\nEsa, Caliz, Anisha\nFoscarini\nHe has been an English designer. After graduating in \nfurniture design from the Royal College of Art, he moved \nto Milan in 1984 where he worked as a consultant for \nOlivetti and Toshiba under the direction of Michele De \nLucchi and Ettore Sottsass. He became a partner of \nSottsass Associati in 1993, and later opened his own \nindependent studio. Stylistically characterised by \ngeometric formalism, in addition to his private activity, he \nwas a professor of industrial design at the Hochschule für \nGestaltung Karlsruhe. He designed the Haloscope glass \nand aluminium fl oor lamp. \nJames Irvine\nDefne Koz\nLagranja Design\nIndustrial designer born in Turkey and professionally \ntrained in Italy. She trained at the studio belonging to \nEttore Sottsass in Milan. She is a partner of Studio \nKoz-Susani Design, headquartered in Chicago. Her work \nranges from designing household objects to technological \ndevices, with a particular focus on the sensory quality of \nmaterials. She designed the Dress lamp and the Circus \nwall and ceiling lamp.\nA multi-disciplinary design studio in charge of interiors, \noutfi tting and product design based in Barcelona with \noffi ces also in Istanbul and Singapore. Combining \nteaching with industrial design, exhibition design, \ncommercial interior design as well as home and hotel \ndesign. Founded by the Catalan Gerard Sanmartì and \nthe Paduan Gabriele Schiavon, who met at the Fabrica \nresearch centre in Treviso. They designed the Uto \nlamp, a novel type of illuminating object.\nBiographies\nBorn in Palermo, after graduating in architecture, his \ninterest in the artistic avant-garde and radical design drove \nhim to move to Milan to attend the Domus Academy and \nthen start working with Andrea Branzi. His work has always \nbeen mid-way between vision and reality, utopian openings \nand product. He has for some time shared his time between \nprofessional work and teaching at specialised schools and \nuniversities. He designed the Quadro wall lamp and the \nQuadralta suspension lamp, combining blown glass with \nindustrial glass.\nGiovanni Levanti \nFerruccio Laviani\nHe graduated in architecture at Politecnico di Milano, \nattending courses by Marco Zanuso and Achille \nCastiglioni. He opened his own design studio in 1991 \nafter a blossoming collaboration with Michele De \nLucchi. He thus embarked upon an intense professio-\nnal period as a designer, graphic designer and \narchitect, designing objects, commercial venues, \ninstallations, offi ces and residential accommodation. \nOrbital, his fi rst lamp, was followed over the years by\nDolmen, Supernova, Lenin, Teorema, Aretha and the\nmore recent Tuareg, Uptown, Tobia and Tonda.\n291\nAbout shedding light\nDesigners A—Z\nLievore Altherr Molina \nStudio Lievore Altherr Molina was set up in Barcelona by \nAlberto Lievore, Jeannette Altherr and Manel Molina. \nIts core activity is product design, interior design, \npackaging, consultancy and artistic direction for several \ncompanies, and it has received numerous international \naccolades. They designed the Caliz family of lamps as well \nas the Esa and Anisha table lamps.\n",147,{"image":601,"text":602,"number":603},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.148.png","Basic, Cap, Flat, Bugia\nMix\nAplomb, Bahia, Falena, Lake, Arumi\nFoscarini\nAn architect who focuses on projects in architecture, \nindustrial, graphic, exhibition design, art direction and \ninterior design. After graduating in architecture from \nPolitecnico di Milano, he founded Lissoni & Partners, with \noffi ces in Milan and New York; he is the art director of \nnumerous companies who particularly do business in the \nfi eld of furniture, for whom he designs not only objects but \nfrequently also the corporate identity. He has received \nnumerous awards and acknowledgements throughout his \ncareer. In the 90s he designed the Basic, Cap, Flat and \nBugia models.\nFrancesco Lucchese \nPiero Lissoni \nLucidi Pevere \nA Sicilian, he graduated in architecture from Politecnico di \nMilano and founded Lucchese design, focusing on graphic \ndesign and on organising exhibitions and events. His \narchitectural activities come in the form of signifi cant \nprojects such as hotels, public premises, entertainment \nvenues and showrooms. He concurrently teaches at \nPolitecnico di Milano in the Faculty of Design. He designed \nthe Mix glass suspension lamp.\nHaving graduated and trained in Milan, they began to \ndevelop their fi rst projects together in 2006 when they \nfounded the Lucidi Pevere studio, engaged in creating \nnew types of products, researching new materials and \ntechnologies catering to various sectors, including \nfurniture, lighting, objects, bathrooms. They designed \nFalena, Arumi, the Aplomb family made with an \nexclusive cement paste; the Bahia and Lake wall lamps, \nboth with an organic and asymmetric shape. \nBiographies\n293\nAbout shedding light\nA graduate from ENSCI-Les Ateliers (the French National \nSchool of Industrial Design in Paris), he opened the \nJean-Marie Massaud studio in 2000 in order to extend his \ndesign activity to architecture, pursuing his personal \nsearch for synthesis, smartness, lightness and \ntimelessness. He works in all fi elds of design regardless of \nscale and industry: from furniture, to transport, to \nconcepts and products while contributing to well-known \nbrands development. He designed the Lightwing fl oor lamp \nand the Solar indoor and outdoor table lamp.