[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-kundalini-kush-anniversary-10-years-2025":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":204},{"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":199,"matched_pages":200,"match_count":201,"two_pages":202,"show_text":203},21029,"Kush Anniversary 10 Years 2025","kundalini-kush-anniversary-10-years-2025","\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fe2\u002F56f67eecf16eacf743f5e970c5c9ff-28cd356461.pdf","Kundalini",131,"kundalini","25.3 MB",[14,17,21,25,29,32,36,40,44,47,51,55,59,63,67,71,75,79,83,87,91,95,99,103,107,111,115,119,123,127,131,135,138,142,146,150,154,158,162,166,170,174,178,182,186,190,194,197],{"image":7,"text":15,"number":16},"kushi \nanniversary\n—10 \nyears\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.3.png","For Kdln, light is poetry and \nbeauty, a refined simplicity, an energy that shapes interiors and en-\nhances their identity, making them welcoming, expressive, and har-\nmonious. The result of aesthetic research carried out together with \nrenowned international designers and emerging talents, in perfect bal-\nance between tradition and modernity, we transform creative insights \ninto ever-original projects, with a universal language that is accessible \nand immediately comprehensible.\nPer Kdln la luce è poesia e bellezza, \nè sofisticata semplicità, è energia che disegna gli interni e ne esalta l’identità rendendoli acco-\nglienti, espressivi e armoniosi. Frutto della ricerca estetica condotta assieme a designer inter-\nnazionali affermati e talenti emergenti, in equilibrio tra tradizione e modernità, trasformiamo \nle intuizioni in progetti sempre inediti dal linguaggio universale, accessibile e di immediata \ncomprensione.\nIT\nEN\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.4.png","Kushi 10th celebrates ten years of \nlight and harmony. A new table version, true to the essence that made \nit iconic, renews the dialogue between matter and light. Soft, essential, \nversatile. It’s the next chapter of a story that began ten years ago, when \na stem and a sphere met for the first time.\n\"We wanted to create something familiar, an object born from a simple \nand recognizable gesture. The idea of piercing a soft volume with a rigid \nelement is a spontaneous, almost instinctive action. The blown opaline \nglass diffuses a soft and welcoming light, while the metal structure in-\ntroduces a sharp visual contrast, giving the lamp a refined presence. This \nbalance between materials and forms has allowed Kushi to seamless-\nly adapt to different environments, from domestic to contract settings, \nwhile always maintaining its distinctive identity.\"\nAlberto Saggia & Valerio Sommella\nKushi 10th celebra dieci anni di luce e armonia. Una nuova versione da \ntavolo fedele all’essenza che l’ha resa iconica, rinnova il dialogo tra materia e luce. Morbida, \nessenziale, trasversale. È il prossimo capitolo di una storia iniziata dieci anni fa, quando uno \nstelo e una sfera si sono incontrati per la prima volta.\n“Volevamo creare qualcosa di familiare, un oggetto nato da un gesto \nsemplice e riconoscibile. L’idea di infilzare un volume morbido con un ele-\nmento rigido è un’azione spontanea, quasi istintiva. Il vetro opalino sof-\nfiato diffonde una luce morbida e accogliente, mentre la struttura in me-\ntallo introduce un contrasto visivo netto, conferendo alla lampada una \npresenza raffinata. Questo equilibrio tra materiali e forme ha permesso \na Kushi di adattarsi facilmente a diversi ambienti, dai contesti domestici \na quelli contract, mantenendo sempre la sua identità distintiva.”\nAlberto Saggia & Valerio Sommella\nIT\nEN\nkushi 10th\n",4,{"image":30,"text":19,"number":31},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.5.png",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.6.png","EN\nkushi anniversary\n10 years\nIts name, which means “skewer” \nin Japanese, reflects its essential design: a soft, luminous blown glass \nsphere pierced by a slender metal rod. A harmonious contrast, capable \nof engaging with space and creating intimate, evocative atmospheres. \nFor this milestone, a special project has been conceived: a collective \nvisual exploration that entrusts a group of photographers with the task \nof interpreting its essence, through their own artistic vision. VZNstudio \ncurated the selection of photographers and led the project, encouraging \ndiverse perspectives and an experimental approach.