[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-foscarini-twenty-years-of-lighting-design":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":404},{"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":399,"matched_pages":400,"match_count":401,"two_pages":402,"show_text":403},15374,"Twenty Years of Lighting Design","foscarini-twenty-years-of-lighting-design","\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fa1\u002F1ead90b9910ef9f69985006a5c1c51-2854bc05e0.pdf","Foscarini",90,"foscarini","16.2 MB",[14,17,21,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,232,236,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,371,375,379,383,387,390,394,397],{"image":7,"text":15,"number":16},"FOSCARINI\nı83\nı03\nTWENTY YEARS OF LIGHTING DESIGN\n8303\nTWENTY YEARS OF LIGHTING DESIGN 8303\nTWENTY YEARS OF LIGHTING DESIGN\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.2.png","",2,{"image":22,"text":19,"number":23},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.3.png",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.4.png","8303\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.5.png","8303\nTWENTY YEARS OF LIGHTING DESIGN\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.6.png","1983_03  \ntwenty “short” years in the life \nof a design company  alberto bassi\n1983_87\ndesigning glass lamps in murano\nlamps\nrefloz, plana\n1988_93\nthe design project and new materials\nlamps\nlumiere, orbital, havana\nideas\nmaterials and technology\n1994_99\nthe road to quality\nlamps\nlightweight, dolmen, dress\nideas\nquality and customer satisfaction\n2000_03\ndesign as innovation\nlamps\ncocò, mite, bague\nideas\ncommunication and photography\ndesigners\nproduct archive\nchronology\nbibliography\n012\n030\n040\n052\n062\n080\n092\n098\n116\n122\n130\n150\n160\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.7.png","1983_03\nTWENTY YEARS OF\nLIGHTING DESIGN\n010\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.8.png","TWENTY “SHORT” YEARS IN THE LIFE OF A DESIGN COMPANY \nAlberto Bassi\nTwenty years are certainly just a drop in the wide river of History; they can\nhowever represent a significant chronological milestone if they are considered\nin terms of a single experience, be it of an individual or a company. \nThe Foscarini lighting company, which presented its first complete collection\nof lamps in 1983, reaches an important milestone in time this year. \nTwenty years, especially when they reach the present and involve what is\ncontemporary, appear truly too little to make a definitive judgement, to give a\nreading and evaluation of the facts with the necessary historical and critical\nobjectivity; but they are sufficient to make order (at least one of the possible\norders) in the events, to narrate an itinerary, its protagonists, its turning\npoints and major decisions. It therefore appears natural to move through\nhistory and fact, where the value and significance of certain episodes and\nphases appear consolidated, secure, acknowledged; others identify the early\nnucleus of directions and perspectives. It appears just as obvious that the\npresent condition and its characteristics should orient the reconstruction, the\norganization of material which was originally quite diversified; orienting it at\ntimes towards a generally uniform and unitary understanding. But when\nspeaking of the past, be it distant or near (and looking to the future), it is\nimpossible to ignore the present1; it therefore becomes necessary to be\nselective and take a stand2.\nThis “brief” history would therefore like, first of all, to be a useful orientation\ntool. The reconstruction of these first twenty years in the life of Foscarini,\nunderstood as the progressive consolidation of a business culture oriented\ntowards design, offers different possibilities for interpretation: some of them\nsynchronic, the result of specific events, in particular four significant\ntemporal chapters in the history of the company; others are diachronic and\nidentified with the “ideas”, in the wider sense of strategic and global\ndecisions which progressively became both inspiration and elements of clear\nidentification.\nResearch and innovation, attention to the quality of the production process\nand the services offered, and naturally the “good project”, as Enzo Mari dryly\ndefines design3, have constituted precise and consistent elements of the\nFoscarini identity during these twenty years.\nThe origins in the twin context of the Murano glass industry \nand the culture of the design project\nFoscarini4 was founded in 1981 to produce lighting fixtures for the contract \n1 Renato De Fusco writes: “We choose to study\none event rather than another on the basis of\nthe interest we have for this event, be it\nrecent or remote. This criterion confirms the\ninterpretative nature of historiography; \nit proves that at the basis of the historic work\nlies the idea of responding to a current\npractical need”, in A.D’Auria and R. De Fusco,\nIl progetto del design, Etaslibri, Milan 1992,\np.81\n2 “To be a historian is to make a project,”\nstates Joseph Rykwert, “through the question\nwhich he asks his material - the past - the\nhistorian must build a story. There is no\nhistory which is not narration…the essence of\na story is selection” in Il progetto della storia,\nan interview with J.Rykwert by\nV.M.Lampugnani in “Domus”, 683, May 1987\n3 E.Mari, Progetto e passione, Bollati\nBoringhieri, Turin 2001, pp.14 essay\n4 The reconstruction of company events is\nbased on the consultation of material\nconserved in the Foscarini archives (products,\nprototypes, documents, catalogs,\ncommunication, press releases, etc.) and\nconversations held with Carlo Urbinati and\nAlessandro Vecchiato (July, August,\nSeptember, October 2003)\n013\nRefloz, Carlo Urbinati - Alessandro Vecchiato, 1983\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.9.png","Lumiere, Rodolfo Dordoni, 1990\n014\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.10.png","017\n5 There is ample literature concerning the\nproduction of Murano glass; less so regarding\nthe issues of the design project or dedicated\nto lighting. For a basic bibliography on these\nissues and more in general an overview of\nItalian light design, see A.Bassi, La luce\nitaliana. Il design delle lampade 1945-2000,\nElecta, Milan 2003, pp. 186-203\n6. This is one of the cruxes of the theory and\npractice of industrial design discussed by\nmany scholars; it remains a controversial\ncritical issue, in the face of the “liquidity”, \nto use the suggestive definition supplied by\nZygmunt Bauman (Z.Bauman, Modernità\nliquida, Laterza, Roma-Bari 2002) of the\nideological, technological and design situation\nof contemporary modernism\n7. Brief observations on this issue in A.Bassi,\nNon tutto il “disegnato” è design, in “Il Sole\n24 ore”, September 30 2001 and idem.\nArti applicate e design: dialogo e distinguo, \nin Nuovo Antico dalla materia all’artefatto,\nedited by F.C. Drago, Rome 2002, pp.37-38\nOrbital, Ferruccio Laviani, 1992\nsector: hotels, stores, offices and public spaces. On the Venetian island of\nMurano, in particular during the Seventies, a significant industry grew\nparallel to the traditional blown glass production, supplying custom contract\nwork for large architectural projects in prevalently emerging countries such as\nthe Arab countries. A production that was economically very profitable, but\nfrequently more significant in terms of quantity than design or manufacturing\nquality5. Unlike the majority of Murano manufacturers, Foscarini combined the\nuse of various blown glass techniques with a specific attention to the\ntechnical lighting characteristics. Glass, but conceived for lighting: a choice\nwhich carried precise implications for the design project, and was directed at\nbuilding a product-oriented culture, in the best tradition of Italian design. \nNot that there was a lack of manufacturers who produced quality lamps in\nblown glass, though this rarely constituted their main source of production,\nbut like Venini or Vistosi they were often distinguished by ancient tradition\nand obvious prestige, having long become accustomed to collaborating with\nimportant Italian and foreign designers.\nThis is not the place to develop an articulated essay on the relationship that\nItalian design maintained with the productive techniques of traditional craft\nindustries6.\nThe theories of industrial design have always correctly tended towards\nstandardized production, large quantities, mechanized standardization; but\nthe dialogue between the world of design and different techniques of\nexecution, hand-crafting, semi-handcrafting, and semi-mechanization, has\nnever diminished throughout history, leading to research, experimentation and\nstunning results. Similarly, in theory and in practice, there has been a\nconstant reduction over time in the central role of the series, the significantly\nlarge production quantity, in favor of the one-of-a-kind or limited edition\npiece. Italian design, and especially, and fortunately, its protagonists, has\nexpressed many different spirits and interests, including experimentation with\ndifferent production methods that are not industrial. If there is one distinction\nto be made, it concerns the need to separate designing and making,\notherwise we are speaking of crafts tout court: if a project exists, methods\nand production numbers do not always have to be considered major\nconstraints7.\nOver the course of the Twentieth century, blown glass has been one of the\nmost interesting “venues”, physically and culturally, for the dialogue between\na modern design conception and an ancient and almost entirely manual\nproduction technique. Sometimes, during the past century, significant\nencounters occurred between designers, glassblowers and manufacturers on\nMurano; in other cases the same glasshouses created significant products in\nterms of design. In several situations, attempts were made to redirect the\ntraditional production of Murano glass more consistently towards more\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.11.png","018\nLightweight, Tom Dixon, 1995\nindustrialized styles, not always with satisfactory results, and towards more\nup-to-date distribution, marketing and communication models: this occurred\nin many large glasshouses, light design companies, small manufacturers or\nself-production interests.\nThis was undoubtedly a quest for a more complex and articulated balance,\nfocused on the present without losing sight of history, that still appears as a\nnecessity today, to provide renewed vigor to a context and to glass\nmanufacturers who have become less vital over time.\nCompared to the majority of companies on Murano, Foscarini originated with a\nspecificity, a basic “weakness” resulting from a specific choice and revealing\nitself over time to be a fundamental resource. It does not in fact own its own\nfurnace, nor does it produce itself, but turns each time to more or less\nmechanized craftsmen, or to industry, creating all the necessary conditions to\nmake its own lamps. This practice of using suppliers divided by technology,\nmaterials and production has now become rather common in the era of the\ntertiary and market globalization8, but in the early Eighties it certainly was\nnot, especially for those who worked on Murano. This constraint-opportunity,\nconstituted by the condition of being a design firm “without a furnace”,\nfavored a mental approach which tended towards total flexibility and freedom,\nparticularly in the search for the most appropriate solution to a design\nproblem, followed by the identification of the most appropriate technological\nand manufacturing techniques and consequently the most suitable producer.\nA problem-solving methodology which over time proved functional to\nsustaining the research conducted with the designers into a variety of\nmaterials and techniques.\nStarting in 1982, Foscarini complemented its contract production, cautiously\nat first and later in an increasingly convinced and convincing manner, \nwith a standardized production. It initially served to integrate the company’s\nproduction and sales cycle during the moments of cyclical contraction and\ndilution of contract commissions; over time the catalog production grew\nincreasingly important until it completely replaced custom and made to order\nfurnishings, abandoned during the early Nineties.\nThe standard production was stimulated from the very beginning by Carlo\nUrbinati and Alessandro Vecchiato9, employees who later became the owners\nof the company, and personally took responsibility for the entire\nmanufacturing cycle: from the design, to the engineering, to the search for the\nglass manufacturers, to the visual communication and marketing strategy.\nThe first phase of production conjugated two directions: on one hand the\ntechniques for blowing Murano glass, on the other the attempt to make them\ndialogue with contemporary design culture. These were lamps which\ndedicated specific attention to the principles of lighting and made constant\nreference to the masters and the manufacturers of light design. Fixtures in\n8 On the transformation underway in the field\nof industrial design, and more generally in\nrelation to the economic, social, productive,\ntechnological changes and the consumer\nculture, there is abundant literature. Among\nothers, very different in their configuration\nand the direction of their analysis, the\nfollowing are useful for orientation:\nG. De Michelis, Aperto molteplice continuo,\nDunod, Milan 1998; F. Carmagnola and\nM.Ferraresi, Merci di culto. Ipermerce e società\nmediale, Castelvecchi, Rome 1999; G.Fabris, \nIl nuovo consumatore: verso il postmoderno,\nFranco Angeli, Milan 2003; V.Flusser, Filosofia\ndel design, Bruno Mondadori, Milan 2003\n9 Commercially sustained from the very\nbeginning by the successful and lasting\ncollaboration with Carlo Manfredi.\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.12.png","021\nBubble, Valerio Bottin, 2000\nblown glass that made light, for which they conceived original solutions that\noften challenged the glassblowers and forced them into directions which were\nnew to them. Lamps with clean and simple shapes, often distinguished by\nmovement or mechanical solutions, which used glass for the quality of the\nmaterial and its colors, attempting to go beyond a purely decorative\nconfiguration or surface treatment.\nFoscarini towards global quality:\ndesign, research and innovation, communication\nThe acquisition of the company by Urbinati and Vecchiato in 1988 led to a\ndecisive turnaround in the strategies and business policies, including the use\nof independent designers for product and communication, and the relentless\npursuit of an adequate production, distribution, commercial and service\nstructure.\nDuring these years, the company confirmed an organizational method based\non teamwork, where different capabilities concurred towards the definition,\ndiscussion and solution of strategic and operative problems10.\nThis led to the choice of Rudi von Wedel as a consultant for communication\nand design; through him Foscarini came into contact with architect Rodolfo\nDordoni, who would be their art director from 1988 to 1993, designing several\nhighly successful lamps, rethinking their visual communication with a new\nlogo and catalog, involving a series of young designers and expanding the\nselection of products. Interpreting the origins and character of Foscarini,\nDordoni worked on lamps which were inspired by the idea of “retrieving the\nforms of memory”11, reinterpreting traditional forms in a contemporary spirit,\nas in Lumiere or in the Buds suspension; they also accepted the arduous\nchallenge of redesigning the classic Murano glass chandelier, as in the Venice\nCollection by Patrice Butler and the suspensions by Marco Mencacci.\nDuring the Dordoni period, two new models appeared which, each in their own\nway, would open new horizons for design, as well as market and image:\nOrbital by Ferruccio Laviani and Havana by Jozeph Forakis.\nFor the first time, in Orbital, the company’s tradition of using blown glass was\nabandoned in favor of colored silk-screened glass in a composition with\npowerful visual and sculptural impact. The lamp-object by Laviani understood\nand tuned into the changes in the culture of design and consumers, seeking\nto overcome the rigid correspondence between form and function in search of\nnew sensorial, emotional and visual qualities12.