\nMatilde Alessandra     \nAlberto Meda\nJean-Marie Massaud\nShe was born in Venice and has lived and worked in \nNew York for years, where she began to design her \nfi rst light experiments which led her to the deployment \nof installations, one-off or standard pieces for galleries, \nprivate collections and companies. In 2003, she \ndesigned the Ellepi wall and ceiling lamp. \nA trained engineer, he is one of the leading exponents of \nItalian design. One of his fi rst assignments, in the early \n70s, was as technical director for Kartell. The undisputed \nmaster of light, he designs for various Italian and \ninternational brands. He has taught industrial technologies \nat the Domus Academy, Politecnico di Milano and Iuav in \nVenice, speaking at numerous conferences and seminars \nacross Europe, Japan and the United States. He designed \nthe Chiaroscura fl oor lamp together with his son \nFrancesco.\nDesigners A—Z\nph. Pierre Monetta\nSolar, Lightwing\nEllepi\nChiaroscura\nFoscarini\nAn architect who focuses on projects in architecture, \nindustrial, graphic, exhibition design, art direction and \ninterior design. After graduating in architecture from \nPolitecnico di Milano, he founded Lissoni & Partners, with \noffi ces in Milan and New York; he is the art director of \nnumerous companies who particularly do business in the \nfi eld of furniture, for whom he designs not only objects but \nfrequently also the corporate identity. He has received \nnumerous awards and acknowledgements throughout his \ncareer. In the 90s he designed the Basic, Cap, Flat and \nBugia models.\nFrancesco Lucchese \nPiero Lissoni \nLucidi Pevere \nA Sicilian, he graduated in architecture from Politecnico di \nMilano and founded Lucchese design, focusing on graphic \ndesign and on organising exhibitions and events. His \narchitectural activities come in the form of signifi cant \nprojects such as hotels, public premises, entertainment \nvenues and showrooms. He concurrently teaches at \nPolitecnico di Milano in the Faculty of Design. He designed \nthe Mix glass suspension lamp.\nHaving graduated and trained in Milan, they began to \ndevelop their fi rst projects together in 2006 when they \nfounded the Lucidi Pevere studio, engaged in creating \nnew types of products, researching new materials and \ntechnologies catering to various sectors, including \nfurniture, lighting, objects, bathrooms. They designed \nFalena, Arumi, the Aplomb family made with an \nexclusive cement paste; the Bahia and Lake wall lamps, \nboth with an organic and asymmetric shape. \nBiographies\n293\nAbout shedding light\nA graduate from ENSCI-Les Ateliers (the French National \nSchool of Industrial Design in Paris), he opened the \nJean-Marie Massaud studio in 2000 in order to extend his \ndesign activity to architecture, pursuing his personal \nsearch for synthesis, smartness, lightness and \ntimelessness. He works in all fi elds of design regardless of \nscale and industry: from furniture, to transport, to \nconcepts and products while contributing to well-known \nbrands development. He designed the Lightwing fl oor lamp \nand the Solar indoor and outdoor table lamp.\nMatilde Alessandra     \nAlberto Meda\nJean-Marie Massaud\nShe was born in Venice and has lived and worked in \nNew York for years, where she began to design her \nfi rst light experiments which led her to the deployment \nof installations, one-off or standard pieces for galleries, \nprivate collections and companies. In 2003, she \ndesigned the Ellepi wall and ceiling lamp. \nA trained engineer, he is one of the leading exponents of \nItalian design. One of his fi rst assignments, in the early \n70s, was as technical director for Kartell. The undisputed \nmaster of light, he designs for various Italian and \ninternational brands. He has taught industrial technologies \nat the Domus Academy, Politecnico di Milano and Iuav in \nVenice, speaking at numerous conferences and seminars \nacross Europe, Japan and the United States. He designed \nthe Chiaroscura fl oor lamp together with his son \nFrancesco.\nDesigners A—Z\nph. Pierre Monetta\n",148,{"image":605,"text":606,"number":607},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.149.png","Chiaroscura, Bridge \nRamon, Lucindo\nCielo\nFoscarini\n \nA graduate in Industrial Design from the European Institute \nof Design in Milan. He worked in London in the studios \nfounded by Sebastian Bergne and Ross Lovegrove. On his \nreturn to Milan, he collaborated with the most famous \nItalian and international design companies, such as Vitra, \nKartell and Alessi. Since 2020 he has been the creative \ndirector of Acerbis with the Spaniard David Lopez \nQuincoces. With his father Alberto Meda, he won a \nCompasso d’Oro award for the Flap soundproofi ng panel by \nCaimi Brevetti. For Foscarini, he designed the Bridge table \nlamp and, together with his father, the Chiaroscura lamp.\nFrancesco Meda \nMarco Mencacci \nAngelo Micheli \nHaving spent some time in Italy, he moved to France. \nHe is a multi-faceted architect and artist who lives and \nworks in Paris. His activity ranges from architecture to \ndesign, from theatre and television sets to home décor, \nfrom textile to industrial design. He designs for brands \nthe likes of Hermès, Bernardaud, Sawaya&Moroni, \nBarovier&Toso, Cartier or Saint-Gobain Glass. \nHis works and collections in Murano glass and porcelain \nare exhibited in museums (Centre Pompidou, Corning \nMuseum of Glass New York) and in international art \ngalleries. He designed the original Ramon and Lucindo \nglass suspension lamps.\nAn Architecture graduate from Milan, he is one of the \nfounders of the Solid Group. His professional activity \ncontinued with the collaboration with Michele De \nLucchi, with whom he worked on important projects \nand is currently the managing director of studio ADML \nCIRCLE. Alongside his work as an architect, he has a \npassion for art and sculpture. He designed the Cielo \nsuspension lamp.