[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-pallucco-fortuny":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":77},{"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":72,"matched_pages":73,"match_count":74,"two_pages":75,"show_text":76},18564,"Fortuny","pallucco-fortuny","\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F01\u002Fab377b3eaacedb5e2ea8f940c2526e-28959c9aa8.pdf","Pallucco",391,"pallucco","5.3 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69],{"image":7,"text":15,"number":16},"fortuny\na n  i c o n i c  l a m p\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.2.png","Change is life, vision, strategy and crosses \nthe worlds in which Pallucco invests his design \nenergies: light and home. Pallucco, moving \naway from the dominant styles, has always \nexperimented with new solutions by searching \nfor shapes and objects with strong aesthetic \ncontents, drawing on different cultural sources \nand allowing himself to be contaminated by them. \n“It takes the eyes of a sailor to see the shore \nbeyond the horizon”... these are the eyes with \nwhich Pallucco has traveled the streets of design \nsince the 80s, identifying and choosing not what \nis simple fashion, but what representing the style \ntrend. A careful, cultured and non-conformist \napproach, which has allowed the company to \nestablish itself on the international scene since \nits foundation. Proof of this are the installations \nin the spaces of the Mattatoio in Milan (1987 ⁄ \n1988 ⁄ 1989) and the collaborations with Peter \nLindbergh and Rei Kawakubo. Rigor and urban \nminimalism are the cornerstones of Pallucco in \nthe 1990s under the artistic direction of Hannes \nWettstein, who designed one of his masterpieces \nfor the company, the Continua bookcase, bringing \nthe concept of technology to the forefront of the \ndesign world as new form beyond aesthetics. \nThe 2000s are dedicated to decoration. The \nartistic direction of Jurgen Bey shifts Pallucco’s \nattention to new forms and new formal languages. \nAt the same time, the group of designers who \nproduce and experiment with new solutions \nexpands, exploring the frontiers of contemporary \ndesign with the freedom of expression that is \nthe most authentic signature of the Pallucco \nstyle. Hannes Wettstein, Jean Nouvel, Tom \nDixon, Jaime Hayón, Christian Deuber, Sergio \nCalatroni, Denis Santachiara, Kazuhiro Yamanaka, \nEnrico Franzolini, Lagranja Design, Susanne \nPhilippson, Matalie Crasset, Constance Guisset, \nBrian Rasmussen, Luciano Bertoncini create \nexclusive pieces for Pallucco that they mark the \nstyle of a laboratory of ideas where the trends of \nmulticultural design are compared. The current \nproduction is a fusion of contemporary, historical \nand timeless objects. The Fortuny lamp by \nMariano Fortuny, the visionary masterpiece of the \nearly twentieth century, best represents its spirit. \nPallucco has a history with roots in a prestigious \npast that projects itself into a future of research \nand exploration.\nIl cambiamento è vita, visione, strategia e \nattraversa i mondi in cui Pallucco investe le \nsue energie progettuali: luce e casa. Pallucco, \nallontanandosi dagli stili dominanti, ha da sempre \nsperimentato nuove soluzioni ricercando forme \nparticolari ed oggetti dai forti contenuti estetici, \nattingendo a differenti fonti culturali e facendosi \ncontaminare da esse. “Ci vogliono gli occhi di un \nnavigante per vedere la riva oltre l’orizzonte...”, \nsono questi gli occhi con cui Pallucco percorre le \nvie del design sin dagli anni ‘80, identificando e \nscegliendo non quello che è semplice moda, ma \nquello che rappresenta la tendenza dello stile. \nUn approccio attento, colto e anticonformista, \nche ha permesso all’azienda di affermarsi nel \npanorama internazionale sin dalla sua fondazione. \nA testimoniarlo sono