\nEven more radically, Havana adopted polypropylene, which was certainly more\neconomical than glass but used in a product with superior formal and\nproduction qualities. This marked the beginning of research into other\ntechnologies and materials to complement blown or industrial glass, which\nwould lead in the following decade to acknowledged successes such as Mite\n10 We are not interested here in a reflection on\norganizational and managerial models of\ndesign companies; we might say however\nthat, compared to the traditional centralized,\nfamily-run and often “closed” structure of\nmany first-generation design companies,\nwhich are now experiencing difficulty in the\nchange of generations, Foscarini from the very\nbeginning built an interesting “open” and\nflexible structure around the owners\n11 A trend in contemporary design which Clino\nTrini Castelli defines as transitive design:\n“with this term, borrowed from the latin\ntransige – go beyond, go to the other side, \nwe designate those industrial products which\nconnect the past and the future with no\nnostalgic intention…as a sign of continuity in\nchange…the configuration is archetype, but\nthe emotional details are modern”\n(C.T.Castelli, Transitive design, Electa, Milan\n1999, pp.124, 136)\n12 Sociologist Giampaolo Fabris, referring to\nthe transformations of the market and\nconsumers, speaks of show-products, which\nfunction basically because of their ability to\ncommunicate and to make “something other”\ndesirable beyond their own performance and\nusage value: “the products turn into signs,\nsymbols, communication” (G.Fabris, op.cit.,\np.49)\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.13.png","022\nSupernova, Ferruccio Laviani, 2000\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.14.png","025\nMite, Marc Sadler, 2000\nby Marc Sadler, in woven glass fiber with carbon or kevlar® threads, awarded\nthe Compasso d’oro-ADI in 2001, the most prestigious recognition for\nproducts of Italian design.\nIn 1993 the collaboration between Dordoni and Foscarini came to an end; the\ncompany chose to expand its design horizons, contacting new designers and\nputting itself on the market with a more ample and diversified production.\nThe Nineties witnessed the international consolidation of minimalism13, to use\nan indicative but limited label. Seen from something of a distance, one may\nrecognize in the simple, essential and minimal lines that characterize a large\npart of the decade’s products, an answer and reaction above all to the visual,\nformal and chromatic excesses of the Alchimia-Memphis style of post-\nmodernism. A return to a correct design of forms and construction solutions\nbased on methods of industrial production, a more serene and reassuring\nlook, in a historical phase marked by profound modifications in the economic,\npolitical, social and cultural structures.\nThe search for a new identity in the second half of the decade led Foscarini to\ncollaborate with architects and designers such as Piero Lissoni, Ludovica\nSerafini and Roberto Palomba, Giovanni Levanti, Lievore Asociados and\nProspero Rasulo. The visual design was entrusted to Claudio Dell’Olio from\nBox2 in Milan, who chose Santi Caleca to photograph the lamps for the\ncatalog in furnished or domestic settings suggesting, in a strongly\ncommunicative manner, the usage and understanding of the physical and\ncultural characteristics of the products.\nOne of the more successful results of the period proved to be, for example, \nthe Dress lamp by Defne Koz, which used blown glass to confer a soft and\npersuasive line to the table lamp. Attention was also reserved to different\ndesign languages, as witnessed by the series of essential and angular\nchandeliers by Tom Dixon, one of England’s most interesting designers; or\nDolmen by Ferruccio Laviani which interpreted the return of the Sixties and\npop culture language; or again the attention towards the poetic and\nillusionistic work of Denis Santachiara, whose little Elfo was an invitation \nto a curious and interactive approach towards objects.\nDuring the Nineties, the quality of the company processes and the control of\nservice to the final consumer became a matter of specific interest. \nThe company obtained the ISO 9001 certification, attesting to the suitability\nof the overall configuration of internal operative processes. Increasing and\nspecific attention would also be dedicated to customer satisfaction, a central\nrequirement for the positive performance of a company on the market14.\nThe turn of the century had Foscarini involved in reinforcing its organization\nand production structure, perceiving the need to consolidate its brand name\non the market by expanding and defining the role of communication. Following\na phase of transition, in which it sought a dialogue and affinity with the world\n13 See F.Carmagnola and V.Pasca, \nMinimalismo etica delle forme e nuova\nsemplicità nel design, Lupetti, Milan 1996\n14 Concerning these issues see, among others,\nG.Fabris, op.cit., pp. 386-425\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.15.png","027\nO-space, Luca Nichetto - Gianpietro Gai, 2003\nof fashion and experimented original methods of communication, such as the\nfascinating “fashion show with lamps” held during the Furniture Fair in 2000,\nFoscarini identified a precise and confident strategy for its image and market\nposition. This was achieved thanks to sustained research in design,\nculminating with a number of interesting lighting fixtures and the use of an\narticulated range of communications tools, developed in collaboration with\nArtemio Croatto of the Designwork visual design studio in Udine.\nThe opening of this new phase was marked symbolically and operatively by\nthe new series of lamps Mite, Tite, Lite, Kite by Marc Sadler. They represent the\nresult of a research process lasting several years, and the relationship with\none of the most innovative contemporary industrial designers who works\nglobally and in different areas of the design field; in 2001 they won the\nCompasso d’oro-ADI award, receiving widespread acclaim by critics and the\nmedia, as well as the market. This was the culmination of an operative\ncompany methodology which encouraged the dialogue between research,\ninnovation and design: new materials, a clean and contemporary composition\nfor a warm, domestic and efficient light.\nThe lamps created over the past three years seem to fit naturally into the\nsame tendency, involving other designers and experimenting with different\nsolutions in production technology or in the choice or combination of avant-\ngarde materials, frequently derived or borrowed from more advanced fields.\nThis is true, for example, of the futuristic O-space in polyurethane by the\nyoung Luca Nichetto and Gianpietro Gai, or Blob, produced in rotomoulding by\nKarim Rashid, and Bague by Patricia Urquiola and Eliana Gerotto, who\ncombine the visual roughness of metal mesh with the tactile pleasure made\npossible by a special surface treatment. The search for design-visual-\nproductive qualities does not obviously forego the original passion for glass:\nin Lampoon, just like in the earlier Cocò, both by Aldo Cibic, the traditional\nglass-blowing technique is deliberately “forced” to adapt and measure itself\nagainst the contemporary language of design.\nFoscarini’s is therefore a “short” history, which leaves a solid heritage for the\npresent: several classics of Italian light design; a solid, specific business\nstructure, centered on the culture of the design project and the idea of\nindustrial design as a process of research and innovation. An excellent\nformula for the future.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.16.png","Bague, Patricia Urquiola - Eliana Gerotto, 2003\n028\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.17.png","1983_87 \nDESIGNING GLASS\nLAMPS IN MURANO\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.18.png","033\n1983_87 \nDESIGNING GLASS LAMPS IN MURANO\nThe history of Foscarini is marked by four significant moments, each\ncorresponding to a choice or decision which led to the progressive evolution\nof the company. Phase one coincides with its origins in the productive\ncontext of Murano, characterized by the intent to create a dialogue between\nthe traditional manufacturing capability in the field of blown glass and the\nculture of design.\nOn November 13 1983, in the company headquarters located at\nFondamenta Manin 1, on Murano, the first Foscarini catalog was presented,\nfeaturing the production of standardized lamps designed by Carlo Urbinati\nand Alessandro Vecchiato: an official debut at a meeting with the Italian\nrepresentatives and a German importer, the original nucleus of a marketing\nand distribution system.\nThe company had been founded two years earlier on Murano by Riccardo\nOlivieri – identified by a logo featuring an “F” inspired by the ferro on the\ntip of the Venetian gondola – to produce contract lighting for interiors,\nwinning conspicuous commissions prevalently from Arab countries. \nThe company had no production capability, and was organized essentially\naround a technical division for the development of projects, assigned to\noutside professionals for elaboration (often important design firms), and a\nnetwork of suppliers specialized in making the various components of\nlighting fixtures.\nUrbinati and Vecchiato were part of the technical division; they are not\noriginally from Murano, though Vecchiato was quite familiar with the glass\nindustry on the island thanks to his previous collaboration with Fratelli\nToso, and both had attended architecture school, respectively in Rome and\nin Venice. Their contribution to the company became better defined and\ngrew in time, due to their increasing participation in the projects within the\ntechnical division, improving the quality of the overall result, and\nsimultaneously rationalizing the work organization.\nA certain dissatisfaction regarding their exclusively technical contribution,\nand the search for economic continuity in time, led Urbinati and Vecchiato\nto suggest the production of standard lighting fixtures to complement the\ncontract work. The idea seemed to be of little interest to the original owner\nof Foscarini but the two went ahead with enthusiasm and passion. Looking\nat the possibility of moving into the Murano market, with an eye to\ncontemporary developments in lighting technology, particularly the new\nhalogen sources, in 1982 they designed two lamps, Graphos and Clessidra,\nFirst Foscarini headquarters\nMurano, Fondamenta Manin 1, 1983\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.19.png","035\nwhich were presented in September at the Euroluce in Milan. From that\nmoment on, with few exceptions, they would remain the sole designers for\nthe company until 1989. \nContrary to other manufacturers on Murano who sought to produce\n“beautiful glass” shown off by the light source, “ours, they maintain, was a\nlighting project associated with the use of glass”. Graphos originated in the\nchoice of a 150 watt screw-in halogen light source; the table or wall version\nwas constituted by a cone-shaped shade, blown into a mold and cut\ndiagonally, which fit into a transparent disc opened by hand, in turquoise\nglass – providing a more hand-crafted look – to diffuse a halo of light on\nthe table top and conceal the metal supporting structure. To avoid shadows\non the glass cast by the socket, the shape of the shade in the floor lamp\nfollowed its form, moving down into the stem. Originally produced for\nEuroluce in a series of ten, but remaining in production through 1995, it\nmade use of bright colors (white, pink and blue) for the outer surface of the\nglass, which remained cased in white on the inside to reflect the light, and\nto enhance the form alone. Graphos made clear the designers’ intention to\nassociate clean design with superior technical and manufacturing quality:\n“it was quite unusual on Murano to make ‘non-decorated’ glass of this\ntype, they say, because such simplicity demanded extreme precision in the\nfinish, and would look ‘insignificant’”.\nA debut generated by the necessity to find a specific language for the\ndesign of lamps in Murano glass, inspired by their familiarity with the work\nof the masters of Italian design, but at the same time constrained by a\nproductive specificity which, in light of contemporary research, was in dire\nneed of being revitalized.\nThe interest manifested during the Show in Milan and the beginning of\ntheir association with Carlo Manfredi, who has been marketing consultant\nfor the company ever since, led Urbinati and Vecchiato to persevere with\ntheir design work; the following year they completed their first catalog, and\nbegan to set up their distribution network. Characterized by a green cover\nusing a material which was interesting to the touch, and with a wing on the\nback cover which made it stick out when placed on a bookshelf, it was\nillustrated with images of lamps that were turned on and off.\nThree more styles were added to the original two: Refloz, Rolli and Indice.\nRolli was the most “Muranese” of the lamps designed by the two: it used\nlow voltage, projecting the effect of the glass on the wall to exploit the\ntypical technique of colored glass rods, and using the material in an\ninnovative manner as a filter, rather than a container. Refloz explored the\nrelationship between the halogen source and the material. The result was a\nsingular object where the technique and the finish of the glass – the upper\ndisk was opened by hand, the foot was blown in a mold and cut diagonally\nacross, from the top clockwise:\nFloppi 1984; Lift, 1985; Luna, 1986, \ndetail of the reflector mechanism and overall\nview; Graphos, 1982; all designed by Carlo\nUrbinati and Alessandro Vecchiato.\nfrom the top: \nRolli and Graphos; Carlo Urbinati\nand Alessandro Vecchiato, 1983 and 1982\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.20.png","037\n– increased the potential of the luminous flux which was diffused and\nreflected following the movement of the disk.\nFloppi, Plana and Pivot appeared in the catalog in 1984. The Floppi\nsuspension was the first Foscarini lamp to use unusually thick pressed\nglass made “almost” industrially on Murano (the manufacturer was a\ncompany which habitually made pressed glass bowls for dentists), studied\nto use a powerful linear halogen lamp at 360 degrees and to generate a\npleasing effect of refraction. Plana was the result of a two-year study on\nthe configuration of an appropriate lightweight mold for a diffuser with an\napparently simple shape, derived from a softly folded sheet of paper.\nThe opportunity to take advantage of every fixture to experiment with\nmanufacturing technologies and glass techniques with different lighting\nproperties, was an early confirmation of the advantages of the initial\ndecision not to create a manufacturing division or glass furnace within the\ncompany. A condition which was more of an intuition, initially, than a\ndeliberate choice, bred in a context where it was problematic to make\nconspicuous investments to build a productive structure within the\ncompany, and, in the end, unnecessary, given the available resources.\nIn 1985, the standard production reached a twenty-percent share of the\ncompany’s turnover and the first collection designed by independent\ndesigners was introduced. Adam D. Tihany and Joseph Mancini conceived\nWassily off the Wall, inspired by the painterly world of Kandinsky and the\nballet theatre of the Bauhaus, presented at the annual Euroluce.\nIlluminated objects rather than lamps, they in fact housed only 20 watt\nbulbs; they were table and wall lamps produced by composing solid forms\nin primary colors, held together by polished metal mountings. Expensive\nproducts which were well received in foreign markets, suitable for public\nand private spaces: they obtained their first significant success in press\ncoverage, and not only in trade magazines. The American architect,\nspecialized in contract furnishings, designed a scenographic and\ndecorative collection, quite distant from Foscarini’s initial spirit, but\nsomehow emblematic of the potential in the field and of the depths that\ncould be explored in collaboration with independent designers. This project\nin a way anticipated the needs that would lead several years later to the\ndecision to collaborate with Rodolfo Dordoni.\nThe project Lampa d’arte, from a concept by Milton Glaser, Adam D. Tihany\nand Luciano Vistosi, followed in the principle of paying homage to the\nmasters of contemporary art. The series of ten luminous editions, a tribute\nto artists who were sensitive to the theme of light, found form in two works:\nGiorgio Uno dedicated to Morandi, and Giorgio Due to De Chirico, an\narchitectural model in varnished wood embedded with colored and ground\nvitreous inclusions. They were exhibited in New York at Bloomingdale’s\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.21.png","039\nDepartment Store during a show dedicated to Italian design.