\nBiographies\nAn Argentinian architect, he graduated in industrial design \nat the Royal College of Arts in London. His professional \nactivities focus particularly on the management of \noutfi tting projects, trade fairs and exhibitions, for Italian \nand foreign customers operating in the fashion and \nfurniture industries. He designed the small Shelly table \nlamp in 1991.\nRuben Mochi \nStudio Natural\nNendo\nCreative agency founded by Marco De Santi and \nAlessandro Paoletti, two professional fi gures (industrial \nand graphic designers) backed by experience ranging \nfrom the exhibition outfi tting, to product design, via \ngraphic communication and the web. Different areas \nlinked by a single matrix: designing is the application of \na creative process. They designed the Cri Cri portable \nbattery lamp.\nOki Sato was born in Toronto, Canada. In Tokyo, after \ngraduating in architecture from Waseda University, he \nfounded Studio Nendo, a Japanese term meaning ‘clay’\n and expressing the plastic and sculptural appeal of his \nway of designing. Through projects that belong to a \nplethora of worlds – from architecture, to furnishings, \nindustrial design and graphic art – the studio has obtained \nmajor acknowledgements and international accolades in \njust a few years. He designed the Kurage table lamp with \nLuca Nichetto.\n295\nAbout shedding light\nDesigners A—Z\n295\nShelly\nCri Cri\nKurage\nFoscarini\n \nA graduate in Industrial Design from the European Institute \nof Design in Milan. He worked in London in the studios \nfounded by Sebastian Bergne and Ross Lovegrove. On his \nreturn to Milan, he collaborated with the most famous \nItalian and international design companies, such as Vitra, \nKartell and Alessi. Since 2020 he has been the creative \ndirector of Acerbis with the Spaniard David Lopez \nQuincoces. With his father Alberto Meda, he won a \nCompasso d’Oro award for the Flap soundproofi ng panel by \nCaimi Brevetti. For Foscarini, he designed the Bridge table \nlamp and, together with his father, the Chiaroscura lamp.\nFrancesco Meda \nMarco Mencacci \nAngelo Micheli \nHaving spent some time in Italy, he moved to France. \nHe is a multi-faceted architect and artist who lives and \nworks in Paris. His activity ranges from architecture to \ndesign, from theatre and television sets to home décor, \nfrom textile to industrial design. He designs for brands \nthe likes of Hermès, Bernardaud, Sawaya&Moroni, \nBarovier&Toso, Cartier or Saint-Gobain Glass. \nHis works and collections in Murano glass and porcelain \nare exhibited in museums (Centre Pompidou, Corning \nMuseum of Glass New York) and in international art \ngalleries. He designed the original Ramon and Lucindo \nglass suspension lamps.\nAn Architecture graduate from Milan, he is one of the \nfounders of the Solid Group. His professional activity \ncontinued with the collaboration with Michele De \nLucchi, with whom he worked on important projects \nand is currently the managing director of studio ADML \nCIRCLE. Alongside his work as an architect, he has a \npassion for art and sculpture. He designed the Cielo \nsuspension lamp.\nBiographies\nAn Argentinian architect, he graduated in industrial design \nat the Royal College of Arts in London. His professional \nactivities focus particularly on the management of \noutfi tting projects, trade fairs and exhibitions, for Italian \nand foreign customers operating in the fashion and \nfurniture industries. He designed the small Shelly table \nlamp in 1991.\nRuben Mochi \nStudio Natural\nNendo\nCreative agency founded by Marco De Santi and \nAlessandro Paoletti, two professional fi gures (industrial \nand graphic designers) backed by experience ranging \nfrom the exhibition outfi tting, to product design, via \ngraphic communication and the web. Different areas \nlinked by a single matrix: designing is the application of \na creative process. They designed the Cri Cri portable \nbattery lamp.\nOki Sato was born in Toronto, Canada. In Tokyo, after \ngraduating in architecture from Waseda University, he \nfounded Studio Nendo, a Japanese term meaning ‘clay’\n and expressing the plastic and sculptural appeal of his \nway of designing. Through projects that belong to a \nplethora of worlds – from architecture, to furnishings, \nindustrial design and graphic art – the studio has obtained \nmajor acknowledgements and international accolades in \njust a few years. He designed the Kurage table lamp with \nLuca Nichetto.\n295\nAbout shedding light\nDesigners A—Z\n",149,{"image":609,"text":610,"number":611},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.150.png","Rha, Thor, Maui, O-Space, Gea, Empire, Wagashi, Troag, \nStewie, Plass, Kurage\nNuage\nOlly, Zen, Hola, Dom, Fly Fly, Gregg, Birdie, Palomar, \nBeep, Bump, Rituals, Tartan, Gem, Soffio, Hoba  \nFoscarini\nBorn in Venice, he is an Industrial Design graduate from Iuav. \nHe founded his fi rst studio in 2006. This gave him the \nopportunity to grow his experience in product design, which was \nfollowed a few years later by the opening of a second studio in \nStockholm. He worked closely with several Italian and \ninternational companies. The Rha and Thor fl oor lamps, Maui, \nthe O-Space suspension lamp, Gea, are designed with Gianpietro \nGai. These were followed by Nichetto’s solo design for Empire, \nthe wall and ceiling lamps Wagashi in technical fabric, with \nreproductions of photos by Massimo Gardone, Troag, Stewie \nand Plass; he designed Kurage with Nendo’s Oki Sato.