\n\"Kushi is not just a design object; it is a narrative element, a point of \nconnection between humans, space, and light. This relationship is at the \nheart of the photographic project ‘Reflections of Light,’ where each pho-\ntographer interprets the lamp through their own sensitivity, exploring \ndifferent layers of meaning and choosing the location and visual context \nthat best suit their storytelling. In every shot, Kushi becomes a medium \nfor expressing the eternal dialogue between light and matter, between \nform and space—a silent presence that transforms the perception of the \nsurrounding world.\" VZNstudio\nThe images in this collection are the result of a journey that bridges past \nand future, memory and vision. Each photographer has embraced a \nunique perspective, exploring the power of light in their own way. A tribute \nto Kushi, to its ability to inspire, and to the light that, for ten years, has \ncontinued to ignite new possibilities. \n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.7.png","Il suo nome, che in giapponese si-\ngnifica “spiedino”, richiama il suo design essenziale: una sfera di vetro soffiato, morbida \ne luminosa, attraversata da un sottile stelo metallico. Un contrasto armonioso, capace di \ndialogare con lo spazio e di creare atmosfere intime e suggestive. Un progetto speciale \nè stato commissionato per l’occasione: un’esplorazione visiva collettiva che affida a un \ngruppo di fotografi il compito di interpretarne l’essenza ognuno attraverso la propria \nvisione artistica. Lo studio VZNstudio ha curato la selezione dei fotografi e guidato il \nprogetto, stimolando visioni sempre diverse e un approccio sperimentale.\n“Kushi non è solo un oggetto di design, ma un elemento narrativo, un punto \ndi connessione tra l’uomo, lo spazio e la luce. Questa relazione è al centro \ndel progetto fotografico ‘Riflessioni di luce’, in cui ogni fotografo interpre-\nta la lampada attraverso la propria sensibilità, esplorando diversi livelli di \nlettura e scegliendo la location e il contesto visivo che meglio si adattano \nalla sua narrazione. In ogni scatto, Kushi diventa un mezzo per racconta-\nre il dialogo eterno tra luce e materia, tra forma e spazio: una presenza \nsilenziosa che trasforma la percezione del mondo circostante.” VZNstudio\nLe immagini che compongono questa raccolta sono il risultato di un viaggio che unisce \npassato e futuro, memoria e visione. Ogni fotografo ha scelto una prospettiva personale, \nesplorando a modo suo il potere della luce. Un omaggio a Kushi, alla sua capacità di ispirare \ne alla luce che da dieci anni continua ad accendere nuove possibilità.\nIT\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.8.png","MATTIA BALSAMINI\nCARMEN COLOMBO\nDAVIDE LOVATTI\nTHOMAS PAGANI\nOMAR SARTOR\nFRANCESCO STELITANO\n",8,{"image":45,"text":19,"number":46},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.9.png",9,{"image":48,"text":49,"number":50},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.10.png","fig .01\n8\n",10,{"image":52,"text":53,"number":54},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.11.png","kushi\nfig .02\n9\n",11,{"image":56,"text":57,"number":58},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.12.png","fig .03—04—05\n10\n",12,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.13.png","kushi\nfig .06—07\n11\n",13,{"image":64,"text":65,"number":66},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.14.png","fig .08\n12\n",14,{"image":68,"text":69,"number":70},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.15.png","kushi\nfig .09\n13\n",15,{"image":72,"text":73,"number":74},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.16.png","fig .10\n14\n",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.17.png","kushi\nfig .11\n15\n",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.18.png","fig .12\n16\n",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.19.png","kushi\nfig .13\n17\n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.20.png","fig .14\n18\n",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.21.png","kushi\nfig .15\n19\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.22.png","fig .16\n20\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.23.png","kushi\nfig .17\n21\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.24.png","fig .18—19—20\n22\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.25.png","kushi\nfig .21—22\n23\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.26.png","fig .23\n24\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.27.png","kushi\nfig .24\n25\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.28.png","26\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.29.png","kushi\nfig .25\n27\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.30.png","fig .26\n28\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.31.png","kushi\nfig .27\n29\n",31,{"image":136,"text":19,"number":137},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.32.png",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.33.png","kushi\nfig .28—29\n31\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.34.png","ikushi table\nThe round shape of the soft-feel \nglass diffuser. The strength of the \nmetal rod which runs through it.