\nIn the meantime, Urbinati and Vecchiato designed the Kigò table lamp and\nthe Lift suspension lamp. Starting as always with the application of the\nprinciples of lighting, in Lift a pair of counter-positioned dichroic lamps\nmove along wires, held taut by the weight of the glass, to illuminate the\nceiling canopy and the counterweight shade. The following year they\nproduced Luna, an essential table lamp in transparent glass which directed\nthe luminous flux by means of a concave mirrored lens, and Monolite, a\nfloor lamp with an extruded aluminum body.\nDuring this first phase of their activity, Foscarini created the Colora wall\nsystem, yet another experience in industrializing a decorative element such\nas the hand-cast glass tile, rather popular in interior decorating at the time.\nThese were pressed slats, available in ten colors, inserted into a metal profile\nstructure, interchangeable to allow variation in the chromatic composition of\nthe wall. The decor was none other than the optical effect produced by the\ndouble concave surface. At the end of the decade, several causes, including\nthe international economic conditions determined by the appearance of\ncompeting labor markets, marked the beginning of an inexorable decline in\nthe traditional commissions of custom contract work and with them the\ncommercial fate of many glass factories on Murano. The original owner of the\ncompany, not interested in leading the company towards the exclusive\nproduction of standard lamps, decided to sell. In February 1988 Urbinati and\nVecchiato bought Foscarini. This passage determined the beginning of a new\nphase and new opportunities, given that the foundation had been laid for\ndesign and production capabilities within the company, with the capacity to\nrespond to a wide range of requirements, and complemented by market and\nadvertising penetration. The following years would be characterized on the\none hand by the need to develop design; on the other by the pressing\nrequirements of directly managing a company.\n038\nprevious pages: \nWassily off the Wall, Adam D. Tihany \nwith Joseph Mancini, 1985.\nbelow: \ncatalog and brochure.\nCarlo Urbinati and Alessandro Vecchiato, \n1983 and 1985\nLampa d’arte, Milton Glaser, Adam D. Tihany\nand Luciano Vistosi, 1985 (wood table by Livio\nDe Marchi and glass by Pino Signoretto);\nstand design for Euroluce, Carlo Urbinati \nand Alessandro Vecchiato, 1983\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.22.png","040\nLAMPADE\nREFLOZ\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.23.png","042\nREFLOZ\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.24.png","045\nREFLOZ\nREFLOZ 1983-94\nCarlo Urbinati\nand Alessandro Vecchiato\nRefloz provides an example of the\nexperimental direction undertaken by\nCarlo Urbinati and Alessandro Vecchiato\nwhen they began designing standard\nlamps, as well as the character of\nFoscarini’s initial production: the search\nfor an effective fusion between the hand-\nmade processing of blown Murano glass\nand the application of technical lighting\nprinciples. Refloz is essentially\nconstituted by the fitting of two parts, \na cone-shaped support in glass cut\ndiagonally at the base which fits into an\nample disk shade, made of glass and\nopened by hand. Positioned in the upper\nsection of the cone, the halogen source\nuses the convex reflecting surface of the\ndisk as a reflector, and upon reaching the\ntip of the bronze-finished brass cone,\ndiffuses the luminous flux towards the\ninside.\nIn this end portion the incisions on the\nsurface of the cone combined with the\nuse of a threaded ring fasten the two\nparts securely and simultaneously allow\nthe disk to be inclined, thus varying the\noverall luminous effect. The project\ndevelops the themes of fitting geometric\nshapes together – the cone and the circle\n– and the use of pure colors in vitreous\nilluminating bodies. The result is an\nextremely simple design, where the\nchromatic treatment of light creates\nemotion. The lamp was presented in\nJanuary 1983 in Frankfurt and in\nSeptember at the Euroluce in Milan. \nIt remained in production through 1994; \nit is part of the Cooper-Hewitt National\nDesign Museum collection in New York.\nacross:\nelevation-section of the articulated joint\nbetween plate and base, Foscarini technical\ndivision, 1983\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.25.png","LAMPADE\nPLANA\n046\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.26.png","048\nPLANA \n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.27.png","051\nPLANA 1984\nCarlo Urbinati\nand Alessandro Vecchiato\nThis project also deals with moving the\nceiling light source off center, by\ncreating a reflected light which may be\nshifted 360 degrees and using a linear\nhalogen source. Once the shape of the\nglass shade was defined, derived from\nthe simple undulation of a piece of paper\nto mitigate the glare of direct light, the\nefforts by Carlo Urbinati and Alessandro\nVecchiato concentrated mainly on the\ntechnical possibilities of processing the\nmaterial. Having excluded casting the\nglass while hot, because of the weight\nand the poor esthetic quality of the\nresult, as well as pressed glass, because\nof the imprecise nature of the details,\nthey studied a mold that could produce a\ndouble shade from a single blown piece,\nto reduce excessive production time and\nthe waste of material.\nThe very nature of blowing allows the\nproduction of lightweight pieces,\ncharacterized by slender walls and a\nuniform consistency. This was a new\n“flat” technique for working Murano\nglass, and during the initial period of\nproduction, unlike now, the furnace costs\nand the cold-work costs were practically\nidentical.\nThere were not many manufacturers\ncapable of making the number of cuts\nnecessary to define the shade with\nprecision. The glass, white on the inside\nto reflect the light and colored on the\noutside (white or blue), acid-finished to\navoid cutting edges, was fastened to the\nsupport inside the fold, making a single\nhole that would not be visible from the\noutside. The thin metal support, coated\nwith epoxydic powder paint, was then fit \ninto a swiveling support on the ceiling, \nor on the wall, in the shape of a cone,\nwith a mechanism to block it at the end\nof a full turn to prevent twisting the\nelectric wires.\nTo balance the weight of the shade, the\nsupport ended with a glass sphere that\ncould rotate, using the ceiling as a\nsurface, thanks to the interposition of \na joint. Plana was long one of the most\nrenowned and commercially successful\nlamps by Foscarini, which was able to\ninvent an effective solution to the\nquestion of moving light through space\nwithout relinquishing the specific\nlanguage of blown glass, a question\nsolved by endowing it with a particular\nsense of weightlessness.\nPLANA \nacross:\nsection of the system used to fasten the glass\nto the bulb support, Foscarini technical\ndivision 1984\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.28.png","1988_93 \nTHE DESIGN PROJECT\nAND NEW MATERIALS\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.29.png","055\nHavana, Jozeph Forakis, 1993\n1988_93\nTHE DESIGN PROJECT AND NEW MATERIALS\nCarlo Urbinati and Alessandro Vecchiato, now age thirty, bought Foscarini\nin February 1988 when the sales of the company, which employed about\nten people, were divided equally between standard and contract lighting.\nThe direct management of the company demanded a serious commitment\nin terms of time, resources and energies which were subtracted from their\npersonal involvement in design and redirected at defining an appropriate\nstrategy and operating mode.\nIt soon became clear that the marketing network needed to be\nstrengthened, especially outside of Italy, and that it was necessary to\nunequivocably demonstrate to the outside world the consolidation process\nthat the company was undergoing, addressed specifically to architects,\ninterior designers, distributors and possible clients, taking care to create \na dialogue with the specialized media.\nThe turning point in communication came when Rudi von Wedel was\nchosen to direct public relations, and at the end of 1988 when Rodolfo\nDordoni, architect and designer, was entrusted with the artistic direction.\nThis collaboration implied a change of mentality for the company, which\nturned from direct action and control over all initiatives to sharing\ndecisions and a subdivision of roles.\nThis was an important passage towards a more advanced culture of\nbusiness management. Dordoni brought with him the idea of a close\nrelationship between designer and company, where development meant \na progressive definition of general operating methods in addition to the\ndesign of single pieces, both in terms of product and market suitability.\nThe architect from Milan was therefore instrumental in helping Foscarini\nacquire a clear conception of the needs of an industrial design company.\nDordoni designed a new easy-to-read logo which used a compact capital\nstick font in dusty blue, renouncing any and all references to Venice, even\nfiguratively. “For a company that produced on the island, states the\ndesigner, but added technological elements to its products which were not\ntypical of Murano, it became indispensable to abandon the term ‘Murano’\nwhich had always accompanied the brand name, identifying it with a\nreality which had grown apart from the actual company identity. \nThe clean but important new graphics communicate an image of solidity,\nquality and formal rigor, of high productive technology.”\nThe 1989 catalog designed by Dordoni included standard lamps, classic\nchandeliers and contract elements in a single container. Totally renovated\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.30.png","056\nin its structure, it was divided by types of lamps, each corresponding to a\nchromatic combination between the background and the text, composed\nwith the same character as the logo; the lamps, photographed by Emilio\nTremolada, were presented full-page against a grey background, and\nswitched on. The same year the designer created the lay out for the stand\nat Euroluce, where the new logo was presented. “We created an\ninstitutional stand in which we used video images to narrate the history of\nall the products. A crooked wall full of Foscarini logos, each one different,\nwhich repeated the graphics of the invitation to Euroluce in transparent\nacetate with gold writing, featured several niches which exhibited a\nselection of lights rigorously made with white glass. They cut through\nceiling, pavement, dust blue panels, creating a scenographic perspective\neffect.” In the same period, in an agreement with Danish manufacturer\nLouis Poulsen, Foscarini decided to act as the Italian distributor for the\nlamps of this renowned manufacturer, which produced fixtures designed \nby Poul Henningsen, Verner Panton and other major Scandinavian\narchitects and designers.\nThis activity lasted a little less than a year, and originated in Foscarini’s\ndesire to expand its own market, recognizing an affinity in terms of design\nresearch in the attention to the quality of artificial light, and the creation\nof a suitable atmosphere in domestic environments.\nThe lamps designed in the first three years by Urbinati and Vecchiato were\nstructured around the relationship between glass and light sources, like\nSkeet, their only experience in the field of pressed spot lights. Folio\nachieved remarkable commercial success, remaining in production from\n1990 through the present, thanks to its reduced depth from the wall, its\neasy but not common design, its fine capacity for the diffusion of light and\ncolor. Like a page shaped along its diagonals, it is obtained by a tri-fold\nprocess of thermoforming a cylinder of blown glass cut in half. \nLumiere and Fruits, the first lamps designed by Dordoni which have been\nFoscarini icons ever since, were created the same year. Still successful\ntoday, Lumiere was a re-interpretation of the classic table lamp with\nlampshade, where the different components and materials – the tripod\nsupport in die-cast aluminum and the essential shade in satin-finished\nblown glass – are united in harmonious dialogue. A meditation on the\narchetypal form of light fixtures which fit well into the tendency seeking a\n‘reassuring retrieval of memory’, and anticipated the bare design and\nformal reduction of minimalism.\nIn Fruits, the emphasis was on the volume and the design of the base, in\npainted metal, and the upper shade in colored blown glass was produced\nin five different variations with simple forms. The figurative relationship\nbetween the simple forms of glass and their supports was similarly\nFolio, Carlo Urbinati and Alessandro\nVecchiato, 1990;\nBuds, Rodolfo Dordoni, 1993\nnext page: \ndrawing with an indication of dimensions\nand colors for the Buds shade, Rodolfo\nDordoni, 1993\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.31.png","059\n058\nQuadro, Giovanni Levanti, 1993;\nParis, Venice Collection, Patrice Butler, 1992;\nLucindo, Marco Mencacci, 1992\nTable Light\u002FWall Light, James Wines-Site,\nAbitare il tempo, Verona, 1991\nexplored in other styles such as Bijou, Blossoms and Buds, designed by\nthe same architect through 1993, the year in which Dordoni ended his\ncollaboration with Foscarini.\nIn the definition of products, from that moment entrusted to a number of\ndesigners who had previously been introduced with Dordoni, the choice of\nconstruction and materials became closely linked to the project options.\nThis led the company, in 1992, to use non-Murano plate glass for Orbital\nby Ferruccio Laviani, to produce Nostromo by Patrice Butler, a ceiling track\nsystem which could be composed into different configurations, and the\nfollowing year to use polypropylene and polyethylene for Havana by Jozeph\nForakis.\nFoscarini did not abandon blown glass but became oriented,\nindependently of the materials, towards an industrial design product\nwhere design experimentation was the focus of attention. Thus Orbital\nwas an illuminated object rather than a fixture for lighting, with a strong\ngraphic impact and bright colors, and a careful study of the metal details\nwhich were all “visible”; Havana was also an exercise in economy, as far\nas elements and construction materials were concerned, but not in terms\nof lighting performance. Foscarini attempted simultaneously to renovate\nthe traditional typology of chandeliers with the Venice Collection by Butler,\na contemporary interpretation of the Venetian model with shaped arms,\nand with Lucindo and Ramon by Marco Mencacci. A similar operation was\nattempted by Giovanni Levanti with Quadro, an essential wall lamp which\ncreated a dialogue between the two different glass types in the shade and\nthe support.\nThis moving along different paths, allowing different design directions to\ncoexist, was a positive characterization of this phase of Foscarini’s growth\ninto a design driven company. Aware of the role of design, but explicitly\ninterested in the implications of developing ideas, where strictly\ncommercial and marketing considerations do not appear as priorities or\nrestrictions. The rationality of the company’s global configuration coexisted\nwith the respect for intuition and passion in the selection of designs worthy\nof development.\nThus Foscarini consolidated an open mentality towards research and\nverification, directed at introducing new directions in production, and\nexperimenting with technology and materials.\nThe concurrent participation in cultural events was considered a stimulus\nto design and a vehicle for public relations; this was the motivation behind\nthe Table Light\u002FWall Light project by the US team James Wines-Site,\nexhibited in the cultural section of the 1991 trade fair Abitare il Tempo in\nVerona: a room with an installation of 28 light sources, interpreted\nconceptually in the post-modern language of the American architects.\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.32.png","061\n060\ncatalog cover and brochure, \nRodolfo Dordoni, 1993\nOrganizational and logistical decisions characterized the year 1993. \nIn May the operative headquarters left Murano, where only the\nadministration remained, moving to Marcon in the province of Venice, \na more convenient location for logistics management. Custom contract\nwork had almost disappeared from the company’s commissions and the\nprocess of outsourcing many functions was completed: graphics and\npublic relations, design and product development were entrusted to\nindependent consultants. The creation of a modern business structure,\nwhich had been consolidated thanks to the collaboration with Dordoni,\nwas being definitively completed. This result in fact convinced Urbinati\nand Vecchiato of the need to widen the company’s perspectives, to avoid\nbeing narrowly identified with a single designer, and to be more open\ntowards other languages and experiences. An impervious itinerary,\ndeveloped with many a contradiction, which in any case directed Foscarini\ntowards continued growth and a stronger definition of its company\nidentity.