\nLuca Nichetto\nPhilippe Nigro\nA Frenchman who was born in Nice, he studied applied \narts and product design. He began his career in Milan \nalongside Michele De Lucchi. Over the years, his \npartnerships have been enriched by a mixture of French \nand Italian culture, allowing him to work with companies of \nvarious sizes and in different industries, well-known \nbrands and local crafts too. He accommodates the many \naspects of design by devising products, furniture, lighting, \ninteriors, events and scenery. He designed Nuage to \ncreate a lighting effect on the ceiling or wall.\nLudovica Serafi ni + Roberto Palomba\n \nThese two architects set up their own studio in Milan in \n1994, and their joint expertise ranges from architectural \nplanning, to interior design, and partnerships as product \ndesigners and art directors with leading international \nbrands; they have received multiple, major accolades \nsuch as the Compasso d’Oro award. Many of the lamps \ndesigned for Foscarini explore the material and \nexpressive possibilities of blown glass, including Olly, \nHola, Dom, and other materials: Zen, Fly Fly, Palomar, \nBeep; to the current models still in the catalogue – Bir-\ndie, Bump, Gregg, Tartan, Gem, Rituals and Soffio.\nBiographies\nph. Vicent Lappartient\n297\nAbout shedding light\nBorn in Oxfordshire, he fi rst trained as a furniture maker \nand subsequently worked for Sir Terence Conran, later \nfounding his own studio in London in 1993 and having his \nfi rst success with his own collection of furniture. He won \nthe Compasso d’Oro award for the Nuur table in 2011 and \nhis partnerships with some of the leading brands on a \nEuropean scale have led him to work on multiple projects \nin product, transportation and his fi rst passion furniture \ndesign. He designed the Flip and Innerlight wall lamps.\nSimon Pengelly\nEugeni Quitllet\nA Catalan designer. He designs furniture and objects \nfor major brands which have received prestigious \ninternational awards. After several trips abroad, \nhe returned to Barcelona in 2011, where he studied \nand founded his own studio. Since 2022 he moved \nto the American city of Dallas. A creator of objects \nthat go beyond the simple combination of form and \nfunction, he explores the relationship between empty \nand full, such as in Satellight, the table, suspension \nand wall lamp.\nLuc Ramael \nA Belgian interior architect, in addition to his contributions \nas a lecturer, he also carries out professional work in the \nfi eld of interior and product design. He collaborates with \nlighting and furniture companies in Belgium, Italy and \nSpain and has won numerous national and international \nawards. He designed the small and lightweight Clips \ntable lamp.\nDesigners A—Z\n297\nInnerlight, Flip\nSatellight\nClips\nFoscarini\nBorn in Venice, he is an Industrial Design graduate from Iuav. \nHe founded his fi rst studio in 2006. This gave him the \nopportunity to grow his experience in product design, which was \nfollowed a few years later by the opening of a second studio in \nStockholm. He worked closely with several Italian and \ninternational companies. The Rha and Thor fl oor lamps, Maui, \nthe O-Space suspension lamp, Gea, are designed with Gianpietro \nGai. These were followed by Nichetto’s solo design for Empire, \nthe wall and ceiling lamps Wagashi in technical fabric, with \nreproductions of photos by Massimo Gardone, Troag, Stewie \nand Plass; he designed Kurage with Nendo’s Oki Sato.\nLuca Nichetto\nPhilippe Nigro\nA Frenchman who was born in Nice, he studied applied \narts and product design. He began his career in Milan \nalongside Michele De Lucchi. Over the years, his \npartnerships have been enriched by a mixture of French \nand Italian culture, allowing him to work with companies of \nvarious sizes and in different industries, well-known \nbrands and local crafts too. He accommodates the many \naspects of design by devising products, furniture, lighting, \ninteriors, events and scenery. He designed Nuage to \ncreate a lighting effect on the ceiling or wall.\nLudovica Serafi ni + Roberto Palomba\n \nThese two architects set up their own studio in Milan in \n1994, and their joint expertise ranges from architectural \nplanning, to interior design, and partnerships as product \ndesigners and art directors with leading international \nbrands; they have received multiple, major accolades \nsuch as the Compasso d’Oro award. Many of the lamps \ndesigned for Foscarini explore the material and \nexpressive possibilities of blown glass, including Olly, \nHola, Dom, and other materials: Zen, Fly Fly, Palomar, \nBeep; to the current models still in the catalogue – Bir-\ndie, Bump, Gregg, Tartan, Gem, Rituals and Soffio.\nBiographies\nph. Vicent Lappartient\n297\nAbout shedding light\nBorn in Oxfordshire, he fi rst trained as a furniture maker \nand subsequently worked for Sir Terence Conran, later \nfounding his own studio in London in 1993 and having his \nfi rst success with his own collection of furniture. He won \nthe Compasso d’Oro award for the Nuur table in 2011 and \nhis partnerships with some of the leading brands on a \nEuropean scale have led him to work on multiple projects \nin product, transportation and his fi rst passion furniture \ndesign. He designed the Flip and Innerlight wall lamps.\nSimon Pengelly\nEugeni Quitllet\nA Catalan designer. He designs furniture and objects \nfor major brands which have received prestigious \ninternational awards. After several trips abroad, \nhe returned to Barcelona in 2011, where he studied \nand founded his own studio. Since 2022 he moved \nto the American city of Dallas. A creator of objects \nthat go beyond the simple combination of form and \nfunction, he explores the relationship between empty \nand full, such as in Satellight, the table, suspension \nand wall lamp.