\nA new balance for a statement \nlamp. Even in the portable version, \nto take with you wherever you go, \nfrom the living room to the terrace, \nstudy or bedroom. \nLa rotondità del diffusore in vetro \ndelicato al tatto. Il rigore dell’asta \nin metallo che lo attraversa. Una \nnuova armonia per una lampada \ndi carattere. Anche nell’originale \nversione mobile, da portare sempre \ncon sé, dal living, alla terrazza, \ndallo studio, alla zona notte. \n32\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.35.png","Mattia Balsamini\nI have decided to continue exploring the theme that \nhas defined my research over the past five years: the relationship be-\ntween objects, people, places - in short, things - and darkness. This \nseries is an exploration of Kushi through a collection of experimental \nnegatives, the very opposite of light, created exclusively using the lamp \nitself, a reflective surface, and a secondary studio light source. What \nunexpectedly began to emerge, image after image, was an unforeseen \nreaction from Kushi - a tendency to appear, through this methodology, \nas a postmodernist graphic sign rather than just an object. I decided to \nembrace this direction and work almost entirely in a two-dimensional \nmanner, revealing its three-dimensionality only through a few images \nwhere its soft indentation can be observed. \nHo deciso di continuare ad esplorare il tema che con-\ntraddistingue la mia ricerca degli ultimi cinque anni, ovvero il rapporto di oggetti, persone, \nluoghi, insomma, delle cose – con l’oscurità. La serie è un’esplorazione di Kushi tramite una \nraccolta di negativi sperimentali, l’opposto della luce, prodotti esclusivamente attraverso \nla lampada stessa, una superficie riflettente e una seconda sorgente luminosa da studio. \nCiò che inaspettatamente è iniziato ad emergere, immagine dopo immagine, è stata una \nreazione inaspettata di Kushi, una tendenza ad apparire attraverso questa metodologia, \ncome un segno grafico post-modernista, ma appunto un segno grafico, non solamente un \noggetto. Ho deciso di assecondare questa direzione e lavorare in maniera quasi sempre \nbidimensionale, rivelandone la tridimensionalità solo attraverso poche immagini in cui si \npuò notare il morbido avvallamento.\nIT\nEN\nfig. 01i07\nMattia Balsamini (b. 1987) moved to Los Angeles in 2008, where he began his \nstudies at the Brooks Institute of California, specializing in advertising pho-\ntography. In 2010, he started working at David LaChapelle’s studio as a studio as-\nsistant and archivist. In 2011, after earning his degree with honors, he returned \nto Italy. Since then, he has been teaching photography at IUAV University of \nVenice while extensively photographing technology and its sociological impli-\ncations, focusing on work as a key factor in human identity. Over the years, he \nhas developed projects for institutions such as MIT, NASA, and the Institute of \nForensic Medicine at the University of Zurich. His work has been exhibited at \nthe Triennale di Milano, MAXXI, the Fondazione Sandretto Re Rebaudengo, \nand the Italian Cultural Institute in San Francisco. He has also created cam-\npaigns and editorials for international brands, prestigious magazines, and \nprominent institutions.\nMattia Balsamini (1987) si trasferisce a Los Angeles nel 2008, dove inizia i suoi stu-\ndi al Brooks Institute of California con specializzazione in fotografia pubblicitaria. \nNel 2010 inizia a lavorare presso lo studio di David LaChapelle come assistente di \nstudio e archivista. Nel 2011, dopo aver conseguito un dottorato con menzione d’o-\nnore, torna in Italia. Da allora insegna fotografia all’Università IUAV di Venezia oltre \na fotografare ampiamente la tecnologia e le sue implicazioni sociologiche, concen-\ntrando la sua attenzione sul lavoro come fattore di identità dell’uomo. Negli anni \nha realizzato progetti per istituzioni come il MIT, la NASA e l’Institute of Forensic \nMedicine University of Zurich. Ha esposto alla Triennale di Milano, al MAXXI, alla \nFondazione Sandretto Re Rebaudengo e all’Istituto Italiano di Cultura di San Fran-\ncisco e realizzato campagne ed editoriali per brand internazionali, riviste di presti-\ngio e istituzioni di rilievo.