gli allestimenti negli spazi \ndel Mattatoio di Milano (1987 ⁄ 1988 ⁄ 1989) \ne le collaborazioni con Peter Lindbergh e Rei \nKawakubo. Il rigore e il minimalismo urbano sono \ni capisaldi di Pallucco negli anni Novanta con \nla direzione artistica di Hannes Wettstein, che \nper l’azienda disegna uno dei suoi masterpiece, \nla libreria Continua, portando alla ribalta del \nmondo del design il concetto di tecnologia \ncome nuova forma oltre l’estetica. Gli anni \nDuemila sono all’insegna della decorazione. La \ndirezione artistica di Jurgen Bey sposta l’asse \ndell’attenzione di Pallucco su nuove forme e \nnuovi linguaggi formali. Contemporaneamente \nsi allarga il gruppo di designer che producono \ne sperimentano nuove soluzioni, esplorando \nle frontiere del design contemporaneo con la \nlibertà espressiva che è la firma più autentica \ndello stile Pallucco. Hannes Wettstein, Jean \nNouvel, Tom Dixon, Jaime Hayón, Christian \nDeuber, Sergio Calatroni, Denis Santachiara, \nKazuhiro Yamanaka, Enrico Franzolini, Lagranja \nDesign, Susanne Philippson, Matalie Crasset, \nConstance Guisset, Brian Rasmussen, Luciano \nBertoncini creano per Pallucco pezzi esclusivi \nche segnano lo stile di un laboratorio di idee \ndove si confrontano le tendenze del design \nmulticulturale. L’attuale produzione è una fusione \ndi oggetti contemporanei, storici e senza tempo. \nLa lampada Fortuny di Mariano Fortuny, il \ncapolavoro visionario degli inizi del Novecento, ne \nrappresenta al meglio lo spirito. Pallucco ha una \nstoria con radici in un prestigioso passato che si \nproietta in un futuro di ricerca ed esplorazione.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.3.png","4\n5\nPallucco\nFortuny\nFortuny\nMariano Fortuny y Madrazo\n1907\nPh. Peter Lindbergh\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.4.png","6\n7\nPallucco\nFortuny\nFortuny Black\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.5.png","8\n9\nPallucco\nFortuny\nFortuny Silver\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.6.png","10\n11\nPallucco\nFortuny\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.7.png","12\n13\nPallucco\nFortuny\nFortuny Bronze\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.8.png","14\n15\nPallucco\nFortuny\nFortuny Bronze Titanium\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.9.png","16\n17\nPallucco\nFortuny\nStarting from an in-depth study of the universe \nlinked to the famous Mariano Fortuny, Pallucco \nembarks on an intense journey through art, \narchitecture and design, in search of the essence \nof what is still today the icon of lighting design \npar excellence: the lamp Fortuny.\n \nBrought back to its original dimensions, \nembellished with details linked to its historicity \nand at the same time optimized in its functioning \nthrough mechanical and technical improvements, \nthe new Fortuny presents itself and amazes, \nenchants, intrigues, invites to be handled, \ndiscovered for the umpteenth time, once again.\nRipartendo da uno studio approfondito \ndell’universo legato al celebre Mariano Fortuny, la \nPallucco intraprende un viaggio intenso tra arte, \narchitettura e design, alla ricerca dell’essenza di \nquella che ancora oggi è per eccellenza l’icona \ndel design di illuminazione: la lampada Fortuny. \nRiportata alle dimensioni originali, impreziosita \ndi dettagli legati alla sua storicità e allo stesso \ntempo ottimizzata nel suo funzionamento \nattraverso delle migliorie meccaniche e tecniche, \nla Fortuny si presenta e stupisce, incanta, \nincuriosisce, invita ad essere maneggiata, \nscoperta per l’ennesima volta, una volta ancora.