\nLuc Ramael \nA Belgian interior architect, in addition to his contributions \nas a lecturer, he also carries out professional work in the \nfi eld of interior and product design. He collaborates with \nlighting and furniture companies in Belgium, Italy and \nSpain and has won numerous national and international \nawards. He designed the small and lightweight Clips \ntable lamp.\nDesigners A—Z\n",150,{"image":613,"text":614,"number":615},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.151.png","Blob\nAlcea, Stilla, Qua\nMite, Tite, Lite, Kite, Giga-Lite, Mega-Kite, Twiggy, \nTress, See You, Jamaica, Nuée \nFoscarini\nThoughtfully designing the world one object at a time, Karim \nRashid has over 4.000 works in production. Karim received \na Bachelor of Industrial Design and then pursued graduate \nstudies in Naples, Italy, with Ettore Sottsass. He later worked \nprofessionally at the Rodolfo Bonetto Studio in Milan. \nIn 1992 he opened a private studio in New York City focusing \non industrial and interior design. He designed the original \nBlob family of indoor and outdoor lamps.\nKarim Rashid\nProspero Rasulo \nArtist and designer, after attending the Brera Academy \nof Fine Arts, he worked in the fi elds of stage design, \npainting, sculpture and exhibition outfi tting. During the \nsame years, he began collaborating with the Alchimia \nstudio and Alessandro Mendini, alternating his work as \na designer with that of promoter of cultural initiatives. \nIn addition to working with industries, he exhibits his \nworks in various art and design galleries. He designed the \nAlcea, Stilla and Qua glass wall lamps.\nMarc Sadler \n \nA graduate of ENSAD in Paris, he pioneered the \nexperimentation with materials and the cross-contamina-\ntion between different technologies, which became \ndistinguishing features of his work. He has won four \nCompasso d’Oro awards, including the one for Mite and \nTite in 2011, which have become genuine icons, together \nwith Twiggy and Tress, each one marked by technologi-\ncal and styling innovation. He also designed the \nexpansion of the Mite family with Giga-Lite, Mega-Kite, \nLite and, again through his experimentation with new \nmaterials, he designed the Jamaica suspension lamp, the \nSee You wall lamp and the latest Nuée suspension lamp.\nBiographies\n299\nAbout shedding light\nStudio Baruffi  & De Santi\nIn the early 70s, Maurizio Baruffi  and Roberto \nDe Santi founded a studio in Venice – currently \nrepresented by De Santi – which provides consultancy \nand design services for architecture, for the furnishing \nof shops, offi ces and showrooms, for industrial design \nand for visual design. Their partnership with Foscarini \nresulted in the Wave suspension lamp.\nHe started off at a very young age as a car stylist at DeTomaso \nGroup and Maserati. He then shifted his focus to the visual arts \nwith works blending art and design exhibited at important \nevents. In 1984, with La Neomerce. Il design dell’invenzione e \ndell’estasi artiﬁciale at the Triennale in Milan, he became an \ninternational touchstone for a new performative, techno-poetic, \nspectacular and ironic design. He has been involved in design \nand digital manufacturing since 2005. He published Download \nDesign (2018). A lecturer at the Royal College of London, \nCambridge University, and NABA, he was awarded the Honorary \nDegree from the Brera Academy of Fine Arts. He designed the \ndelightful Elfo table lamp.\nDenis Santachiara  \nDesigners A—Z\nStudio Kairos \nFounded in 1980 by Massimo Bonetti, Giuseppe Manente \nand Abramo Mion, the studio is currently represented by the \nlatter two. Alongside the works in the building industry and \nin interior design, they focus on design and product \ndevelopment in the fi eld of furniture design. \nThey designed the Yet wall lamp with storage shelf.\n299\nWave\nElfo\nYet\nFoscarini\nThoughtfully designing the world one object at a time, Karim \nRashid has over 4.000 works in production. Karim received \na Bachelor of Industrial Design and then pursued graduate \nstudies in Naples, Italy, with Ettore Sottsass. He later worked \nprofessionally at the Rodolfo Bonetto Studio in Milan. \nIn 1992 he opened a private studio in New York City focusing \non industrial and interior design. He designed the original \nBlob family of indoor and outdoor lamps.\nKarim Rashid\nProspero Rasulo \nArtist and designer, after attending the Brera Academy \nof Fine Arts, he worked in the fi elds of stage design, \npainting, sculpture and exhibition outfi tting. During the \nsame years, he began collaborating with the Alchimia \nstudio and Alessandro Mendini, alternating his work as \na designer with that of promoter of cultural initiatives. \nIn addition to working with industries, he exhibits his \nworks in various art and design galleries. He designed the \nAlcea, Stilla and Qua glass wall lamps.\nMarc Sadler \n \nA graduate of ENSAD in Paris, he pioneered the \nexperimentation with materials and the cross-contamina-\ntion between different technologies, which became \ndistinguishing features of his work. He has won four \nCompasso d’Oro awards, including the one for Mite and \nTite in 2011, which have become genuine icons, together \nwith Twiggy and Tress, each one marked by technologi-\ncal and styling innovation. He also designed the \nexpansion of the Mite family with Giga-Lite, Mega-Kite, \nLite and, again through his experimentation with new \nmaterials, he designed the Jamaica suspension lamp, the \nSee You wall lamp and the latest Nuée suspension lamp.