\n33\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.36.png","ikushi celling\nA play on opposites, unexpected \nequilibrium. Soft, natural curves \nfor the glass diffuser and a simple \nmetal line which passes through \nand completes it. A convergence \nof shapes which rest gently on walls \nand ceilings producing a soft, warm \nlight. When the beauty of design \nstems from the quest for simplicity.\nGioco di opposti, equilibri \ninaspettati. Curve morbide \ne naturali per il diffusore in vetro\ne una essenziale linea in metallo \nche lo attraversa e lo completa. \nIncontro di forme che si adagiano \ncon leggerezza su pareti e soffitti, \ncon un effetto di luce calda\ne diffusa. Quando la bellezza\ndel design nasce dalla ricerca\ndella semplicità.\n34\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.37.png","Carmen Colombo\nIT\nEN\nfig. 08i11\nCarmen Colombo is a photographer from Monza. In 2012, she graduated in \nPhotography and Visual Arts from the Istituto Europeo di Design. She lives in \nMilan, where she works as a freelance photographer. Alongside commercial \nwork, she pursues personal research projects, which have been exhibited in \ncollective shows at Jitterbug Gallery in Paris, Macro Museum in Rome, and Fo-\ncus Artphilein in Lugano. She has collaborated with various magazines and \npublications, including The New York Times, D della Repubblica, Financial \nTimes, and Monocle.\nCarmen Colombo è una fotografa di origini monzesi. Nel 2012 si è diplomata in \nFotografia e Arti Visive presso l’Istituto Europeo di Design. Vive a Milano dove \nlavora come fotografa freelance. Parallelamente a lavori commerciali, porta \navanti progetti di ricerca personali, esposti anche in alcune mostre collettive \npresso Jitterbug Gallery di Parigi, Macro Museo di Roma e Focus Artphilein di \nLugano. Ha collaborato con diversi Magazine e riviste, tra cui The New York \nTimes, D della Repubblica, Financial Times, Monocle.\nStudy of the Interaction Between the Human Figure \nand the Kushi Lamp in the Urban Context. In this photographic series, Kushi  \nbreaks free from its primary function as a source of light to become a \nnarrative object, an extension of the human body, a graphic sign within \nthe urban landscape. It ceases to be a simple point of illumination and \ntransforms into a physical, almost sculptural presence - held, carried, \nexposed. The visual exploration focuses on the relationship between \nthe object and the body, on the hands that grasp it, on the contact with \nskin and fabric. It is the material itself that emerges: the opaline glass \nabsorbs its surroundings, engaging with both hard and soft surfaces. \nThe absence of illumination is not a negation but a possibility. Stripped \nof its original function, Kushi becomes an element of connection, a point \nof relation between the human figure and the space around it. In this \nstate of suspension, its presence grows even more intense, inviting new \ninterpretations, new stories, new possibilities.\nStudio dell'interazione della figura umana con la lam-\npada Kushi nel contesto urbano. In questa serie fotografica, Kushi si libera della sua funzione \nprimaria di fonte luminosa per diventare un oggetto narrativo, un'estensione del corpo umano, \nun segno grafico nel paesaggio urbano. Smette di essere un semplice punto di luce e diventa  \nuna presenza fisica, quasi scultorea, trattenuta, trasportata, esposta. L’indagine visiva si con-\ncentra sul rapporto tra l’oggetto e il corpo, sulle mani che la stringono, sul contatto con la \npelle e il tessuto. È la materia a emergere: il vetro opalino assorbe l’ambiente, si confronta \ncon superfici dure e morbide. L’assenza di illuminazione non è una negazione, ma una possi-\nbilità. Kushi, privata della sua funzione originaria, diventa un elemento di relazione, un punto \ndi connessione tra l’uomo e lo spazio che lo circonda. In questo stato di sospensione, la sua \npresenza si fa ancora più intensa, suggerendo nuove letture, nuove storie, nuove possibilità.