\nstand for Euroluce, Rodolfo Dordoni, 1989,\ndetail of the new logo and a view of the \nstand; Euroluce, Rodolfo Dordoni, 1990\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.33.png","LAMPADE\nLUMIERE\n062\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.34.png","LUMIERE\n064\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.35.png","067\nLUMIERE\nLUMIERE 1990\nRodolfo Dordoni\nA reinterpretation of the classic table\nlamp with lampshade, Lumiere was\ndesigned by Rodolfo Dordoni in 1990. \nIt is a fine example of one of the\ntendencies of contemporary design, \nto reinterpret the “forms of memory”:\nobjects which are deeply rooted in their\nuse and diffusion, whose\nreinterpretation appears quite\nrecognizable and easy to accept. Dordoni\ncaptured this type of attention, forcing it\nin a technological direction with his\nmetallic tripod solution and the new\ncombination of materials.\nStill one of Foscarini’s top sellers,\nLumiere is supported by a slender\nstructure, at the top of which three\nincandescent bulbs are fastened one in\nfront of the other to avoid casting\nshadows on the shade. The same tripod\nsupport, made in a single piece, die-\ncast in a special aluminum alloy,\nfinished and polished by hand, gives\nstability to a slightly flared glass shade\nheld by a simple screw at the top. Great\ncare is taken to ensure the harmonious\nmatching of two different materials. \nThe choice of an essential form for the\nblown glass, acid-finished on the outer\nsurface, is complemented by a careful\nstudy of colors to obtain diversified\nlighting effects: the inside layer remains\nwhite to favor reflection, whereas the\nouter layer becomes red to accent the\nlight on the table top, or white, green or\npeach yellow for a diffused light in\nspace. Lumiere was also declined in the\nfloor and suspended versions, using the\nshade in an upside-down position. \nIt documents the direction taken by \nDordoni in other models he created\nduring those years, such as Fruits, Bijou,\nBuds and Blossoms, where the\nharmonious appearance derived from\nthe successful proportioning between\nglass shades characterized by extreme\nformal simplicity and mountings\nboasting a distinctive design. \nIn the history of Foscarini, Lumiere\nrepresents the symbol of an up-to-date\ndesign language brought in by the\nindependent designers who began\ncollaborating with the company, and\ncontributed to improving the quality of\nthe products and strengthening the\nbrand impact.\nacross: \na study of the base of Lumiere, Rodolfo\nDordoni, 1990\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.36.png","LAMPADE\nORBITAL\n068\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.37.png","ORBITAL\n070\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.38.png","073\nORBITAL \nORBITAL 1992\nFerruccio Laviani\nOrbital was Ferruccio Laviani’s debut\nlamp. It marked Foscarini’s first\nadoption of production materials other\nthan Murano glass; but above all it\nconstituted a long-standing icon which\nreinforced the company’s image,\nparticularly in the media. This was a\nlamp-object which represented a\ndifferent idea of a light fixture, free from\nthe requirements of technical\nperformance to emphasize the evocative\nand emotional qualities of the product.\nA piece of sculpture, therefore, boasting\na recognizable presence in space and\ncharacterized by the graphic sign which\ninspires the design of the glass panels.\nThe designer in fact concentrated on the\nshape of the floor lamp and the\nrelationship it creates with the\nsurrounding environment, designing a lit\nobject rather than a lighting device.\n“Finding the precise references that\ninspired the design of Orbital is not\neasy, says Laviani, there were probably\nmany different principles. Perhaps the\npeculiarity of this project is that it was\ncreated from a sketch which never\nchanged right through to the production\nof the lamp, and as far as I can\nremember, I think this is the only time\nthat has ever happened to me.”\nThe fixture is made of a metal stem,\ncoated with aluminum epoxydic powder\npaint, and supported by an adjustable\ntripod in laser-cut sheet metal, on which\nthe five supports for the glass shades\nare soldered.\nThe incandescent bulbs (40 watts each)\nare completely visible, becoming an\nintegral part of the lamp’s design. \nThe glass shades cut in different shapes,\nwhich initially were to be reminiscent of\nstained glass cathedral windows, were\nmade out of industrial glass silk-\nscreened in white or different colors, and\nsatin finished on the outer surface.\nThe polished inside surface allowed the\nshade to reflect light as well.\nBy separating the arms of Orbital, the\nmodular wall version called Bit was\ncreated in 1993. Orbital is one of the\nobjects consecrated by a series of\npostage stamps on Italian Design\nemitted by the Italian Post Office in\n2001. The tenth anniversary was\ncelebrated with a special edition of the\nlamp featuring mirrored plate glass and\npolished chrome-finish metal structure\nand supports.\nacross:\ndrawing with indications of the colors of the\nglass on Orbital, Ferruccio Laviani, 1992.\nin this page: \nprototype \nOrbital on italian postage stamp, 2001\n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.39.png","LAMPADE\nHAVANA\n074\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.40.png","HAVANA\n076\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.41.png","079\nHAVANA\nHAVANA 1993\nJozeph Forakis\nJozeph Forakis initially imagined Havana\nmade out of glass with the profile of a\ncigar similar to the definitive one: a\nmodel created out of fiberglass\ndocuments the first design phase.\nEvaluations of the technical and\neconomic feasibility of the fixture led to\nthe exclusion of glass and the decision\nto use yellow polyethylene and transparent\npolypropylene, both self-extinguishing\nand recyclable materials, for the shade.\nSimilar considerations determined the\nreduction of the pieces constituting the\nbody of the lamp from the original five\nto the current four, to make the piece\nsymmetrical and  use only two forms for\nthe molding.\nThe metal supporting parts were also\nreduced to a minimum in terms of\nnumber and sections. The four plastic\nvolumes were hooked together and held\napart by three metal “brackets”,\nwhereas the slender supporting tube,\nwhich sustains the electric wire and\nholds the socket at the end – for an\nincandescent or energy-saving bulb –\nwas soldered to a thin metal rod. It\nbends at the top to delineate the simple\nring which, from the inside, keeps the\nentire shade suspended without being\nvisible.\nThe foot was made of four intersecting\nblades cut by laser and finished, like the\nstem, in aluminum painted metal. \nFor the first time, with Havana, Foscarini\nproduced a lamp made out of plastic, \na lightweight, mobile lamp which\nemanates diffused light, sports a\nyouthful image, economical costs, and\nwould quickly become popular thanks to \nits flexibility and the ease with which it\ncan be adapted to a variety of conditions\nand spatial contexts, in all its versions\nincluding the suspension and wall lamp.\nHavana is part of the permanent\ncollection of the Museum of Modern Art\nin New York.\np.74 and above:\nprototype for Havana\nacross:\ndrawing with a preliminary solution for the\nconnection between the elements of the\nshade, Jozeph Forakis, 1993\n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.42.png","IDEAS\nMATERIALS\nAND TECHNOLOGY\n080\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.43.png","083\nglass processing in the furnace\nMATERIALS AND TECHNOLOGY\nThe twenty-year history of Foscarini evinces a clear progression towards\nbuilding the best correspondence possible between the design intentions\nand the choice of materials and construction techniques of the lighting\nfixture.\nThis research was developed parallel to the industrialization process of\nthis company which made standard lamps as a complement to custom\ncontract work. From its initial experience, it acquired not only a deeper\nunderstanding of the nature of glass, but also a number of contacts with\nsuppliers specialized in a wide variety of techniques, maturing the idea of\nproduction without a factory. This particular decision proved over time to\nbe functional to the different directions in design experimentation\ndeveloped by Foscarini. It allowed the company to use different\nmanufacturers depending on its needs; it stimulated continuous\nexperimentation and careful attention to the manufacturing details of the\nfixture, from the shade to the supports, the mechanisms of the fasteners\nand the bulk of the electric wiring, even from a visual point of view.\nTheir original specialization was in the design of standard lamps with\nshades in blown Murano glass: a study of the relationship between the\nlight and its container, not a study of glass made beautiful by being lit.\nIn the very first styles dating from 1982-83, Graphos and Refloz in\nparticular, Urbinati and Vecchiato tried to force several constraints in the\nproduction technology, some of them a factor of consolidated habit. \nThe formal simplicity, the diagonal cut, the bright colors with no nuances\nor decorations, deemed necessary for a correct relationship between\nmaterial and source, in fact required particular manufacturing skill.\nAt the same time they sought to emphasize typical techniques from\nMurano by measuring them against the theme of light, as in Rolli, where\nthe interposition of glass made of parallel colored rods between the source\nand a reflecting surface generated precise graphic effects. The decor was\nno longer determined by methods of processing and producing glass, but\nbecame the result of a specific way to use the material in relation to light.\nEmblematic of their design approach was the lengthy study of the\ntechnique and later the mold for Plana, produced in 1984, whose shade\nfeatured an unusual shape reminiscent of a folded piece of paper. \nThe intention to convey a special sense and value of weightlessness to the\nmaterials led them to experiment with different solutions for production:\nthe hypothesis of casting it in hot glass was discarded in favor of pressed\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.44.png","a sampler of glass colors\nEssential glossary \nof blown Murano glass\n085\n084\nbàla de carta: a mass of wet pressed\npaper which accompanies the glass shape\nwhile it is worked, holding the blowpipe\nhorizontal and rolling it along the edge of\nthe workbench.\nborsélle: jacks to shape the glass while\nhot\nbronzino: the marver, a horizontal surface,\nnow made of steel but once made of\nbronze, on which to roll the ball of glass\nattached to the blowpipe to shape it\ncanna da soffio: the blowpipe - a metal\ntube to blow the glass, like an\nincandescent soap bubble, free or into a\nmold.\ncanna di vetro: glass rod - from the basic\nglass the rod is obtained by pulling the\nball in opposite directions\ncolori: colors - in Murano glass colors are\nobtained by adding different types of\nmetal oxides\ncristallo: transparent and colorless glass\nwhose quality is determined by the purity\nof the raw materials, which must contain\nthe smallest possible quantity of coloring\noxides\nincalmo: coupling, welding two hot pieces\nof glass whose edges are perfectly\nmatched to obtain an object combining\ndifferent colors or techniques\nincamiciato: cased - glass made of two or\nmore layers\nlattimo: glass with a characteristic\nopaque quality and milky color given by\nthe presence of microcrystals of calcium\nand sodium chlorides.\nlevada: consists in using the blowpipe to\npick up the glass for processing by\ndipping it into the pot of glass\nmaestro: team leader of the “piazza” who\ngives orders and makes the operative\ndecisions during processing\nmagiosso: a wooden tool, consisting in a\ncylinder with a hemispheric cavity and a\nhandle, helpful during the free-hand\nshaping of a piece\nmano volante: flying hand - glass shaped\nwithout the help of molds, using only jacks\n(borselle), wooden instruments (magiòssi),\nbàla de carta and other simple tools.\nmomolo: the glass ball, slightly elongated\nand ready for processing\nmurrina: small disk or cylinder obtained\nby pulling out a ball of glass made of\nsuccessive layers of colored glass, whose\nsection appears as a design of concentric\nforms\nopalino: a semi-transparent milky glass\nwith iridescent colors, obtained by adding\ncrystals of lead arsenic.\npéa: a more advanced phase of the\nmòmolo, where a pear shaped nucleus is\nready for the definitive shaping by flying\nhand or in a mold\npiazza: team, or minimal operative group\nin a furnace, three to eight people guided\nby a maestro\npulegoso: a semi-opaque glass full of tiny\nand irregular bubbles\nscagno: the glassblower’s work bench,\naround which the work of the piazza\nrotates\nsommerso: glass with several polychrome\nlayers, solid, processed and shaped while\nhot\nstampo: mold - normally characterized by\na circular plan, made of wood or metal, it\nopens into two parts held together\nvertically along the half-section line,\nwithin which the péa is blown.\nstampo a fermo: a non-circular mold,\nwhere the glass is blown with no\npossibility of rotating the piece.\ntagliante: large scissors for cutting the\nincandescent glass.\nvetro: glass - Murano glass is composed\nof 70% sand and silica with the addition\nof small quantities of carbon oxide,\ncalcium carbonate, nitrates and arsenic.\nThe fusion which takes approximately \n9 hours, occurs in methane furnaces heated\nto 1400 degrees Centigrade, whereas the\ntemperature during the processing is about\n1000-1100 degrees Centigrade.\n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.45.png","087\ndetails of the Blob shades\nglass, ending up with blown glass, for which they elaborated a wood mold\nwhich would produce two shades, to keep production time and material\nwaste to a minimum. This model also called for a process of cutting and\npolishing which was unusual, at the time, for the glasshouses on the\nisland.\nA different design necessity for Floppi led to the adoption of thick pressed\nglass, of an almost industrial quality, using a manufacturer on Murano\nwho usually produced it for more standardized functions. This was “glass\nsuitable to make light”, focusing attention on the characteristics to apply\nto the object, from the consistency of the layers of material, to the tactile\nquality of the surface, to the appropriateness of the supports, to overall\ncost control.\nStarting in the early Nineties, the attention towards new directions of\nresearch and design, combined with the curiosity for unexplored design\nsolutions, found adequate support and the possibility for development in\nFoscarini thanks to the articulated experimental and construction\nexperience matured with glass and with a processing technique halfway\nbetween craft and industry; a labor methodology and operative process\nthat could at this point be profitably applied to different materials and\ntechnologies.\nThis inclusion proved consonant with the direction of contemporary design,\nwhere technological factors constituted one of the most important fields of\nresearch.\nIn fact, the conditions were ripe to transfer applications to the domestic\nenvironment from fields that had traditionally been experimental.\nOver the years, Foscarini had reinforced its own research and development\nstructure and its technical division in relation to these demands; it chose,\nby hiring independent consultants, to employ more people in the study of\nmaterials, placing the accent on the entire life cycle of the product, from\nthe selected light source to the duration of its constituent parts, to the\nbio-compatibility of the finish and the packaging. Models and prototypes\nwere built in well equipped laboratories, further expanded in the new\nheadquarters, where testing on materials was also conducted.\nWith the Orbital project in 1992, Foscarini used silk-screened plate glass\nthat was not produced on Murano for the first time; to make the tripod\nthat supports it, they chose laser technology for the sheet metal. \nAn innovative technology that was new to the company as well, and was\nused again ten years later for the sections of the sphere in the Supernova\nsuspension and in the shade-structure of Rha+Thor.