\nBiographies\n299\nAbout shedding light\nStudio Baruffi  & De Santi\nIn the early 70s, Maurizio Baruffi  and Roberto \nDe Santi founded a studio in Venice – currently \nrepresented by De Santi – which provides consultancy \nand design services for architecture, for the furnishing \nof shops, offi ces and showrooms, for industrial design \nand for visual design. Their partnership with Foscarini \nresulted in the Wave suspension lamp.\nHe started off at a very young age as a car stylist at DeTomaso \nGroup and Maserati. He then shifted his focus to the visual arts \nwith works blending art and design exhibited at important \nevents. In 1984, with La Neomerce. Il design dell’invenzione e \ndell’estasi artiﬁciale at the Triennale in Milan, he became an \ninternational touchstone for a new performative, techno-poetic, \nspectacular and ironic design. He has been involved in design \nand digital manufacturing since 2005. He published Download \nDesign (2018). A lecturer at the Royal College of London, \nCambridge University, and NABA, he was awarded the Honorary \nDegree from the Brera Academy of Fine Arts. He designed the \ndelightful Elfo table lamp.\nDenis Santachiara  \nDesigners A—Z\nStudio Kairos \nFounded in 1980 by Massimo Bonetti, Giuseppe Manente \nand Abramo Mion, the studio is currently represented by the \nlatter two. Alongside the works in the building industry and \nin interior design, they focus on design and product \ndevelopment in the fi eld of furniture design. \nThey designed the Yet wall lamp with storage shelf.\n",151,{"image":617,"text":618,"number":619},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.152.png","Wassily off the Wall\nManta, Screen, Easy\nClessidra, Graphos, Refloz, Indice, Rolli, Plana, Kigo, \nPivot, Floppi, Lift, Monolite, Tilla, Samarcanda, Skeet, \nColora, Luna, Luis, Tandem, Fluo, Achille, Folio, Shape\nFoscarini\nAn architect and one of the most famous contemporary \ninterior designers for the contract world, he was born in \nRomania and raised in Israel. After graduating from \nPolitecnico di Milano and completing a series of apprentice-\nships in Europe, he moved to New York. Here, he opened his \nown multi-disciplinary studio, dabbling in every fi eld of design, \nfrom the design of interiors for commercial and residential \nspaces to furniture production, graphics and outfi tting. \nIn 1985 he designed the Wassily off the Wall collection \nwith Joseph Mancini.\nAdam D. Tihany \nPio and Tito Toso \nThe Toso brothers are both architects and work in the \nfi eld of public and private architecture, and industrial \ndesign, collaborating in particular with furniture \nmanufacturers. The studio’s activities include outfi tting \nprojects for trade fairs, shops and offi ces, and company \nvisual identities. They designed the Manta, Screen and \nEasy glass wall lamps.\nCarlo Urbinati and Alessandro Vecchiato  \nThey joined the company as internal designers, and \nremained almost its sole designers for ten years, \ncreating more than twenty collections. They started \nexperimenting with the combination of glass with metal \nand halogen light, conceiving lamps such as: Clessidra \nand Graphos, Refl oz and Rolli, Kigo and Pivot, Lift and \nPlana, Luis and Samarcanda, Tandem and Luna, \nMonolite and Skeet, Shape, Folio. The latter is still in \nthe catalogue today. \nBiographies\n301\nAbout shedding light\nPatricia Urquiola \nSpanish by birth but then naturalised Italian, she lives and \nworks in Milan. She studied architecture at Madrid \nPolytechnic and Politecnico di Milano, where she \ngraduated with Achille Castiglioni. Her projects range from \narchitecture, especially interiors, to art direction with \nsome of the most important design brands. Some of her \nprojects are exhibited in several museums and collections. \nTogether with Eliana Gerotto she designed the iconic \nCaboche family of lamps and the Bague table lamp.\nFrench designer, her creations combine softness and \nprecision of lines in the encounter between poetry and \nindustry. In her symbolic and formal universe, every \nproject is part of a communal whole. The success of \nthe Binic lamp, which was followed by Doll and \nChouchin, drew attention to her work. She in fact \ndesigned the lamps installed on French high-speed \ntrains. In 2023, she was commissioned to create chairs \nfor the reopening of Notre-Dame Cathedral in Paris.\nIonna Vautrin \nJames Wines\nThe founder of SITE, a group of architecture, environmen-\ntal art and design founded in 1970 in New York. The focus \nof his work is the fusion of art, architecture and landscape \nin the surrounding context. After being a Professor of \nArchitecture at Penn State University, he continues to \nwrite and lecture at the international level on integrative \nthinking and environmental issues. The history of the \ncollaboration between Foscarini and James Wines spans \nalmost thirty years, starting with Table Light \u002F Wall Light \nthrough to the Light Bulb collection in a limited series.\nDesigners A—Z\n301\nBague, Caboche\nBinic, Doll, Chouchin\nLight Bulb\nFoscarini\nAn architect and one of the most famous contemporary \ninterior designers for the contract world, he was born in \nRomania and raised in Israel. After graduating from \nPolitecnico di Milano and completing a series of apprentice-\nships in Europe, he moved to New York. Here, he opened his \nown multi-disciplinary studio, dabbling in every fi eld of design, \nfrom the design of interiors for commercial and residential \nspaces to furniture production, graphics and outfi tting. \nIn 1985 he designed the Wassily off the Wall collection \nwith Joseph Mancini.