\n35\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.38.png","ikushi XL floor\nA long, metal rod pierces the \nsoft glass diffuser. The evocative \nintensity of the simplest and purest \nof shapes for an imposing lamp \nwith a sophisticated and discrete \npresence. \nUna lunga asta in metallo \nattraversa il morbido diffusore \nin vetro. L’intensità evocativa \ndelle forme più semplici e pure \nper una lampada dalle dimensioni \nimportanti e dalla presenza \nsofisticata e discreta. \n36\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.39.png","Thomas Pagani\n“SUMI” The images are the result of a reflection on light, \nthe object, and the inspiration drawn from the works of iconic Japanese \nphotographers such as Nobuyoshi Araki and Daidō Moriyama. Black and \nwhite are used to express a parallel between the pure, delicate form of \nKushi and the visual harshness of a monochromatic world. In this context, \nlight becomes an aggressive element, yet at the same time, it can be del-\nicate, creating nuances that add depth to the object itself, restoring an \nalmost tangible three-dimensionality. The lamp, as an object, represents \na kind of ideal elegance - a sober beauty that stands apart from any im-\nperfection - but here, it is exposed to a sort of visual \"harshness\" that \nreveals a hidden complexity. The light that illuminates it thus becomes \nnot only a symbol of purity but also of tension, an intensity that almost \nfeels palpable. This combination of elements serves as a way to explore \nthe duality of human experience: beauty is never separate from pain, and \npurity cannot exist without its distorted and contradictory counterpart.\n“SUMI” Le immagini sono il risultato di una riflessione \nsulla luce, l’oggetto e l’ispirazione di opere di fotografi giapponesi iconici come Nobuyoshi \nAraki e Daidō Moriyama. Il bianco e nero per esprimere un parallelismo tra la forma pura e \ndelicata di Kushi con la durezza visiva di un mondo monocromatico. La luce, in questo con-\ntesto, diventa un elemento aggressivo, ma allo stesso tempo può essere delicata, creando \nsfumature che aggiungono profondità all’oggetto stesso, restituendo una tridimensionalità \nquasi tangibile. La lampada, come oggetto, rappresenta una sorta di eleganza ideale, una \nbellezza sobria che si erge lontana da qualsiasi imperfezione, ma qui viene esposta a una \nsorta di “durezza” visiva che ne rivela una complessità nascosta. La luce che la illumina di-\nventa, quindi, non solo simbolo di purezza, ma anche di tensione, di un’intensità che si fa \nquasi palpabile. Questa combinazione di elementi diventa un modo per esplorare la dualità \ndell’esperienza umana: la bellezza non è mai separata dal dolore, la purezza non esiste senza \nuna sua versione distorta e contraddittoria.\nIT\nEN\nfig. 12i15\nHe has been working since 2009 as a freelance in interior, architecture and \ndesign photography, co-operating with major Italian and International agen-\ncies and companies, developing and producing most important catalogs and \npublishing into the best-known magazines of those markets. Ever since 2009 \nworking as a photoeditor for web-magazine Milano Città Aperta. He has also \nparticipated to important exhibitions with big players of Italian Photography \nand showing his collections in some of the most important local Art Galleries.\nDal 2009 lavora come freelance nel settore della fotografia di interni, archi-\ntettura e design, collaborando con le principali agenzie e aziende italiane e \ninternazionali, sviluppando e realizzando importanti cataloghi e pubblicando \nsulle riviste più rinomate di questi settori. Dal 2009 ricopre anche il ruolo di \nphoto editor per il web-magazine Milano Città Aperta. Ha inoltre partecipato \na importanti mostre insieme a grandi protagonisti della fotografia italiana ed \nesposto le sue collezioni in alcune delle più prestigiose gallerie d'arte locali.\n37\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.40.png","ikushi XL table\nA perfectly balanced contrast in \nshapes and materials. The clear-cut, \nunderstated metal rod pierces the \nsoft glass diffuser. Kushi, in the XL \nversion, amplifies the sensation \nof balance and purity.\nUn contrasto di forme e materiali \nperfettamente calibrato. L’ asta \nin metallo, netta e asciutta, \nattraversa il morbido diffusore \nin vetro. Kushi nella versione XL \namplifica le sensazioni di equilibrio \ne purezza. \n38\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.41.png","Davide Lovatti\nThis Polaroid composition explores the relationship \nbetween objects, light, and environment, capturing the essence of a lamp \nas a focal point. Each shot tells a different story where light interacts with \nshapes, textures, and shadows. The collection of these images evokes the \nsearch for a balance between function and aesthetics, transforming an \nordinary object into a poetic element. The use of the Polaroid medium \nand photographic techniques such as double exposure and over\u002Funder \nexposure allows for imperfections that bring forth a hidden and more \nintimate beauty.