\nThe road to plastics, on the other hand, was paved in 1993 with the\npolypropylene and the molded polyethylene (self-extinguishing and\nrecyclable materials) used for the Havana shade. The material responded\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.46.png","088\n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.47.png","090\nwell to the requirements for a lightweight lamp body, which would have a\nnon-invasive, almost ethereal physical impact. Over two years of research\nwas required to make Mite, a lamp produced in the year 2000, with a body\nin woven glass fibre wrapped in carbon or kevlar® fiber thread. \nTo produce a fixture which could adequately transmit the luminous flux, a\nsuitable construction technology was found – roving – and a mold and\nappropriate form were slowly perfected. In recent years the\nexperimentation of materials and technologies conducted by Foscarini has\nbecome quite significant; it begins with the specific requirements of the\nproject, developed within a context dedicated to research and\ncharacterized by total freedom to use a variety of productive and\ntechnological resources.\nTo allow the electric wires, suitably insulated, to pass through the ring-\nshaped body of the O-space suspension, high density polyurethane foam\nwas used, leaving the central circumscribed space totally and suggestively\nfree; the technology of rotomoulding was experimented to produce Blob;\nand stretched metal mesh, covered in transparent silicone resin, served as\nboth the supporting casing and the shade for the Bague table lamp,\ncreated in 2003.\npreceding pages:\nSupernova, Ferruccio Laviani, 2000\nat top:\ndetails of the metal mesh in Bague\nprocessing of the composite material for the\nMite shade\nnext page:\nsection and volume of O-space\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.48.png","1994_99 \nTHE ROAD TO QUALITY\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.49.png","095\n1994_99 \nTHE ROAD TO QUALITY\nAt the end of the year 1993, Carlo Urbinati and Alessandro Vecchiato decided\nto bring the artistic direction and design decisions involving designers and\nproducts back within the company. This was not an easy decision to make but\nit proved necessary in order to accomplish a further step towards a more\narticulated and correct configuration of company strategy. The result of the\nrecently concluded experience with Rodolfo Dordoni was undoubtedly positive,\nbut in the end priority was given to building a specific identity; the decision\nto work with a design language that would return to essential, minimal and\nelementary forms appeared to be a possible direction.\nThe collaboration with Piero Lissoni was intended to mark a change in\ndirection towards blown glass styles conceived with no frills: hence the\ncreation in 1994 of Cap, Flat and Basic, a suspension lamp featuring a\ncounterweight, where the support and shade were both white, presented with\nthree extremely simple shapes of glass; two years later came Bugia.\nIn the meantime a number of relationships with designers called into the\ncompany by Dordoni were being consolidated. The change in direction also\naffected the new catalog designed in 1996 by Claudio Dell’Olio from the\nMilan studio Box2. The publication was characterized by the friendly image of\nthe product illustrations, photographed by Santi Caleca lit within domestic\nsettings, the cover in brossure, simply stapled and conceived for widespread\ndistribution, the descriptive technical information composed on pastel-colored\npages which varied with the different types of lamps.\nThis school of thought, which was particularly interested in contemporary\nshapes of blown glass in warm colors which could create a soft embracing\nlight, provided a framework for the contribution by Defne Koz, who\ndemonstrated great sensitivity in Circus first and later in Dress, constructing\nsmooth shades with almost invisible supports. Or the initial experiences of\nValerio Bottin with Double and Vitt, where he modeled volumes that appear as\nthe precursors of the successful Cross designed in 1998, a suspension lamp\nwith a large satin-finished glass shade blown into a still mold, and studied\nto emit diffused light downwards and concentrated light upwards. \nThe same designer was responsible for the Totem floor lamp, which combined\nthree shades in satin-finished polyethylene with independent switches. \nAnd Prospero Rasulo, who designed first Alcea then Qua in 1998, a sort of\nsoft glass four-lobed cushion for the ceiling or wall; in Caliz, by Lievore\nAsociados, the supporting stem of the floor lamp was made of dark wood or\naluminum. Alex Hochstrasser in his Hoc suspension connected a continuous\nacross: \npackaging\nat top: \ncatalog cover,\nClaudio Dell’Olio\u002FBox2, 1996\n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.50.png","097\nwhite glass form with an upside down bowl and a flared cylinder that\nconcentrated light downwards; the designs by Roberto Palomba and Ludovica\nSerafini began with Zen, which imprisoned a white glass cylinder within a\nwooden tripod support, and continued with Dom, an experiment in the process\nof hand grinding industrial multiples.\nThe styles multiplied, expanding the selection significantly. But there was no\nsingle programmed design direction, and throughout those years, Foscarini\nconsidered many different design languages, developing each of them with\nthe materials and construction solutions it deemed best for each one.\nAfter Orbital, still one of Foscarini’s best known icons, Ferruccio Laviani\ndesigned Dolmen, an aluminum box made to frame the light, which was\ngraphically outlined by four large holes, enclosed at the front and the back by\nplastic panels.\nThe theme of redesigning the Venetian chandelier led Tom Dixon to design the\nLightweight collection, sculptural models with eight arms built out of thin\nmetal rods. The Elfo table lamp, dated 1999, represented a taste of the\nmagical-ludic direction impersonated by Denis Santachiara: an unexpected\nhologram gives visibility on the surface and an illusion of tangibility to the\nlittle lamp-worked glass figures placed inside the shade. This completed a\nprocess initiated at the beginning of the decade, activating, for example, a\nprocedure to monitor claims, whose purpose was to achieve a “system” of\noverall company quality, from the organization of labor to customer\nsatisfaction control. In 1996 Foscarini decided to pursue the UNI EN ISO 9001\ncertification. This move represented a decision to focus on a series of key\nissues for the company, though not entirely relevant yet to the final consumer,\nwhich would add new “qualities” to the creation of an industrial design\ncompany identity.\nThe expansion of the distribution network and the variety of the selection\nresulted in a consistent increase in the volume of sales; acting upon the\nconclusions of a poll conducted by a research institute on its retail points in\n1999, the company decided to specifically sustain the Foscarini brand name,\nwhich was not always adequately recognized or associated with a specific\nproduct.\nIn consideration of these elements, the decision was made to entrust\ncommunication, public relations and graphic design to the Attila agency in\nMilan, which was specialized in the field of fashion.\nThis option, which came as the result of a complex series of considerations,\npresented rather exciting perspectives for the idea of self-promotion by\nassociation with the most vital areas of Italian design, but posed a problem\nbecause of its progressive departure from the company’s focus on industrial\ndesign.\nacross, from top clockwise:\nBasic, Piero Lissoni, 1994;\nEuroluce stand design, Carlo Urbinati\nand Alessandro Vecchiato, 1996;\nCross, Valerio Bottin, 1998;\nCaliz, Lievore Asociados, 1997\nfrom top:\nZen, Roberto Palomba\nand Ludovica Serafini, 1996;\nQua, Prospero Rasulo, 1998;\nElfo, Denis Santachiara, 1999\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.51.png","LAMPADE\nLIGHTWEIGHT\n098\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.52.png","LIGHTWEIGHT \n100\n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.53.png","LIGHTWEIGHT\n103\nLIGHTWEIGHT 1995\nTom Dixon\nIn his Lightweight collection in 1995,\nTom Dixon explored the theme of lighting\nrooms from a central lighting source, an\narea of research that the company had\npursued in the early Nineties with the\nVenice Collection by Patrice Butler. \nIn the wake of his personal\nexperimentation with the spatial\npotential of thin metal rod structures\nwhich had already led to other furniture\nprojects in 1991, the designer created\nfour different chandelier designs,\nreinterpreting the classical arm\nconfiguration and modularity of the\nVenetian models. \nMade out of metal painted yellow, red,\nblue or dark grey, they were all supplied\nwith small shades in blown white glass,\nsatin-finished to avoid glare, hosting\nlow-tension halogen sources. \nThree of the variations were diversified\nin the profile of the arms and could be\nhooked together by their stems thanks to\na ring and a ball joint built with spikes,\nwhereas the fourth formed a complex\ntrestle.\nThis last chandelier, which reached a\ndiameter of 120 cm, developing eight\narms on its base, was constituted by\napproximately one hundred linear\nelements hand-soldered to compose a\nframe. This is the only piece still in\nproduction, in a polished gray zinc\nfinish.\nLightweight was an anomalous but\nsignificant product for Foscarini.\nAnomalous in its identification with\nsemi-handcrafting production methods, \nwhich the company’s versatility allowed\nit to confront and respond to; significant \nbecause it dialogued with an interesting \nconcept of design, strongly characterized\nby visual impact, which lay within the\ncontemporary culture of the design\nproject.\nprevious pages:\nrendering, Tom Dixon, 1994\nacross and at top:\nprototypes from the Lightweight collection,\n1995\n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.54.png","LAMPADE\nDOLMEN\n104\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.55.png","106\nDOLMEN \n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.56.png","109\nDOLMEN \nDOLMEN 1996\nFerruccio Laviani\n180 cm tall and 40 cm wide, Dolmen is\na narrow and lightweight parallelepiped\ndesigned to lean against walls, stand\nup or lay down, or hang on the ceiling\nin multiple installations. Essential in\nits constituent parts, it is composed of\nan aluminum “box” which contains and\namplifies the effect of the two\nfluorescent (energy saving) light\nsources through two screens in\npolycarbonate lexan, white in the front\nand transparent in the back.\nThe four holes are of equal diameter,\nand characterize the frontal plane,\ngenerating an alternation of opaque\nand luminous surfaces which discreetly\ndiffuse the light. The back screen\nfulfills the task of lighting, exploiting\nthe walls of the room as a reflecting\nsurface. Even the superficial treatment\nof the shell, coated in epoxydic powder\npaint in the orange version (no longer\nin production), brushed and anodized in\nthe natural aluminum version,\nemphasizes the graphic matrix of\nLaviani’s project, a constant feature of\nhis design. Dolmen embodied\nFoscarini’s idea of a flexible lamp\nwhich could be adapted to many\ndifferent types of use, especially in its\noriginal lean-on-the-wall configuration;\nan interesting and early approach\ntowards the multi-functionality of the\nobject, which has undoubtedly become\none of the central issues of\ncontemporary design. Just as\nsignificant was the return to the\nlinguistic and visual spirit of the\nSixties, which would arouse\nconsiderable interest.\nacross:\nrendering, studio Laviani, 1996\nat top: \ndetails of Dolmen, 1996\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.57.png","LAMPADE\nDRESS\n110\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.58.png","DRESS \n112\n",58,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.59.png","115\nDRESS \nDRESS 1996\nDefne Koz\n“My purpose, states Defne Koz, is to\ncreate everyday objects that can\ncommunicate emotion, that can continue\nto astound. This is why my design\nlanguage follows no single style or\nfashion trend. It lasts over time, is\nsimple but not banal, and is innovative\nin its choice of materials and formal\ntypologies.” Dress, the table lamp\ndesigned in 1996 and still in production\ntoday, embodies this approach to the\ndesign project. Koz designed a large\nblown glass, the largest version is 61 cm\nhigh and 26 cm in diameter, by lightly\nsqueezing the shape of a cylinder. \nTo keep it perfectly integral, with no\nholes, a custom mechanism to fasten\nthe shade onto the structure was\ninvented. With its extremely simple\nshape, Dress diffused light through its\ndouble glass layers, white on the inside,\npeach yellow or white on the outside,\nfeaturing a double switch: three\nincandescent (or energy-saving) bulbs\nwere positioned downwards, and one\nwas pointed towards the ceiling,\nintegrating the luminous flux with\npartially reflected light. The surface was\nsatin-finished with an acid treatment of\nthe glass to prevent fingerprints, and\nthe shade was fastened to an almost\ninvisible base in stainless steel and\nmetal coated with white epoxydic powder\npaint. The series included a smaller\ntable lamp and a floor lamp supported\nby a thin stem. Dress was an excellent\nexample of the attempt to keep the\ndesign and production tradition of blown\nglass still vital, interpreting it in a soft,\nsimple and reassuring language.\nacross:\nworking drawing for Dress, Foscarini technical\ndivision, 1996\n",59,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.60.png","IDEAS\nQUALITY AND\nCUSTOMER\nSATISFACTION\n116\n",60,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.61.png","119\nQUALITY AND CUSTOMER SATISFACTION \nTo invest in the consolidation of a precise identity profile means to initiate a\nlong-term strategy, made of corrective actions and constant testing of the\nprocess, characterized by global quality and customer satisfaction, elements\nwhich are becoming increasingly relevant and decisive for the success of \nthe company. The quality issues in a company involve compliance with safety\nstandards for products, and the guarantee that company processing responds\nto pre-established parameters. As far as lighting fixtures are concerned, \nthe safety standards are different in each of the countries where the product\nis exported. Since 1992, Foscarini has modified its production to conform to\nthe IMQ quality trademark in Italy, the VDE in Germany, the UL in Canada and\nthe USA. It decided to have its lamps tested in its own laboratories and in\nindependent institutes, and to comply with the most restrictive dispositions,\nsuch as the American standards. As far as “company quality” is concerned,\nFoscarini began with the institution of a mechanism to monitor claims in\n1990, creating a system of quality control; it was one of the first Italian\ncompanies in the field of lighting to be certified in 1996 by UNI EN ISO 9001\n(which later became Vision 2000). The ENEC trademark certified that it\nresponded to the requisites for both safe products and guarantee of company\nquality. A company plan defined responsibilities, qualifications, procedures\nand resources and subjected them to control. \nThe company quality plan did not consider the final consumer and the product\nuser as the exclusively interested parties, but included the employees,\nsuppliers and retailers. The methods and procedures that were monitored\ninvolved the entire company; on one hand, the commercial division,\npurchasing, assembly and delivery of materials, for the standard catalog\nproducts; on the other hand, marketing, design and development of new\nproducts and limited editions. A quality control of the process involving all the\ndifferent phases in the development of the lamps, from the design to the sale.\nThis meant that Foscarini could guarantee the retailer, and therefore the final\nconsumer, that the product responded to a series of requisites: design and\nfunctionality above all; safety thanks to its total compliance with standards;\nconformity to all that was specifically declared in the use of components,\nmaterials and assembly processes for the life of the product. These decisions\ninvolved investments in the continuous professional training of the personnel,\nfollowed by a close collaboration with suppliers, and finally the institution of a\nseries of tests on the product during the phases of processing within the\ncompany (acceptance and production). Attention also had to be paid to the\nquality control of a product\n",61,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.62.png","120\nworking environment and conditions, and specific care taken to check the\nprecision of measuring instruments, materials, packaging technology,\nshipping logistics. Obviously, all of the above was strictly functional to the\nimprovement of the company’s efficiency but also to the satisfaction of the\ncustomer who purchased the lamps.