\nAdam D. Tihany \nPio and Tito Toso \nThe Toso brothers are both architects and work in the \nfi eld of public and private architecture, and industrial \ndesign, collaborating in particular with furniture \nmanufacturers. The studio’s activities include outfi tting \nprojects for trade fairs, shops and offi ces, and company \nvisual identities. They designed the Manta, Screen and \nEasy glass wall lamps.\nCarlo Urbinati and Alessandro Vecchiato  \nThey joined the company as internal designers, and \nremained almost its sole designers for ten years, \ncreating more than twenty collections. They started \nexperimenting with the combination of glass with metal \nand halogen light, conceiving lamps such as: Clessidra \nand Graphos, Refl oz and Rolli, Kigo and Pivot, Lift and \nPlana, Luis and Samarcanda, Tandem and Luna, \nMonolite and Skeet, Shape, Folio. The latter is still in \nthe catalogue today. \nBiographies\n301\nAbout shedding light\nPatricia Urquiola \nSpanish by birth but then naturalised Italian, she lives and \nworks in Milan. She studied architecture at Madrid \nPolytechnic and Politecnico di Milano, where she \ngraduated with Achille Castiglioni. Her projects range from \narchitecture, especially interiors, to art direction with \nsome of the most important design brands. Some of her \nprojects are exhibited in several museums and collections. \nTogether with Eliana Gerotto she designed the iconic \nCaboche family of lamps and the Bague table lamp.\nFrench designer, her creations combine softness and \nprecision of lines in the encounter between poetry and \nindustry. In her symbolic and formal universe, every \nproject is part of a communal whole. The success of \nthe Binic lamp, which was followed by Doll and \nChouchin, drew attention to her work. She in fact \ndesigned the lamps installed on French high-speed \ntrains. In 2023, she was commissioned to create chairs \nfor the reopening of Notre-Dame Cathedral in Paris.\nIonna Vautrin \nJames Wines\nThe founder of SITE, a group of architecture, environmen-\ntal art and design founded in 1970 in New York. The focus \nof his work is the fusion of art, architecture and landscape \nin the surrounding context. After being a Professor of \nArchitecture at Penn State University, he continues to \nwrite and lecture at the international level on integrative \nthinking and environmental issues. The history of the \ncollaboration between Foscarini and James Wines spans \nalmost thirty years, starting with Table Light \u002F Wall Light \nthrough to the Light Bulb collection in a limited series.\nDesigners A—Z\n",152,{"image":621,"text":622,"number":623},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.153.png","Flap, Tua, Caiigo\nFoscarini\nMarco Zito  \nAn architect who graduated in Venice with Vittorio Gregotti, \nhe teaches Industrial Design at Iuav University in Venice. \nHis design research addresses the possibility of dealing \nwith different issues, technologies and types of products. \nHis studio, based in Venice, pursues product design, \ninstallations and architecture. He designed the Flap group \nof metal lamps, the small Tua table lamp and the Caiigo \nsuspension lamp.\nBiographies\n303\nAbout shedding light\nAnalytical index\nA\nAlbouy Guillaume 155\nAllegretto 229\nAllegro 203, 229\nAnastasio Andrea 67, 97, 99\nAnderssen&Voll 59\nAnni Luce 181\nAplomb 117, 139\nAretha 217\nAtelier oï 203, 229\nB\nBague 19\nBahia 59, 207, 223\nBig Bang 203, 225\nBinic 59, 83\nBlob 19\nBoontje Tord 207\nBuds 91\nC\nCaboche 19, 51, 55, 71\nChiaroscura 67, 103, 241\nCibic Aldo 19\nClessidra 9\nCocò 19\nCompasso d’Oro 19, 43, \n83, 129, 159, 167, 191\nCroatto Artemio 19, 167, \n197\nCumini Cinzia 149\nD\nDi vaso in ﬁ ore. Inventario \ntra natura e design 181\nDiesel 59\nDixon Tom 17\nDolmen 217\nDordoni Rodolfo, 15, 23, \n46, 91\nE\nEuroluce 30, 117, 191, 195, \n198, 199\nF\nFare Luce 171, 185\nFare Lume. Candele tra \narte e design 181\nFiber Evolution 43, 203\nFilo 67, 97\nFolio 11, 46\nForakis Jozeph 17, 35\nFranzolini Enrico 203, 225\nG\nGarcia Jimenez Vicente \n59, 149, 191, 203, 225\nGardone Massimo 19, 167, \n185\nGargioni Eugenio 155\nGeograﬁ e. Tra arte e \ndesign 181\nGerotto Eliana 19, 51, 71\nGioia 97\nGraphos 9\nGregg 77\nH\nHavana 17, 35, 46\nI\nIacchetti Giulio 59\nInﬁ nity 191\nIntorno al libro. Tra arte \ne design 181\nInventario 167, 177, 181\nJ\nJamaica 117\nK\nKite 43\nKoz Defne 17\nKurage 117, 145\nL\nLa casa morbida 181\nLagranja design 125\nLampa d’arte 11\nLampoon 19\nLaviani Ferruccio 17, 29, \n46, 197, 198, 199, 217\nLe Soleil 59\nLevanti Giovanni 17\nLight Bulb 67, 185\nLightweight 17\nLissoni Piero 17\nLite 43, 203\nLucidi Pevere 117, 139, 233\nLumiere 15, 23, 25, 115\nLux 167\nM\nMadre 99\nMaestrie 111, 162, 171, 185\nMaurer Ingo 47, 241, 245\nMeda Alberto 67, 103, 241\nMeda Francesco 67, 103, \n241\nMite 19, 41, 115, 203\nMoMa 19, 36\nMyFoscarini 55\nN\nNendo 117, 145\nNichetto Luca 19, 59, 87, \n117, 145\nNigro Philippe 59\nNile 92\nNuage 59\nNuée 117\nO\nOrbital 17, 29, 46\nP\nPalomba Roberto e \nLudovica Serafi ni 17, 77\nPlana 11, 46\nPlass 59, 87\nPlena 121, 155\nQ\nQuasi segreti. Cassetti tra \narte e design 181\nQuitllet Eugeni 159\nR\nRashid Karim  19\nReverse room 185\nRitratti 171\nS\nSadler Marc 19, 41, 46, 51, \n129\nSalone del Mobile 191\nSantachiara Denis 19\nSatellight 121, 159\nSato Oki 117, 145\nSee You 55\nSpazio Brera 185, 191, 198, \n199\nSpazio Monforte 195\nSpazio Soho 191\nSpokes 121, 149\nSun-Light of Love 207\nSupernova 207\nSuperstudio 191\nT\nTeorema 207, 217\nTihany Adam D. 11\nTite 19, 43, 115, 203\nTobia 220\nTress 115, 130, 131, 191\nTropico 55\nTuareg 207, 217\nTwiggy 51, 55, 115, 129, \n203\nU\nUptown 207, 220\nUrbinati Carlo 9, 11, 15, 45, \n47, 55, 65, 111, 121, 171, \n197, 199, 213, 241, 245\nUrquiola Patricia 19, 51, 71\nUto 115, 125\nV\nVassallo Gianluca 30, 47, \n167, 171, 185, 195\nVautrin Ionna 59, 83\nVecchiato Alessandro 9, \n15, 45, 55, 61\nVite 47, 171\nW\nWassily off the Wall  11, 46, \n67\nWhat’s in a lamp?  177\nWines James 67, 185, 199\nZ\nMarco Zito 302\n303\nFoscarini\nMarco Zito  \nAn architect who graduated in Venice with Vittorio Gregotti, \nhe teaches Industrial Design at Iuav University in Venice. \nHis design research addresses the possibility of dealing \nwith different issues, technologies and types of products. \nHis studio, based in Venice, pursues product design, \ninstallations and architecture. He designed the Flap group \nof metal lamps, the small Tua table lamp and the Caiigo \nsuspension lamp.