\nQuesta composizione di Polaroid esplora la rela-\nzione tra oggetti, luce e ambiente, catturando l’essenza di una lampada come punto focale. \nOgni scatto racconta una storia diversa dove la luce dialoga con forme, texture e ombre. \nL’insieme di queste immagini evoca la ricerca dell’equilibrio tra funzione ed estetica, tra-\nsformando un oggetto comune in un elemento poetico. L’utilizzo del medium Polaroid e \ndi tecniche fotografiche come doppie esposizione e sopra\u002Fsotto esposizioni permettono \nl’errore che avvicina ad una bellezza nascosta e più intima.\nIT\nEN\nfig. 16i22\nDavide Lovatti began his career as an interior and architectural photographer. \nIn recent years, alongside commissioned work, he has pursued a more experi-\nmental photographic research, resulting in artworks and installations exhibited \nin galleries in Milan, Rome, Venice, Berlin, and Lugano. Davide operates within a \nsubtle space between memory and contamination; his images move in multiple \ndirections, exploring materials, shapes, and objects—a mix of connections and \nrelationships between form, idea, and imperfection.\nDavide Lovatti nasce come fotografo di arredamento e interni; negli ultimi \nanni ai lavori commissionati ha affiancato anche una ricerca fotografica più \nsperimentale che ha prodotto opere ed installazioni esposte in gallerie d’arte \ndi Milano, Roma, Venezia, Berlino e Lugano. Davide lavora in una zona sottile \ntra memoria e contaminazione, la sua immagini si muovono in più direzioni in-\ndagando materiali, forme e oggetti, un mix di connessioni e relazioni tra forma, \nidea ed errore.\n39\n",41,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.42.png","ikushi suspension\nKushi, “skewer” in Japanese. \nAn abstract shape freely inspired \nby Japanese cuisine. A gently \nrounded glass shape pierced by \na thin metal rod. Its soft, warm \nlight floats gently in the space. \nIn the suspended version, it is \nan elegant invitation for dining \nin contract spaces and at home.\nKushi, “spiedino” in giapponese. \nForma astratta liberamente \nispirata alla cucina orientale. \nGeometria in vetro dolcemente \narrotondata trafitta da una sottile \nbacchetta in metallo. La sua luce \ncalda e soffusa galleggia leggera \nnello spazio. Nella versione \na sospensione, un invito elegante \nal convivio negli spazi contract \ne della casa.\n40\n",42,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.43.png","Do you not recall when you were on the boat? And \nthat night, as you lay there, gazing at the sky, the water you remem-\nbered was not so different from the landscape… You wondered: “Why is \nthe landscape moving while the boat remains still?” (DEAD MAN – Train \nFireman) Do you still remember that dark, unreal landscape where space \nand time lost their meaning? Only the pale glow shimmering in the rip-\nples of the water brought you back to a sense of time. Only the faint light \nyou glimpsed in the sky gave meaning to your wandering. The softness of \nKushi’s light evokes a dream where the entire landscape is revealed and \npainted by its glow.\nNon ti torna alla memoria di quando eri nella barca? \nE di quando quella notte eri disteso, lo sguardo rivolto al cielo, e l'acqua di cui ti ricordavi non \nera poi così diversa dal paesaggio... Tu ti chiedesti: \"Come mai il paesaggio si sta muovendo \nma la barca è ferma?\" (DEAD MAN - Macchinista del treno) Hai ancora ricordo di quell’oscu-\nro paesaggio irreale dove spazio e tempo perdono significato? Solo il bagliore pallido che \nscorgevi nelle increspature dell’acqua ti riportava ad un tempo. Solo il bagliore pallido che \nscorgevi nel cielo dava un senso al tuo vagare. La morbidezza della luce di kushi rimanda ad \nun sogno dove l’intero paesaggio viene da lei svelato e dipinto.\nOmar Sartor\nIT\nEN\nfig. 23i25\nOmar Sartor (Vittorio Veneto, 1981) studied at the National Academy of Cine-\nmatic Arts in Bologna. His photographic journey stems from the observation \nand study of both natural and human-made landscapes, their relationships, \nand the distinctive elements that define them—signs, colors, textures, shapes, \nmaterials, and more. These elements are often deconstructed and reassem-\nbled in his work, reconstructing a world of signs that characterize a place. His \nresearch has been exhibited at Galleria Tina Modotti (Naples), Oxford Gallery \n(London), Planar (Bari), Fotografia Europea (Reggio Emilia), Spazio Fantini \n(Milan), Galleria Imago (Arezzo), and Galleria Yoyogi (Tokyo).