\nThe consumer is undoubtedly the central figure on the market, and especially\nover the past decade, the propensity towards purchasing seems connected to\na growing culture of service which one would like to recognize in products and\nin the places that sell them. This implies a process of transformation for the\ncompany, which must become client-oriented and progressively build an\norganizational structure which is capable of understanding the consumer’s\npresent and future needs, and satisfying his requisites while trying to\nanticipate his expectations. “To grow, writes sociologist Giampaolo Fabris, a\ncompany needs a satisfied consumer. The creation of consumer loyalty is\nbecoming a crucial factor in business strategy. The best way to create loyalty\nis by guaranteeing the complete satisfaction of the customer’s needs”. \nThe decision to invest primarily in the constant improvement of the various\nphases of the company process and the relationship with the public has\nbecome increasingly strategic over time for Foscarini. “Customer satisfaction,\nconfirms Fabris, thus becomes a primary objective. And indeed the most\nprofitable investment a company can make”.\nview of the stock aisles and detail of\ninstruments for quality control of the product\nnext page: \ndetails of the packaging\n",62,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.63.png","2000_03 \nDESIGN AS \nINNOVATION\n",63,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.64.png","125\n2000_03 \nDESIGN AS INNOVATION\nAt the turn of the millenium Foscarini appeared as a lighting design\ncompany whose strength lay in the pursuit of design, production and\nmarketing quality.\nOver time a decision-making mechanism was consolidated for projects\npresented by and solicited from designers, evaluated by a selection\ncommittee which included a range of qualifications, before being\nentrusted to the technical division. This structure increasingly acquired\nthe connotations of a research and development core, with both\nemployees and independent consultants dedicated specifically to research\non materials: as a group they were responsible for engineering the\nproduct – from the technical drawings to the compliance with standards,\nand the construction of prototypes using a models and materials testing\nlaboratory.\nThe image and communication strategy for the year 2000 was directed at\nthe public and the general press, with a campaign organized by Attila: in\naddition to the Foscarini fashion light catalog, illustrated with images by\nRuy Teixeira, Laura Rizzi, Fabio Meazzi and Renai&Renai, and the\nadvertising pages outlined with silhouettes by Maddalena Sisto, it\nculminated with a “light fashion show”, an event held in Milan during\nEuroluce 2000. The strategy, whose intent was to create a dialogue with\nthe dynamics of the world of fashion, appeared interesting though in\nsome cases incongruent with the baggage of experience and the\ndevelopment perspectives of Foscarini. The collaboration with Attila thus\nended in 2001, and a new set of references for communication and visual\ndesign were identified: Artemio Croatto of Designwork in Udine was\nchosen as the visual designer, and public relations were entrusted to\nSilvia Rizzi and the Ergo agency. The logo designed by Dordoni in 1989\nwas re-proportioned and in April 2002 the new catalog was printed, with\nthe focus once again on design. The rhythm of its perusal, with a double\nblack and grey page to introduce the different types of fixtures, is ordered\nin each single lamp by the succession, respectively, of images in a\nsetting, details and the entire product, photographed by Massimo\nGardone\u002FAzimut in collaboration with Ruy Teixeira. The concept for\nphotographs and text, characterized by distinct chiaroscuro to accent the\nthree-dimensional nature and the luminous effects of the fixtures, is\nappropriate for the rigorous composition and strong color palette, often\nused in wide flat fields on which the images, treated as graphic signs,\nacross:\ncertificate of the Compasso d’oro-ADI, 2001\nat top:\nMite, Compasso d’oro-ADI, 2001, advertising\npage\n",64,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.65.png","127\nare applied. In addition to the exhibition design, the same expressive\nlanguage is declined in two recent instruments of company\ncommunication: the web site and “Lux” magazine, a newly created\ncultural exploration on the theme of light, which covers different fields of\ninterest from design to art, science and technology.\nThis three year period was characterized by a greater awareness of the\nneed to identify the character, the language and the productive\ndevelopment of the light fixtures. Using prevalently blown glass, where\nresearch into the potential of the material and the processing techniques\nwas stimulated, for example, by involving Aldo Cibic. The Cocò and\nLampoon lamps, conceived as part of a family, explore original\nconstruction techniques for the glass shade. Ferruccio Laviani, with his\nsophisticated Lenin table lamp, modulates the luminous flux through a\nshield in polished stainless steel which moves up and down an elliptical\ntransparent blown glass volume.\nThe experimentation with plastics, begun in 1993 with Havana, continued\nwith the use of materials and technology often borrowed from other fields\nof production, adapted to light design. Thus Mite, and its matching\ncollection Tite, Lite and Kite, designed by Marc Sadler and winner of the\nCompasso d’oro-ADI 2001 award, derives from the processing of glass\nfabric combined with the carbon or kevlar® fiber used for fishing rods or\ngolf clubs.\nThese are objects whose design also explores previously unknown territory\nfor the field. O-space by Luca Nichetto and Gianpietro Gai is a shell\nconstituted by a sandwich of high-density polyurethane foam, in which a\ncopper tube containing the electric wires is embedded. Thus the supply\ndevices and the light source are totally concealed from sight by the shape\nof the container. Valerio Bottin with Bubble reflects on the definition of a\nspherical suspension lamp which diffuses the light in a uniform fashion,\nusing six equal diffuser elements made of polycarbonate and held\ntogether by a ball joint in chrome-finished metal.\nBlob by Karim Rashid was created using rotation moulding technology, an\ninnovative and economical system of shaping polypropylene, and in its\nlarger version it becomes a chair, inaugurating an alternative domestic\nuse, indoors and outdoors, of a lighting device. Studio Kairos studied the\nsame functional duplicity with Yet, a modular lamp-shelf which lights up\ncompletely using a single fluorescent source. Created in molded\npolycarbonate, colored and satin-finished, it features ribbing which gives\nit rigidity and creates a graphic pattern on the surface. Other fixtures\ncreate a dialogue between luminous atmospheres and metal shades, like\nthe Supernova by Laviani, a suspension lamp composed of a theory of thin\nparallel laser-cut disks in stainless steel or aluminum, which are\nacross, from top clockwise:\nSupernova, Ferruccio Laviani, 2000;\nBubble, Valerio Bottin, 2000;\nBlob, Karim Rashid, 2002;\nThor, Luca Nichetto and Gianpietro Gai, 2001;\nO-space, Luca Nichetto and Gianpietro Gai,\n2003\nfrom the top:\nLampoon, Aldo Cibic, 2002;\nLenin, Ferruccio Laviani, 2001;\nYet, Studio Kairos, 2003\n",65,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.66.png","128\nassembled to reconstruct the volume of a sphere. “The main concept of\nSupernova, states the designer, was to make a lamp which created a\nlarge volume, but with a weight and packaging that did not make it\n“difficult”. That was why I thought of disks that could be assembled to\ncreate the volume I wanted. The spheres intersect with others that empty\nits volume, creating an optical design which is reminiscent of the design\nobjects of the Sixties and Seventies. The particular shape of the disks\nwhich compose the lamp make an excellent light diffusion. ”\nA circle of full-height aluminum blades, again laser-cut, is the self-\nsupporting structure of Rha+Thor, designed by Nichetto and Gai, where\nthe presence of an upper shade allows the light to be directed both\nupwards and downwards. The metallic mesh covered in silicone resin\nbecomes both structure and surface in Bague by Patricia Urquiola and\nEliana Gerotto, anticipating a particular approach which blends the visual\nand tactile quality of objects, creating a soft surface which is coherent\nwith the shape. \nFoscarini has reached twenty years of activity in 2003: it has thirty\nemployees, presents a volume of sales in continuous growth, most of\nwhich comes from the international market. The construction of their new\nheadquarters is the symbolic and physical conclusion of the first\nimportant phase of the company’s history. Located in Marcon, the building\nconstitutes a significant expansion of the space available for the various\ncompany divisions; the architectural concept, spatial distribution, and\ninterior design achieve perfect syntony and correspondence with the\ncharacter of the products, the image and the overall quality of Foscarini.\nbelow:\ncatalog cover, Attila, 2000;\ncatalog cover, Artemio Croatto\u002F\nDesignwork, 2003\nnext page, from top clockwise:\nevent in Milan, 2000;\nEuroluce stand design, Carlo Urbinati\nand Alessandro Vecchiato, 2001;\nstand design for Euroluce, Artemio\nCroatto\u002FDesignwork, 2003, views\n",66,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.67.png","LAMPADE\nCOCÒ\n130\n",67,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.68.png","132\nCOCÒ \n",68,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.69.png","135\nCOCÒ \nCOCÒ 2000\nAldo Cibic\nThe name betrays the impish and playful\nfigurative reference which inspired \nAldo Cibic. With his usual approach, the\ndesigner attempts to “humanize” the\nobject, softening it and smoothing all\nthe rough edges.  He simultaneously\nexplores the potential of glass and the\nkind of light which a table lamp must\nprovide. Various technical adaptations\nhave changed the continuous and closed\nconfiguration which initially\ncharacterized the shade. To obtain glass\nof that shape blown into a still mold,\nparticular attention was paid to\ncontrolling the thickness and the\nconsistency of the material to avoid\ncreating annoying shadows on the\nsurface when the lamp was switched on,\nin the areas where the material might be\nthicker or could include air bubbles in\nthe vitreous material.  Another problem\nto be explored was the location of the\narea to attach the blowpipe, which was\nlocated on the bottom of the shade in\nthe only possible area allowed by the\nshape of the glass, so that the opening\ncould be covered with the lens-shaped\nelement on which the foot of the fixture\nwas attached. The large circular hole on\nthe contrary was the answer to the\nrequirement of exhausting the heat\nproduced by the source, a 100 watt\nincandescent bulb, and ensuring the\nnormal maintenance of the product.\nThe dimension and position along the\ninclined axis of the shade are functional\nto the correct conveyance of the \nluminous flux onto the working surface.\nThe result is a double lighting effect:\nwarm and diffused through the glass, \nwhite on the inside and white or ruby red\non the outside, and directed through the\nround opening. In addition, to avoid\nfingerprints on the surface the shade is\ngiven a satin finish by processing it in\nacid. The design of the base of the\nsupport, in relation to the zoomorphic\nsolution conceived by the designer, was\nregularized during the development\nphase, becoming a sort of webbed “foot”\nwith five lobes made of die-cast\naluminum and supplied with non-\nscratch pads. The support is a thin\nmetal tube painted aluminum. Pushing\nthe technical possibilities of shaping\nnew forms in Murano glass one step\nfurther, in 2003 Cibic designed the\nLampoon “ball” with soft bumps blown\ninto a still mold.\nacross and below:\ndrawings from the collection, Aldo Cibic, 2000\n",69,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.70.png","LAMPADE\nMITE\n136\n",70,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.71.png","MITE \n138\n",71,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.72.png","141\nMITE \nMITE 2000\nMarc Sadler\nThe product of over two years of\nresearch work, the Mite floor lamp has\nbeen in production since the year 2000.\nConceived by Marc Sadler, it features a\n1,85 meter high shade with a circular\nplan; its shape flares towards the top,\nand it is made of a woven glass fiber\nwrapped in a thread of carbon for the\nblack version, and kevlar® for the yellow\nversion. The shaping is done on a mold\nwhich is covered with two pieces of the\nglass fabric saturated with a special\ntransparent resin, around which the\nfiber is then wrapped. \nThe polymerization occurs in a pressure\ncontrolled oven. The idea for the project\ncame from the selection of the material\nand the processing techniques. \n“For the Foscarini lamps, says the\ndesigner, I had to pay particular\nattention to the historical origins of the\ncompany. Its product has always\nenjoyed a specifically Venetian\nconnotation, because of its work in\nMurano glass, with great sensitivity\ntowards the quality of the material.\nPlastic takes almost the opposite\nattitude towards the transformation of\nmaterial. The intent was to find a\nconnection between the techniques\nused for glass and the material at\nhand: in the case in point, I thought of\na system which I had already used for\nproducts of mass distribution, such as\ngolf clubs, tennis rackets and skis.”\nThe result which Sadler was aiming at\nwas to obtain a transparent\nunbreakable shade through roving, an\nindustrial process based on wrapping\ncarbon fibers, which for Mite were \napplied onto a woven \nglass fiber fabric and held together\nwith special resins.\nThe quantity and position of the thread\ndetermined the degree of transparency\nof the material and simultaneously\nconferred resistance, flexibility and\nlightness by requiring lesser sections. \nA manufacturer was found, who usually\napplied this technology to fishing rods\nand boat oars, and had to adjust his\nproduction processes to satisfy this\nrequest: the greatest effort was in\nmaking sure that in each phase the\nreduction of the thickness, that is the\nconsistency of the layer of composite\nmaterial, did not weaken the structure.\nSadler’s initial design, a tall cylinder\nflared at each end with an automobile\nheadlight at the top, presented\nexecution problems, in that it required\ntwo molds, and during the annealing\nprocess, the thread tended to overlap at\nthe contact point, and increase the\nopacity of the material.\nThe shape of the current shade\noriginated in the effort to reduce the\noverlay of threads to a minimum, the\nnarrow end part where the effect is\nmost obvious was in fact shortened\nduring the finishing phases. \nA determining factor for the overall\nluminous effect was also the location of\nthe light source, a 250 watt halogen\nbulb with a dimmer: three metal rods\nkeep it at a correct distance from the\nshade, leaving it suspended from the\nupper lip, in order to avoid the shadows\nthat would have been cast, for example,\nby a central support. \npreceding pages:\nprototypes Mite, 1999\nacross:\ntechnical drawing for Mite, Foscarini technical\ndivision, 2000\nat top: detail of the kevlar® fiber\n",72,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.73.png","143\nMITE\nThe upper closing ring, made of\nstainless steel polished to a mirror\nfinish which holds the three rods, is\ndesigned to act as a reflector as well,\nredirecting the light back inside the\nlamp. To balance the weight with the\nproportions, a large flat disk, in\nstainless steel with a scratch-proof\nfinish, serves as a base for the shade.\nThe series was expanded in 2001 with\nthe Lite table version and in 2003 with\nKite, the wall fixture featuring a metal\nstructure coated with aluminum-colored\nepoxydic powder paint. The jury of the\nCompasso d’oro-ADI assigned the\naward to Mite and to the Tite\nsuspension with the following\nmotivation: “these models constitute a\nclear technological innovation in the\nfield of glass processing.”  It is in fact\nan interesting and innovative research\nproject applied to a floor lamp, with an\noriginal technical and material\nsolution, made of a structure which is\nboth bearing and illuminating; a\ncontemporary material and new lighting\nperformance to redefine the morphology\nand typology of the classic luminator.\nMite is part of the permanent design\ncollection of the Centre Pompidou in\nParis.\nacross:\ndesign of a table lamp version,\nMarc Sadler, 2000\nfrom top:\nLite, Marc Sadler, 2001, views of the two sizes\nand drawing\n",73,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.74.png","LAMPADE\nBAGUE\n144\n",74,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.75.png","BAGUE \n146\n",75,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.76.png","149\nBAGUE \nBAGUE 2003\nPatricia Urquiola and Eliana Gerotto\nrotto\nPatricia Urquiola and Eliana Gerotto\ndrew inspiration for their table lamp\nfrom the shape of a ring to slip on the\nfinger. The first model of Bague was a\nshape made out of cardboard, similar \nto the one now in production, presented\nwith a sample of a possible\nconstruction material never before used\nto make a lamp, a silicone-covered\nmesh, a preview of the lighting and\nperceptive effect they imagined.