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.10.png","18\n19\nPallucco\nFortuny\nFortuny Kieffer Rubelli\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.11.png","20\n21\nPallucco\nFortuny\nFortuny Blanca\nFortuny Moda\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.12.png","22\n23\nPallucco\nFortuny\nDesigned for the first time in 1907 by Mariano \nFortuny, the Fortuny lamp is still considered a \ncontemporary and timeless icon. The knowledge \nand talent of the eclectic artist gave shape to \nthe project with which he revolutionized stage \nlighting, experimenting with a new indirect light \nsystem for the stage. \nThe base was suggested by the camera tripod, \nwith the adjustable central leg, while, for \nthe lampshade, Fortuny reversed the typical \nlampshades of the time, making them tiltable and \nthus creating a tool for directing the light.\nIn the history of design there are very few \nprojects like the Fortuny lamp, capable of always \nlending itself to new interpretations, maintaining \nan unmistakable personality over time.\n \nA\nB\n800\n730\n790\n700\nMin 1700 – Max 2250\nMin 1900 – Max 2450\nØ 800\nØ 650\nProduct\nFortuny Black\nFortuny Moda\nFortuny Blanca\nFortuny Kieffer Rubelli\nFortuny Bronze \nFortuny Silver \nFortuny Bronze Titanium\nFortuny Petite Black\nFortuny Petite Moda\nFortuny Petite Blanca\nFortuny Petite Kieffer Rubelli\nFortuny Petite Bronze \nFortuny Petite Silver \nFortuny Petite Bronze Titanium\n \nA\nB\nType\nFloor\nFloor\nLight bulbs\n• 1 Led 27 W\n• 1 Led 27 W\n• 1 Led 27 W\n• 1 Led 27 W\nSocket\nE40\u002FE39\nE40\u002FE39\nE27\u002FE26\nE27\u002FE26\nE40\u002FE39\nE40\u002FE39\nE27\u002FE26\nE27\u002FE26\nDimmer\n•\n•\n•\n•\n•\n•\n•\n•\nLumen\n—\n—\n4000\n4000\n—\n—\n4000\n4000\nK\n—\n—\n3000\n3000\n—\n—\n3000\n3000\nSilver \nBronze \nKieffer Rubelli \nModa\nBlanca\nBlack\nBronze Titanium\nFortuny\nwww.pallucco.com\ninfo@pallucco.com\n2\nProduit\nTypologie\nAmpoules\nAttaque\nLamp de sol\nLamp de sol\nStructure \u002F Frame \nDiffuseur \u002F Diffuser\nNoir ⁄ Black\nNoir ⁄ Black\nNoir ⁄ Black\nTitanium\nTitanium\nBlanc ⁄ White\nNoir ⁄ Black\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\nExtérieur coton \nnoir, intérieur \ncoton blanc \u002F \nBlack cotton \nexterior, white \ncotton interior  \nExtérieur coton \nbeige, intérieur \ncoton blanc \u002F \nBeige cotton \nexterior, white \ncotton interior  \nExtérieur coton \nblanc, intérieur \ncoton blanc \u002F \nWhite cotton \nexterior, white \ncotton interior  \nExtérieur taffetas \nplissé noir, \nintérieur lin \nmétallisé or \u002F \nBlack taffetas \nplissé exterior, \ngold metallic linen \ninterior    \nExtérieur noir semi- \nbrillant façon \n“Raffia”, intérieur \nlin métallisé bronze \n\u002F Semi gloss black \n“Raffia Style”\nexterior, bronze \nmetallic linen interior\nExtérieur noir \nsemi-brillant façon \n“Raffia”, intérieur \nlin métallisé argent \n\u002F Semi gloss black \n“Raffia Style” \nexterior, silver \nmetallic linen \ninterior\nExtérieur crème- \nivoire semi- \nbrillante façon \n“Raffia”, intérieur \nlin métallisé \nbronze \u002F Semi \ngloss cream-ivory \n“Raffia Style” \nexterior, bronze \nmetallic linen interior \n \nA\nB\n800\n730\n790\n700\nMin 1700 – Max 2250\nMin 1900 – Max 2450\nØ 800\nØ 650\nProduct\nFortuny Black\nFortuny Moda\nFortuny Blanca\nFortuny Kieffer Rubelli\nFortuny Bronze \nFortuny Silver \nFortuny Bronze Titanium\nFortuny Petite Black\nFortuny Petite Moda\nFortuny Petite Blanca\nFortuny Petite Kieffer Rubelli\nFortuny Petite Bronze \nFortuny Petite Silver \nFortuny Petite Bronze Titanium\n \nA\nB\nType\nFloor\nFloor\nLight bulbs\n• 1 Led 27 W\n• 1 Led 27 W\n• 1 Led 27 W\n• 1 Led 27 W\nSocket\nE40\u002FE39\nE40\u002FE39\nE27\u002FE26\nE27\u002FE26\nE40\u002FE39\nE40\u002FE39\nE27\u002FE26\nE27\u002FE26\nDimmer\n•\n•\n•\n•\n•\n•\n•\n•\nLumen\n—\n—\n4000\n4000\n—\n—\n4000\n4000\nK\n—\n—\n3000\n3000\n—\n—\n3000\n3000\nSilver \nBronze \nKieffer Rubelli \nModa\nBlanca\nBlack\nBronze Titanium\nFortuny\nwww.pallucco.com\ninfo@pallucco.com\n2\nProduit\nTypologie\nAmpoules\nAttaque\nLamp de sol\nLamp de sol\nStructure \u002F Frame \nDiffuseur \u002F Diffuser\nNoir ⁄ Black\nNoir ⁄ Black\nNoir ⁄ Black\nTitanium\nTitanium\nBlanc ⁄ White\nNoir ⁄ Black\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\n• 1 Incandescent 300 W\nExtérieur coton \nnoir, intérieur \ncoton blanc \u002F \nBlack cotton \nexterior, white \ncotton interior  \nExtérieur coton \nbeige, intérieur \ncoton blanc \u002F \nBeige cotton \nexterior, white \ncotton interior  \nExtérieur coton \nblanc, intérieur \ncoton blanc \u002F \nWhite cotton \nexterior, white \ncotton interior  \nExtérieur taffetas \nplissé noir, \nintérieur lin \nmétallisé or \u002F \nBlack taffetas \nplissé exterior, \ngold metallic linen \ninterior    \nExtérieur noir semi- \nbrillant façon \n“Raffia”, intérieur \nlin métallisé bronze \n\u002F Semi gloss black \n“Raffia Style”\nexterior, bronze \nmetallic linen interior\nExtérieur noir \nsemi-brillant façon \n“Raffia”, intérieur \nlin métallisé argent \n\u002F Semi gloss black \n“Raffia Style” \nexterior, silver \nmetallic linen \ninterior\nExtérieur crème- \nivoire semi- \nbrillante façon \n“Raffia”, intérieur \nlin métallisé \nbronze \u002F Semi \ngloss cream-ivory \n“Raffia Style” \nexterior, bronze \nmetallic linen interior \nIdeata per la prima volta nel 1907 da Mariano \nFortuny, la lampada Fortuny è tuttora considerata \nun’icona contemporanea e intramontabile. Le \nconoscenze e il talento dell’eclettico artista \ndiedero forma al progetto con cui rivoluzionò \nl’illuminazione scenica, andando a sperimentare \nun nuovo sistema di luce indiretta per il \npalcoscenico. \nA suggerirne la base fu il treppiede della \nmacchina fotografica, con la gamba centrale \nregolabile, mentre, per il paralume, Fortuny invertì \ni paralumi tipici dell’epoca rendendoli ribaltabili e \ncreando così uno strumento per orientare la luce.\nNella storia del design sono davvero pochi \ni progetti come la lampada Fortuny, capace \ndi prestarsi a interpretazioni sempre nuove, \nmantenendo un’inconfondibile personalità nel \ncorso del tempo. \n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.13.png","24\n25\nPallucco\nFortuny\nMariano Fortuny y Madrazo\nThe birth of a creative genius and the journey of a \nlifetime.\nA family of artists and collectors, an innate \ncuriosity and a humanist spirit dedicated to \nboth creative experimentation and scientific \nresearch, have contributed to defining the myth of \nLeonardo da Vinci of the twentieth century. With \nhis multitude of talents and interests, Mariano \nFortuny perfectly embodied the Wagnerian \nconcept of the total work of art, a doctrine \nunderlying all his inventions, which were unique \ncombinations of styles and influences drawn \nfrom the past or from distant cultures and places \nbut made with the most innovative technologies. \nFamous for his haute couture, known as a painter, \nprintmaker, photographer, set designer, creator \nof electric lamps, textiles and furniture, he was a \nrevolutionary in theater lighting.\nFrom 1901 to 1934 he filed more than 20 patents \nin Paris, including the design of the Delphos \ndress, which he attributed to his wife and muse \nHenriette Negrin, whom he met in the French \ncapital in 1902.\nVenice played a fundamental role in his artistic \nevolution: it was a cosmopolitan city, where \nWestern culture met Eastern culture, and \ntherefore the perfect homeland for a man who \nhad experimented with art and travel since \nchildhood. In Venice, Mariano Fortuny and \nHenriette established their atelier, a laboratory \nlocated on the top floor of Palazzo Pesaro degli \nOrfei - later transformed into a museum - in which \nsome of the most extraordinary testimonies \nof twentieth-century fashion and design took \nshape, including the Dome, scenographic device \ncapable of generate an illusion of spatial depth, \nreplacing painted backdrops, and its indirect light \nsystem, patented in 1900. Their creations are \nan expression of a timeless style, so much that \nthey can be still used today thanks to the innate \nmodernity found also in the lamps designed by \nMariano, which continue to be chosen today by \ninternational architects and designers as precious \nfurnishing elements.