\nOmar Sartor (Vittorio Veneto, 1981) ha studiato presso l’Accademia nazionale arti \ncinematografiche di Bologna. Il suo percorso fotografico nasce dall’osservazione \ne studio del paesaggio naturale e antropico, le loro relazioni e gli elementi che li \ncontraddistinguono (segni, colori, textures, forme, materiali, ecc) elementi che \nspesso smembra e riassembla per ricostruire il mondo di segni che caratterizza un \nluogo. Il suo lavoro di ricerca è stato esposto presso, Galleria Tina Modotti (Napoli), \nOxford Gallery (Londra), Planar (Bari), Fotografia Europea (Reggio Emilia), Spazio \nFantini (Milano), Galleria Imago (Arezzo), Galleria Yoyogi (Tokyo).\n41\n",43,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.44.png","ikushi floor\nTravel, explore and get inspired. \nKushi, the traditional Japanese \nskewer, becomes an original floor \nlamp. Three slim rods and three \nglass diffusers are intertwined. \nElegant, welcoming atmospheres \nfor the contract world and home \ninteriors. \nViaggiare, scoprire e ispirarsi. \nKushi, il tradizionale spiedino \ngiapponese, diventa originale \nlampada da terra. Tre aste sottili\ne tre diffusori in vetro si intrecciano \nfra loro. Atmosfere eleganti \ne accoglienti per il contract \ne gli interni della casa.\n42\n",44,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.45.png","I have always been particularly fascinated by the \nlamp as an object - not so much for its design, but for its ability to create \na space, both physical, intimate, and psychological. This aspect is deep-\nly connected to my concept of photography: through the gaze, a photo-\ngraph can reveal the nature of a space, capturing both its physical pres-\nence and its more intimate essence.  In my project, I sought to convey \nthis idea by using the elements of photographic language to explore the \neffects a lamp creates within an environment.\nHo sempre avuto una particolare fascinazione per \nla lampada come oggetto, non tanto per il suo design, ma per la sua capacità di creare uno \nspazio, fisico, intimo e psicologico. Questo aspetto si lega profondamente alla mia conce-\nzione di fotografia: attraverso lo sguardo, una fotografia può far percepire la natura di uno \nspazio, nei suoi aspetti fisici e allo stesso tempo più intimi. Nel mio progetto ho ricercato, \nattraverso gli elementi del linguaggio fotografico, di restituire questa mia concezione sugli \neffetti che una lampada crea all' interno di un ambiente.\nFrancesco Stelitano\nIT\nEN\nfig. 26i29\nFrancesco Stelitano (Sarzana, 1982) is an Italian photographer based in Milan. \nHis curiosity and passion for photography have led him to undertake various \npersonal projects that explore contemporary dynamics, the nature of the photo-\ngraphic medium, and visual communication. These experiences have pushed him \nto reconsider the traditional division of photographic genres and to work with a \nwide range of subjects, from fashion to architecture and design. What Francesco \nvalues most in his photographic practice is a project-based approach that takes \ninto account all the tools available within the photographic language to visually \ntranslate the concepts and values behind the subjects he captures.\nFrancesco Stelitano (Sarzana 1982) è un fotografo italiano con base a Milano. \nLa curiosità e l’amore per la fotografia lo hanno portato a intraprendere diversi \nprogetti personali che esplorano le dinamiche contemporanee, la natura del \nmezzo fotografico e la comunicazione visiva. Queste esperienze lo hanno spin-\nto a riconsiderare la tradizionale suddivisione in generi fotografici e a lavorare \ncon una vasta gamma di soggetti, dalla moda all’architettura e al design. Ciò \nche Francesco valorizza nella sua pratica fotografica è un approccio progettua-\nle che tiene conto di tutti gli strumenti disponibili del linguaggio fotografico \nper tradurre visivamente i concetti e i valori alla base dei soggetti che ritrae.\n43\n",45,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002F2a\u002F3ed248be5559c14f83d5238e689a44-28cd364e98.46.png","CONCEPT & GRAPHIC PROJECT\nVZNstudio\nNicola Iannibello, Sonia Mion\nPHOTO KUSHI 10th (P.3)\nDavide Lovatti\nPrinted in Italy\nGrafiche Antiga, April 2025\nKdln is a registered trademark\nCopyright © 2025 Kdln Srl\nAll Rights Reserved. \nReproduction in whole or in part of texts and images\nwithout express written permission is prohibited.\nKdln Srl Viale L. da Vinci, 277\n20090 Trezzano sul Naviglio, Milano\nT. +39 0236538950 info@kdln.it\nRegistered office \nViale F. 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