\nThe result, after several attempts at\nbending, cutting and fastening the\nmaterial, was a fixture whose structural\nsupport and shade were constituted by\na stretched metal mesh painted white,\nlight grey or black, whose surface was\ncovered in transparent silicone resin, to\ndiffuse a soft filtered light. A thick\nplexiglass shield covering the body of\nthe lamp became a sort of luminous\n“stopper”, to cut glare and increase the\npropagation of light upwards.\nOn the contrary, the table top is lit\ndirectly, without protective barriers, \nby the incandescent (100 watt) light\nsource installed within the frame.\nProduced in two sizes, one elongated\nversion, the other with reduced\ndimensions, it relegates the entry of the\nelectric wire to the side, where it enters\nthrough a specifically designed round\ntransparent fastener, to avoid\ncompromising the fixture’s formal\ndesign.\nBased on a precise figurative reference,\nBague nevertheless adopts an original\nconstruction mode which unites the\nlamp’s base and shade into a single\ncontinuous form. And initiates an \nexploration not only of the perceptive\nqualities of light, but also into the\ntactile qualities of the material, working\nthrough contrasts: the mesh core\ntransmits an idea of softness though it\nremains rigid to the touch and\nconstitutes the skeleton of the object,\nthe resin on top mitigates the typically\nrigid look of metal.\nBague thus embodies Foscarini’s\nspecific interest in lamps which are\ntechnically well developed and produced\nwithout compromising their formal and\nvisual emotional quality.\nacross:\ndrawings, Patricia Urquiola, 2003\nfrom top.\nmodels of the structure-diffuser, 2003\n",76,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.77.png","IDEAS\nCOMMUNICATION\nAND PHOTOGRAPHY\n150\n",77,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.78.png","153\nOrbital, photo by Emilio Tremolada, 1993\nCOMMUNICATION AND PHOTOGRAPHY\nThe evolution of Foscarini’s communication strategy testifies to the\nprogressive structuring of this fundamental instrument of business\ndevelopment, tied to specific situations, requirements and needs, and\nrelated to changes in the strategy and identity of the company. From an\ninitial condition where the definition of production and product\ncharacteristics was its primary concern, Foscarini gradually moved towards a\ngreater focus on issues of communication and image, until a continuous and\ndetermined process turned them into crucial factors in a close-knit dialogue\nwith the process of defining design, research, typology and technical\ninnovation. This evolution corresponded naturally to the increased attention\nwhich these issues have registered in the business world, especially for\ndesign companies. Product, structure, organization and process quality must\nalways be adequately portrayed inside and outside the company. Integrated\ncommunication is a complex system, which starts with strategic decisions,\nand translates first into a global visual design, from the logo to the various\ntypes of printed material and publications, to the design of trade fair\nexhibitions and retail stores, and then involves the documentation of the\nrelevant aspects of the company’s work. Every company makes decisions\nregarding its characteristics and objectives which, within certain limits, can\nbe modified or adjusted over time.\nFrom 1983 to 1987, the Foscarini image, from the logo to the first catalogs,\nwas created by Urbinati and Vecchiato, who emphasized the relationship\ncatalog covers, Rodolfo Dordoni, \n1989 and 1993\n",78,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.79.png","154\nCaliz, photo by Santi Caleca, 1997\nwith Murano, the dialogue between their work in the field of contract and the\nnew design venture. The result was a low-key, traditional and reassuring\ncommunication, which reflected the character of the blown glass products\nmade by the company.\nWith the choice of Rudi von Wedel first and later Rodolfo Dordoni, designer\nand art director from 1988 to 1993, Foscarini progressively defined its own\ncharacteristics, which began to reach beyond the explicit reference to\nMurano, starting with the logo, but without forgetting its privileged and\noriginal material, glass, progressively integrated by other materials and\ntechnology. Renouncing the unequivocal identification with Venice, the\nphysical and psychological origin of the company, was neither an obvious nor\npainless choice, but it was understood to be a necessary step towards\nbuilding precise possibilities for further growth and development.\nFoscarini can count on a solid and well structured identity, which it\ndeservedly identifies with the contemporary evolution of the culture of\nindustrial design, developed under Dordoni’s art direction, as the basis for its\nown design and production sensitivity and flexibility. After the conclusion of\nits relationship with Dordoni, who had used Emilio Tremolada for the still life\nphotographs in the new catalogs, the Foscarini communication was entrusted\nto Claudio Dell’Olio of Box2. The focus of attention became the multiplication\nof independent collaborations and the development of design, as well as the\novertures to an audience oriented towards the design project, the specific\nsensitivity and culture of living. This direction was confirmed by the decision\nto present photographic images showing the products in the catalog within\ndomestic or work spaces, spaces where people live and work. The evolution of\nthe photographic language must be seen in relation to the search for a\ndifferent type of presentation to a public of professionals and consumers. \ncatalog covers, Claudio Dell’Olio\u002FBox2, \n1996 (1998 edition);\ncatalog cover, Attila, 2000\n",79,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.80.png","157\n2001\n1989\n1983\nBubble, photo by Ruy Teixeira, 2001\nA less neutral and detached style, a warmer and more seductive approach\nwhich would open new and unexplored spaces for success in terms of image\nas well as sales. From 1994 to 1999 Santi Caleca participated in the\nphotographic campaign, contributing decisively to the creation of a new\nvisual image of how the products could be used.\nThe collaboration which ties Foscarini to the Attila advertising firm in Milan\nduring the years 2000-2001, marks a significant step forward in which the\ncompany definitively and completely adopts all the instruments of\ncommunication, conceived within a vision which sought an international\ndimension and referred to the world of fashion design, in a rather unusual\napproach for industrial design.\nIn 2001, the visual design was entrusted to Artemio Croatto of Designwork in\nUdine. The new project for visual design and communication, illustrated with\nthe images of Massimo Gardone\u002FAzimut and Ruy Teixeira, defines a strongly\ncontemporary expressive language; the innovative characteristics of the\ncompany’s products dialogue intensively with the new global quality of the\nimage, which adopts crisp, clean and rational graphics, emphasized by\nstrong colors and the pursuit of an emotional visual quality.\nA language declined in all the instruments of the corporate image, from the\nlogo to the catalogs to the exhibition design for fairs and other events, to the\nweb site. The definition and progressive building of a company identity,\nfocused on innovation and research in industrial design, quality certification\nfor processes and services, found further application, a place for dialogue,\ntheoretical and operative meditation in the “Lux” magazine, a privileged and\narticulated instrument for the consolidation of the specific culture of the\ndesign company.\nFoscarini logos:\nFoscarini technical division, 1983;\nRodolfo Dordoni, 1989;\nArtemio Croatto\u002FDesignwork, 2001\nbelow:\ncover of the general catalog and new\nproducts, Artemio Croatto\u002FDesignwork,\n2002 and 2003\n",80,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.81.png","158\n159\n“Lux” magazine, Artemio Croatto\u002FDesignwork\ncover and inside pages\nat top and right:\nhome page and pages from the website,\nArtemio Croatto\u002FDesignwork 2002\nbelow:\nadvertisement, Artemio Croatto\u002FDesignwork,\n2003\n",81,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.82.png","DESIGNERS\nPRODUCT ARCHIVE\nCHRONOLOGY\nBIBLIOGRAPHY\n",82,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.83.png","163\nValerio Bottin \nBorn in Padua in 1963, in recent years he has\ncomplemented his work as an architect with\nindustrial design, particularly in the field of\nlighting. His collaboration with Foscarini\nbegan in 1994 with Mistral, and at present\ncounts about ten styles, including Sphera,\nDouble, Vitt, Cross, Totem, Bubble, Tutù, Affix\nand Spring.\nPatrice Butler\nAn architect educated in London and New\nYork, since the mid Eighties he is involved in\nlighting, architecture and interior design\nprojects. Since 1997, following several years\nof professional residency in China, he has\nbeen working in London, especially as a\nlighting designer. For Foscarini he created the\nVenice collection and the Nostromo system in\n1992.\nAldo Cibic\nBorn in Schio (Vicenza) in 1955, he was one\nof the founding members of Sottsass\nAssociati and one of the protagonists of the\nMemphis group. With Antonella Spiezio and\nSmilian Cibic, he founded Cibic & Partners in\n1989. The studio designs architecture and\ninterior design in Italy and abroad – from\ndepartment stores, to film theatres to public\nworks – and works in industrial design,\nexperimenting with self-production and\ncollaborations with various companies. \nThe first project for Foscarini was Cocò in\n2000, the second Lampoon in 2003.\nTom Dixon\nBorn in Tunisia (Sfax, 1959), he studied in\nLondon. A professional musician, he entered\nthe field of design as both designer and\nentrepreneur, experimenting with materials,\ntechnology and form, exploring for example the\ntheme of recycling. For Foscarini he was the\nauthor of the Lightweight collection in 1995.\nRodolfo Dordoni\nBorn in Milan in 1954, architect and designer,\nhe works in industrial design, trade fair and\ncommercial design. He began working in 1979,\nfocusing on the field of furniture design, where\nhe was responsible for the artistic direction\nand coordinated image of several major\nmanufacturers. From 1988 to 1993 he worked\non the company identity and art direction for\nFoscarini, for which he designed Fruits,\nLumiere, Bijou, Blossoms and Buds.\nJozeph Forakis\nA designer of Greek origin, born in New York in\n1962; he moved to Milan, after an initial\nexperience in the United States in the fields of\nart, theatre, high tech and bio-medicine,\ndeveloping research in the field of interactive\ndigital technology. In 1993, he opened his own\nbusiness, working in the field of strategic\nresearch and the development of design\nproducts. Havana, a lamp designed for\nFoscarini in 1993, is part of the permanent\ncollection of MoMA in New York.\nGiulio Gianturco \nA self-taught designer, with a passion for\ntechnical materials focused particularly on\nstainless steel, he began to design objects in\nthe early Nineties. Among his creations,\nconcentrated in the field of faucets and home\nappliances, there is Blues, a lamp created for\nFoscarini in 1998.\nGordon Guillaumier\nBorn in Malta in 1966, he moved to Milan in\n1989 to finish his studies in industrial design.\nHe worked with architect Rodolfo Dordoni on\nproduct design and development. In addition to\nartistic consulting and design management for\nfurniture manufacturers, he has created a\nvariety of objects, including Senglea for\nFoscarini in 1993.\nItamar Harari\nBorn in Israel (Tel-Aviv, 1960), he graduated in\narchitecture in Florence and moved to Milan in\n1989, to work in the Zanuso studio and Atelier\nAlchimia. He alternated his work in\narchitecture and trade fair design with\ncollaborations for a variety of manufacturers in\nthe field of industrial design. In 1995, he\nopened a consulting, design and management\nfirm. For Foscarini he is the author of Mir in\n1996 and, two years later, Joint.\n",83,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.84.png","165\nAlex Hochstrasser \nBorn in 1973, he has designed objects since\n1997, especially lighting fixtures. Following his\ncollaboration with international groups such as\nIdeo, he added visual design interventions to\nhis work. For Foscarini he designed Hoc in\n1999.\nDefne Koz\nBorn in Ankara (Turkey) in 1964, following her\nstudies in Milan, she collaborated briefly with\nSottsass Associati. She has designed furniture,\ntableware and appliances for many\ninternational companies, in addition to store\nand interior design. Her collaboration with\nFoscarini began in 1994 with Circus, and led\ntwo years later to the creation of Dress.\nFerruccio Laviani\nArchitect and designer born in Cremona in\n1960, he was one of the founders of the Solid\ngroup and an associate of the De Lucchi studio\nin Milan between 1986 and 1991. \nThough continuing product design, his work\nover time has acquired a more ample\ndimension including the artistic direction,\ngraphic identity, and design of trade fair\nappearances, events and showrooms for a\nnumber of companies in the furniture field.\nOrbital for Foscarini in 1992 marked his debut\nin designing lamps, a collaboration which\nproceeded with Bit, Dolmen, Supernova and\nLenin.\nGiovanni Levanti\nBorn in Palermo in 1956, where he graduated\nin architecture, he continued his studies in\nMilan. A professor at the Domus Academy,\nsince 1986 he has practiced design in Milan,\ncollaborating with various Italian and foreign\ncompanies and participating in international\ndesign exhibitions. For Foscarini he conceived\nthe Quadra lamp in 1993 and in 1996 the\nQuadralta.\nLievore Asociados\nFounded in Barcelona in 1991 by Alberto\nLievore (Buenos Aires, 1948), Jeannette Altherr\n(Heidelberg, 1965) and Manuel Molina\n(Barcelona, 1963), the Lievore firm works in\nthe design of furniture, interiors, and\npackaging, consulting and artistic direction. \nIn 1996 the studio designed the Esa style, the\nfollowing year Caliz.\nPiero Lissoni\nThe architect Lissoni was born in Milan in\n1956, and founded Studio Lissoni in 1986 with\nNicoletta Canesi, working in the field of\nindustrial, graphic, exhibition and interior\ndesign, and architecture. His first jobs date\nback to the late Seventies; his name is linked\nto many manufacturers in the field of furniture,\nfor whom he creates not only objects but\nfrequently brand identity as well. For Foscarini\nhe designed the Basic, Cap, Flat and Bugia\nstyles in 1994.\nFrancesco Lucchese\nBorn in the province of Messina in 1960, he\ngraduated in architecture in Milan in 1985.\nOver the years, he elaborated many industrial\ndesign projects in the field of lighting – Mix for\nFoscarini dates from 1996, and ceramics. \nMost recently the studio has begun working on\nthe coordinated image of products including\ngraphics, display and advertising.\nAlessandra Matilde\nAfter studying theatre design in Venice, she\nmoved to London where for several years she\ndesigned installations and sets. Living in New\nYork since 1999, she began to conceive her\nfirst luminous experiments which would lead\nher to create installations, one of a kind or\nlimited edition pieces for galleries, private\ncollectors and companies. In 2003 she created\nthe Ellepi lamp for Foscarini.\n",84,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.85.png","167\nMarco Mencacci\nBorn in 1959, following his studies in Paris\nand his debut as a textile designer for fashion,\nhe settled in Italy in 1987. Besides designing\nfurnishings, such as the Ramon and Lucindo\nsuspensions created for Foscarini in 1992, he\ndoes interior design work and set design for\nthe theatre.\nAngelo Micheli\nBorn in Crotta D’Adda (Cremona) in 1959, an\narchitect and designer and one of the founders\nof the Solid group, in 1984 he began to\ncollaborate with Michele De Lucchi in Milan in\nthe field of architecture and industrial design.\nOver the past ten years his attention has been\nfocused on the “design of services”, creating\nsystems of communication for institutions and\nbanks which reinvent the use of space\nbeginning with the product. In 1994 he\ndesigned the Cielo lamp for Foscarini.\nRuben Mochi\nBorn in Buenos Aires (Argentina) in 1952, an\narchitect, he continued his studies in\nindustrial design at the Royal College of Arts in\nLondon. For twenty years he has been in\nprofessional practice, managing exhibition\ndesign for trade fairs and shows, for Italian\nand foreign clients in the field of fashion and\nfurniture. In 1991 he created the Shelly lamp\nfor Foscarini.