\nMariano Fortuny and Henriette have bequeathed \nto Venice and the whole world an unparalleled \ncreative heritage, transmitting a conception of \nart as the ultimate purpose of life and a noble \nvocation, necessary to improve ourselves and \nenrich the reality that surrounds us.\nMariano Fortuny y Madrazo.\nLa nascita di un genio creativo e il viaggio di una \nvita.\nUna famiglia di artisti e collezionisti, una \ncuriosità innata e uno spirito umanista votati sia \nalla sperimentazione creativa che alla ricerca \nscientifica, hanno contribuito a definire il mito \ndel Leonardo da Vinci del ventesimo secolo. \nCon la sua moltitudine di talenti e interessi, \nMariano Fortuny incarnava perfettamente il \nwagneriano concetto di opera d’arte totale, \ndottrina alla base di tutte le sue invenzioni, che \nerano combinazioni uniche di stili e influenze \nattinti dal passato o da culture e luoghi lontani, \nma realizzati con le tecnologie più innovative. \nFamoso per i suoi capi di alta moda, conosciuto \ncome pittore, incisore, fotografo, scenografo, \ncreatore di lampade elettriche, tessuti e arredi, \nfu un rivoluzionario dell’illuminazione del teatro. \nDal 1901 al 1934 depositò a Parigi più di 20 \nbrevetti, tra cui il disegno dell’abito Delphos, da \nlui attribuito alla moglie e musa Henriette Negrin, \nconosciuta nella capitale francese nel 1902. \nVenezia giocò un ruolo fondamentale nella sua \nevoluzione artistica: era una città cosmopolita, \ndove la cultura occidentale incontrava quella \norientale, e quindi la patria perfetta per un uomo \nche fin dall’infanzia aveva sperimentato l’arte e \ni viaggi. Proprio a Venezia, Mariano Fortuny e \nHenriette stabilirono il loro atelier, un laboratorio \nsituato all’ultimo piano di Palazzo Pesaro degli \nOrfei - poi trasformato in museo - in cui presero \nforma alcune delle più straordinarie testimonianze \ndella moda e del design del Novecento, tra cui \nla Cupola, dispositivo scenografico capace di \ngenerare un’illusione di profondità spaziale, in \nsostituzione dei fondali dipinti, e il suo sistema \ndi luce indiretta, brevettato nel 1900. Le loro \ncreazioni sono espressione di uno stile senza \ntempo, così tanto da poter essere utilizzate anche \noggi, grazie all’innata modernità che si ritrova \nanche nelle lampade disegnate da Mariano, \nche sono tuttora scelte da architetti e designer \ninternazionali come preziosi elementi d’arredo. \nMariano Fortuny e Henriette hanno lasciato in \neredità a Venezia e a tutto il mondo un patrimonio \ncreativo senza pari, trasmettendo una concezione \ndell’arte come scopo ultimo della vita e una nobile \nvocazione, necessaria per migliorarsi e arricchire \nla realtà che ci circonda.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F84\u002Ff716ff94b609b9ecf7ac292731dae0-28959d8519.14.png","Pallucco reserves the right \nto introduce any changes to \nits own models without prior \nnotice. The finishes of the \nproducts may differ slightly \nfrom the catalogue.\nPallucco srl\nSede legale\n⁄ Registered office\nSan Marco, 2426\n30124 Venezia, Italy\nP. iva ⁄ Vat\n04244120277\ninfo@pallucco.com\nwww.pallucco.com\nSales Department Italia\nT +39 0422 43 86 00\nInternational\nSales Department\nT +39 0422 43 86 22\n \nMarketing\nT +39 0422 43 86 00\nPress Office\npress@pallucco.com\nPallucco si riserva il diritto \ndi apportare ai propri modelli \nqualsiasi modifica senza \nnessun preavviso.\nLe finiture presentate in \nquesto catalogo possono \ndifferire leggermente da \nquelle 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