\nBiographies\n303\nAbout shedding light\nAnalytical index\nA\nAlbouy Guillaume 155\nAllegretto 229\nAllegro 203, 229\nAnastasio Andrea 67, 97, 99\nAnderssen&Voll 59\nAnni Luce 181\nAplomb 117, 139\nAretha 217\nAtelier oï 203, 229\nB\nBague 19\nBahia 59, 207, 223\nBig Bang 203, 225\nBinic 59, 83\nBlob 19\nBoontje Tord 207\nBuds 91\nC\nCaboche 19, 51, 55, 71\nChiaroscura 67, 103, 241\nCibic Aldo 19\nClessidra 9\nCocò 19\nCompasso d’Oro 19, 43, \n83, 129, 159, 167, 191\nCroatto Artemio 19, 167, \n197\nCumini Cinzia 149\nD\nDi vaso in ﬁ ore. Inventario \ntra natura e design 181\nDiesel 59\nDixon Tom 17\nDolmen 217\nDordoni Rodolfo, 15, 23, \n46, 91\nE\nEuroluce 30, 117, 191, 195, \n198, 199\nF\nFare Luce 171, 185\nFare Lume. Candele tra \narte e design 181\nFiber Evolution 43, 203\nFilo 67, 97\nFolio 11, 46\nForakis Jozeph 17, 35\nFranzolini Enrico 203, 225\nG\nGarcia Jimenez Vicente \n59, 149, 191, 203, 225\nGardone Massimo 19, 167, \n185\nGargioni Eugenio 155\nGeograﬁ e. Tra arte e \ndesign 181\nGerotto Eliana 19, 51, 71\nGioia 97\nGraphos 9\nGregg 77\nH\nHavana 17, 35, 46\nI\nIacchetti Giulio 59\nInﬁ nity 191\nIntorno al libro. Tra arte \ne design 181\nInventario 167, 177, 181\nJ\nJamaica 117\nK\nKite 43\nKoz Defne 17\nKurage 117, 145\nL\nLa casa morbida 181\nLagranja design 125\nLampa d’arte 11\nLampoon 19\nLaviani Ferruccio 17, 29, \n46, 197, 198, 199, 217\nLe Soleil 59\nLevanti Giovanni 17\nLight Bulb 67, 185\nLightweight 17\nLissoni Piero 17\nLite 43, 203\nLucidi Pevere 117, 139, 233\nLumiere 15, 23, 25, 115\nLux 167\nM\nMadre 99\nMaestrie 111, 162, 171, 185\nMaurer Ingo 47, 241, 245\nMeda Alberto 67, 103, 241\nMeda Francesco 67, 103, \n241\nMite 19, 41, 115, 203\nMoMa 19, 36\nMyFoscarini 55\nN\nNendo 117, 145\nNichetto Luca 19, 59, 87, \n117, 145\nNigro Philippe 59\nNile 92\nNuage 59\nNuée 117\nO\nOrbital 17, 29, 46\nP\nPalomba Roberto e \nLudovica Serafi ni 17, 77\nPlana 11, 46\nPlass 59, 87\nPlena 121, 155\nQ\nQuasi segreti. Cassetti tra \narte e design 181\nQuitllet Eugeni 159\nR\nRashid Karim  19\nReverse room 185\nRitratti 171\nS\nSadler Marc 19, 41, 46, 51, \n129\nSalone del Mobile 191\nSantachiara Denis 19\nSatellight 121, 159\nSato Oki 117, 145\nSee You 55\nSpazio Brera 185, 191, 198, \n199\nSpazio Monforte 195\nSpazio Soho 191\nSpokes 121, 149\nSun-Light of Love 207\nSupernova 207\nSuperstudio 191\nT\nTeorema 207, 217\nTihany Adam D. 11\nTite 19, 43, 115, 203\nTobia 220\nTress 115, 130, 131, 191\nTropico 55\nTuareg 207, 217\nTwiggy 51, 55, 115, 129, \n203\nU\nUptown 207, 220\nUrbinati Carlo 9, 11, 15, 45, \n47, 55, 65, 111, 121, 171, \n197, 199, 213, 241, 245\nUrquiola Patricia 19, 51, 71\nUto 115, 125\nV\nVassallo Gianluca 30, 47, \n167, 171, 185, 195\nVautrin Ionna 59, 83\nVecchiato Alessandro 9, \n15, 45, 55, 61\nVite 47, 171\nW\nWassily off the Wall  11, 46, \n67\nWhat’s in a lamp?  177\nWines James 67, 185, 199\nZ\nMarco Zito 302\n",153,{"image":625,"text":626,"number":627},"\u002Fmedia\u002Fimages\u002Fec\u002F86c246f330d40b1aa509b33b069c6e-2854dab12e.154.png","Euro 35,00\n9\n791254\n931080\nSOME THINK \nIT’S JUST ABOUT \nSHEDDING LIGHT. \nA book edited by\nAlberto Bassi \nand Ali Filippini\nTexts by \nAlberto Bassi\n(Chap. 2, 3, 6)\nand Ali Filippini\n(Chap. 1, 4, 5 \nand product descriptions)\nGraphic Design \nArtemio Croatto\nArt Work\nErika Pittis \nDesignwork\nColour separation\nLuce Group, Udine\ncorrainiStudio\nPrinted in Italy by\nEsperia, Lavis (TN)\nMarch 2024\nThanks to all the authors, artists,\narchitects and designers who\ncontributed to the contents of this\nbook.\nSpecial thanks to Federica \nGiacchetto, Giovanna Rizzo, \nValeria Sartoretto, Matteo Urbinati.\nThanks to\nMassimo Gardone \u002FAzimut\nGianluca Vassallo \nwith Francesco Mannironi \n\u002FWhite Box studio\nFoscarini will be at complete \ndisposal to whom might be related \nto the unidentified iconographic \nsources printed in this book.\n© 2024\nby Corraini Edizioni\n© 2024\nby Foscarini for the texts,\ndrawings and images\nAll rights reserved by \nMaurizio Corraini Srl\nNo part of this book may be \nreproduced or transmitted in any \nform or by any means (electronic \nor mechanical, including \nphotocopying, recording or any \ninformation retrieval system) \nwithout permission in writing from \nthe publisher.\nMaurizio Corraini Srl\nVia Ippolito Nievo, 7\u002FA\n46100 Mantova\nT +39 0376 322753\nF +39 0376 365566\ninfo@corraini.com\nwww.corraini.com \nFoscarini SpA\nvia delle Industrie 27\n30020 Marcon \u002FVenezia \u002FItaly \nT +39 041 595 3811 \nfoscarini@foscarini.com\nFoscarini Spazio Monforte \nCorso Monforte 19\n20122 Milano \u002FItaly\nT +39 02 870 71320 \nspaziomonforte@foscarini.com\nFoscarini Inc \nFoscarini Spazio Soho \n20 Greene Street, New York\nNY 10013 \u002FUSA\nT +1 212 247 2218\nT +1 212 257 4412 Showroom \nfoscarini.inc@foscarini.com \nspaziosoho@foscarini.com\nFoscarini Japan 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