\nLuca Nichetto and Gianpietro Gai\nLuca Nichetto (Venice, 1976) and Gianpietro\nGai (Valdobbiadene, Treviso, 1972) studied\nindustrial design at the IUAV di Venezia. \nThey have worked together since 1998 in\nprojects for lighting, objects for the home,\ngraphic and web design. Since 2001, besides\ndesigning Rha+Thor, Maui and O-space for\nFoscarini, they have collaborated with the\ncompany in researching and developing new\nmaterials.\nRoberto Palomba and Ludovica Serafini\nArchitects and designers, they have worked\ntogether since 1994. In addition to their work\nin architecture, exhibition design and product\ndesign, particularly in the field of ceramics,\nthe studio is responsible for the artistic\ndirection and marketing of several companies.\nIn 1996, they designed the Zen, Olly, Dom and\nHola lamps for Foscarini.\nLuc Ramael\nA Belgian interiors architect and designer, he\nteaches and maintains a professional practice\nin the fields of interior and product design,\nparticularly in the field of lighting. In 1993 he\ndesigned the Clips lamp for Foscarini.\nKarim Rashid\nBorn in Cairo in 1960, he grew up mainly in\nCanada; after graduating in industrial design,\nhe earned his specialization in Naples before\nmoving to Milan to work in the studio Rodolfo\nBonetto. In his New York firm, which he\nfounded in 1993, he works in industrial design,\ninterior design and exhibition design for\ngalleries, exhibitions and museums. In 2002 \nhe designed the Blob lamp for Foscarini.\nProspero Rasulo\nBorn in 1953 in Stigliano di Matera, an artist\nand designer, he has worked since 1980 \nin the fields of set design, painting, sculpture\nand exhibition design. During the same years\nhe began to collaborate with the studio\nAlchimia and Alessandro Mendini, alternating\nhis design work with the promotion of cultural\ninitiatives. In addition to his work with the\nindustry, he exhibits his pieces in many art and\ndesign galleries. Since 1992, he has designed\nthe Alcea, Stilla and Qua lamps for Foscarini.\nMarc Sadler\nBorn in Austria, of French origin but Italian by\nchoice, for years he has conducted important\nexperiences in the field of sporting equipment,\nwhere he has experimented with innovative\nmaterials and production technologies, a\nbaggage of knowledge which he has developed\nin his many projects for home appliances,\nbathroom fixtures and furniture products. In\n2001 he won the Compasso d’oro-ADI for the\nMite and Tite collection by Foscarini.\n",85,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.86.png","169\nDenis Santachiara\nA self-taught designer, he was born in\nCampagnola (Re) in 1951. Following his\nresearch on soft technology in the mid\nSeventies, he has collaborated since 1984 \nwith Italian and foreign, public and private\ncompanies in the design of exhibitions and\ncultural initiatives, and in the research and\ndevelopment of new products. In 1999 he\ncreated the Elfo lamp for Foscarini.\nStudio Kairos\nFounded in 1980, it counts Massimo Bonetti\n(Turin,1949), Giuseppe Manente (Venice, 1947)\nand Abramo Mion (Mirano, Venice, 1951). \nIn addition to building and interior design, they\nwork in design and development in the field of\nfurniture. In 2003 the studio designed the Yet\nlamp-shelf for Foscarini.\nAdam D. Tihany\nArchitect, born in Transylvania in 1948, after\nseveral European experiences he established\nhis firm in New York in 1978. A design practice\nwhich involved many areas, from residential\nand commercial interiors to graphics, and later\nfocused on design in the field of food service\nand in contract work with important\ninternational commissions. In 1983 he\ndesigned the Wassily off the Wall collection\nwith Joseph Mancini for Foscarini.\nPio and Tito Toso\nArchitects and partners since 1996, they\noperate in the field of public and private\narchitecture and industrial design,\ncollaborating particularly with companies in\nthe field of furnishings, such as Foscarini, for\nwhich they designed the Manta lamp in 2001.\nThe studio’s work includes design projects for\ntrade fairs, boutiques and offices, and they are\nresponsible for the visual and graphic\nidentities of the companies.\nCarlo A. Urbinati Ricci \nand Alessandro Vecchiato\nCarlo A. Urbinati (Genoa, 1955) and Alessandro\nVecchiato (Venice, 1959) Clessidra and\nGraphos, designed by Urbinati and Vecchiato,\nare the first standard lamps produced by\nFoscarini in 1982. Owners of the company\nsince 1987, and sole designers through 1989,\nexcept for their brief collaboration with Adam\nD. Tihany, they have created over twenty\ncollections, including Plana (1984), Folio\n(1990) and Shape (1998), still in the catalog.\nPatricia Urquiola \nand Eliana Gerotto\nPatricia Urquiola was born in Oviedo (Spain)\nand graduated in architecture in 1989.\nFollowing her experiences with De Padova and\nLissoni Associati, in 2001 she opened her own\nfirm where she works in architecture, exhibition\nand industrial design, collaborating with\nItalian furniture manufacturers. Eliana Gerotto,\nborn in Venice, studied techniques of\ncommunication in Milan. She works in several\nfields: from the graphics and communications\nfield to the design of international exhibitions,\nto interior decoration. In 2003 they created the\nBague lamp together for Foscarini.\n",86,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.87.png","170\n171\n1982\u002F1989\nClessidra\n(blown glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1982\u002F1995\nGraphos  \n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1983\u002F1990\nIndice  \n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1983\u002F1994\nRefloz\n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1983\u002F1995\nRolli\n(glass rods and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1984\u002F1995\nFloppi \n(pressed glass and industrial glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1984\u002F1995\nPivot  \n(pressed glass and metal)\nCarlo Urbinati\nand Alessandro Vecchiato\n1984\u002Fin catalog\nPlana\n(blown glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1985\u002F1992\nKigò\n(blown glass and metal)\nCarlo Urbinati\nand Alessandro Vecchiato\n1985\u002F1991\nLift\n(blown glass and die-cast metal)\nCarlo Urbinati\nand Alessandro Vecchiato\n1985\u002F1995\nWassily off the Wall\n(blown glass and metal)\nAdam D. Tihany\nwith Joseph Mancini\n1986\u002F1993\nColora\n(pressed glass and extruded aluminum)\nCarlo Urbinati \nand Alessandro Vecchiato\n",87,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.88.png","172\n173\n1986\u002F1993\nLuna\n(blown glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1986\u002F1993\nMonolite\n(glass rods and extruded aluminum)\nCarlo Urbinati \nand Alessandro Vecchiato\n1986\u002F1993\nTilla\n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1987\u002F1995\nDomino\n(pressed glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1988\u002F1999\nRanda\n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1990\u002F1998\nAchille\n(blown glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1988\u002F1992\nSamarcanda\n(blown glass, metal and copper)\nCarlo Urbinati  \nand Alessandro Vecchiato\n1988\u002F1995\nSkeet\n(pressed glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1990\u002F1995\nFlou\n(blown glass and metal)\nCarlo Urbinati \nand Alessandro Vecchiato\n1990\u002Fin catalog\nFolio\n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1990\u002F2003\nFruits\n(blown glass and die-cast metal)\nRodolfo Dordoni\n1990\u002F1995\nLuis\n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1990\u002Fin catalog\nLumiere\n(blown glass and die-cast metal)\nRodolfo Dordoni\n1990\u002F1995\nTandem\n(blown glass and metal)\nCarlo Urbinati\nand Alessandro Vecchiato\n1991\u002F1995\nShelly\n(molded glass and die-cast metal)\nRuben Mochi\n",88,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.89.png","174\n175\n1992\u002F1997\nAlcea\n(blown glass and die-cast metal)\nProspero Rasulo\n1992\u002Fin catalog\nBijou\n(blown glass and die-cast metal)\nRodolfo Dordoni\n1992\u002F2000\nLucindo\n(blown glass and metal)\nMarco Mencacci\n1992\u002F2001\nNostromo\n(aluminum)\nPatrice Butler\n1992\u002Fin catalog\nOrbital \n(industrial glass and metal)\nFerruccio Laviani\n1992\u002F1998\nRamon\n(blown glass and beads)\nMarco Mencacci\n1992\u002F1999\nVenice\n(blown glass and beads)\nPatrice Butler\n1993\u002Fin catalog\nBit\n(industrial glass)\nFerruccio Laviani\n1993\u002F1998\nBlossoms\n(blown glass and metal)\nRodolfo Dordoni\n1993\u002Fin catalog\nBuds \n(blown glass)\nRodolfo Dordoni\n1993\u002F2001\nClips\n(parchment and metal)\nLuc Ramael\n1993\u002Fin catalog\nHavana\n(polyethylene or polypropylene and metal)\nJozeph Forakis\n1993\u002Fin catalog\nQuadro\n(blown glass and industrial glass)\nGiovanni Levanti\n",89,{"image":369,"text":370,"number":10},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.90.png","176\n177\n1993\u002F1996\nSenglea\n(blown glass and metal)\nGordon Guillaumier\n1994\u002F2001\nBasic \n(blown glass and metal)\nPiero Lissoni\n1994\u002F1996\nCap\n(blown glass and metal)\nPiero Lissoni\n1994\u002F1997\nCielo\n(blown glass and metal)\nAngelo Micheli\n1994\u002Fin catalog\nCircus\n(blown glass and metal)\nDefne Koz\n1994\u002Fin catalog\nFlat\n(industrial glass)\nPiero Lissoni\n1994\u002Fin catalog\nMistral\n(blown glass)\nValerio Bottin\n1994\u002F1996\nSphera\n(blown glass and metal)\nValerio Bottin\n1994\u002F1997\nStilla\n(blown glass)\nProspero Rasulo\n1994\u002F1996\nVis a Vis\n(blown glass and metal)\nCarlo Urbinati\nand Alessandro Vecchiato\n1996\u002F1998\nBugia\n(pressed glass)\nPiero Lissoni\n1995\u002Fin catalog\nLightweight\n(blown glass and metal)\nTom Dixon\n1996\u002Fin catalog\nDolmen\n(Lexan and aluminum)\nFerruccio Laviani\n",{"image":372,"text":373,"number":374},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.91.png","178\n179\n1996\u002Fin catalog\nDress\n(blown glass)\nDefne Koz\n1996\u002Fin catalog\nEsa\n(blown glass and die-cast metal)\nLievore Asociados\n1996\u002F2003\nMir\n(blown glass and die-cast metal)\nItamar Harari\n1996\u002F1998\nMix\n(blown glass)\nFrancesco Lucchese\n1996\u002F2000\nOlly\n(blown glass)\nRoberto Palomba \nand Ludovica Serafini\n1996\u002F1998\nQuadralta\n(blown glass and industrial glass)\nGiovanni Levanti\n1996\u002Fin catalog\nVitt\n(blown glass and metal)\nValerio Bottin\n1996\u002F2000\nZen\n(blown glass and wood)\nRoberto Palomba \nand Ludovica Serafini\n1997\u002F2000\nCaliz\n(blown glass, metal or wood)\nLievore Asociados\n1997\u002Fin catalog\nHola\n(industrial glass)\nRoberto Palomba \nand Ludovica Serafini\n1998\u002F2001\nBlues\n(blown glass and metal)\nGiulio Gianturco\n1998\u002Fin catalog\nCross\n(blown glass)\nValerio Bottin\n1996\u002Fin catalog\nDouble\n(blown glass)\nValerio Bottin\n1998\u002Fin catalog\nDom\n(blown glass)\nRoberto Palomba \nand Ludovica Serafini\n",91,{"image":376,"text":377,"number":378},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.92.png","180\n181\n1998\u002F2001\nJoint  \n(polycarbonate and metal)\nItamar Harari\n1998\u002Fin catalog\nQua \n(blown glass)\nProspero Rasulo\n1998\u002Fin catalog\nShapes \n(blown glass)\nCarlo Urbinati \nand Alessandro Vecchiato\n1998\u002Fin catalog\nTotem\n(polyethylene and metal)\nValerio Bottin\n1999\u002Fin catalog\nElfo\n(blown glass and metal)\nDenis Santachiara\n1999\u002F2000\nHoc\n(blown glass)\nAlex Hochstrasser\n2000\u002Fin catalog\nBubble\n(polycarbonate and metal)\nValerio Bottin\n2000\u002Fin catalog\nCocò\n(blown glass and metal)\nAldo Cibic\n2000\u002Fin catalog\nMite and Tite\n(woven glass fiber and carbon or kevlar® thread)\nMarc Sadler\n2000\u002Fin catalog\nSupernova\n(stainless steel or aluminum)\nFerruccio Laviani\n2000\u002Fin catalog\nTutù \n(blown glass and metal)\nValerio Bottin\n2001\u002Fin catalog\nAffix\n(blown glass and metal)\nValerio Bottin\n2001\u002Fin catalog\nLenin\n(blown glass and stainless steel)\nFerruccio Laviani\n",92,{"image":380,"text":381,"number":382},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.93.png","182\n183\n2001\u002F2003\nSpring\n(blown glass)\nValerio Bottin\n2001\u002Fin catalog\nRha+Thor\n(aluminum)\nLuca Nichetto and Gianpietro Gai\n2001\u002Fin catalog\nTutù parete\n(blown glass)\nValerio Bottin\n2002\u002Fin catalog\nBlob\n(polypropylene)\nKarim Rashid\n2002\u002Fin catalog\nLampoon\n(blown glass and metal)\nAldo Cibic\n2002\u002Fin catalog\nMaui \n(blown glass)\nLuca Nichetto and Gianpietro Gai\n2003\u002Fin catalog\nBague\n(metal mesh)\nPatricia Urquiola and Eliana Gerotto\n2003\u002Fin catalog\nEllepi \n(polycarbonate)\nAlessandra Matilde\n2003\u002Fin catalog\nKite\n(woven glass fabric and carbon or kevlar® thread)\nMarc Sadler\n2003\u002Fin catalog\nO-space\n(polyurethane foam)\nLuca Nichetto and Gianpietro Gai\n2003\u002Fin catalog\nYet\n(polycarbonate)\nStudio Kairos\n2001\u002Fin catalog\nLite\n(woven glass fiber and carbon or kevlar® thread)\nMarc Sadler\n2001\u002Fin catalog\nManta\n(industrial glass)\nPio and Tito Toso\n",93,{"image":384,"text":385,"number":386},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.94.png","185\nCHRONOLOGY\n1981 Foscarini spa is founded with\nheadquarters in Fondamenta Manin 1 on\nMurano\n1982 Graphos and Clessidra are the first lamps\ndesigned by Carlo Urbinati and Alessandro\nVecchiato\n1983 on November 13th, presentation of the\nfirst catalog with products designed by\nUrbinati and Vecchiato, and the first marketing\nmeeting is held.\n1985 Adam D. Tihany with the glass collection\nWassily off the Wall is the first independent\ndesigner at Foscarini\n1988 Vecchiato and Urbinati buy Foscarini;\nRodolfo Dordoni becomes the company art\ndirector and designer through 1993; a new\ncompany image is created\n1992 Ferruccio Laviani designs Orbital, the\nfirst lamp that is not in Murano glass, which\nbecomes an important commercial success and\nan icon for Foscarini\n1993 Havana by Jozeph Forakis uses plastic;\nthe company moves to Marcon (Venice)\n1996 Foscarini obtains the certification of\nquality UNI EN ISO 9001; Claudio Dell’Olio \u002F\nBox2 is responsible for the new Foscarini\ncatalog\n2000 during Euroluce in Milan the new\nproducts are presented in a fashion show\n2001 Mite and Tite by Marc Sadler are awarded\nthe Compasso d’oro-ADI, a prestigious\nrecognition in Italian design\n2002 Artemio Croatto\u002FDesignwork, Foscarini’s\nnew visual designer, redesigns the instruments\nof visual communication and the company\nidentity\n2003 the new Foscarini headquarters is built in\nMarcon (Venice), and inaugurated in November\nBIBLIOGRAPHY\nE. Ambasz (ed.), The International Design\nYearbook, Thames and Hudson, London 1986,\np. 125\nL. Massoni (edited by), Made in Italy, Giorgio\nMondadori e Associati, Milan 1986,\npp. 104-105\nLampa d’arte and Foscarini, in “Interni Annual\n‘86”, 1986, pp. 71-73\nG.P. Boetti, Kandinskij scende dai muri,\nin “La stampa”, insert, 73, March 28 1986\nOmaggi luminosi, in “Modo”, 87, March 1986,\np. 12\nB.J. Knox, Designer fixtures Adam Tihany\nintroduces his off the wall ideas, in “Lighting\nDimensions”, May-June 1986, pp. 14-17\nKleurig glas, in “Erm”, October 22 1986, p. 31\nLa luce dell’arte, in “Gran Bazaar”, \nDecember-January 1986\nD. Giovanola (edited by), Foscarini.\nNuova luce per il vetro, in “Gap casa”,\nJune 1990, pp. 108-109\nFoscarini ad Euroluce mentre nasce la divisione\n“Import”, in “Il mobile”, 15 November 1990\nDesign danese e Nuova produzione Foscarini, in\n“Light”, December 1990, p. 41\nVarious authors, Progetti e territori, exhibition\ncatalog, Arsenale Editrice, Venice 1991, \npp. 166-167\nEuroluce. L’Italie fait feu de tout verre, in\n“Revue de l’ameublement”, May, 1992,\npp. 45-46\nIndustrial Design Review, Action Group \nEditore, srl 1994, p. 172\nN. Churchill (ed.), Fx 1995 Product Design\nYearbook, Etp Limited, Chelmsford (Essex)\n1995, p. 19\nM. Byars, 50 Light, Rotovision sa, Crans-Près-\nCéligny (Ch) 1997, pp. 78-82\nA. Bassi, Licht\u002FLight, in Licht\u002FLight&Design,\nexhibition catalog, Stichting Interieur Vzw,\nKortrijk 1998, pp. 76-89\nTihany Design. Adam D. Tihany with Nina\nMcCarthy, The Monacelli Press, New York 1999,\npp. 48-53, 90-91, 95, 134-137, 212-213\nM. Romanelli (edited by), Il vetro progettato,\nexhibition catalog, Electa, Milan 2000,\np. 125\nMostra del XIX Premio Compasso d’Oro,\nexhibition catalog, ADI Milano 2001, Editrice\ncompositori, Bologna 2001, pp. 60-61\nTite, Mite, in ADI Design Index 2000,\nADI Milano 2001, Editrice compositori, \nBologna 2001, p. 103\n“Compasso d’Oro” für die Leuchten “Mite” und\n“Tite” von Foscarini, in “Licht”, 3, March 2002,\np. 267\nA. Miller, Foscarini Fashion Light. Mite e Tite\nselezionate per il Compasso d’Oro, in “Italian\nStyle Magazine”, Spring 2002, p. 85\nEleganz, Phantasie und Innovation, in “Licht”,\n6, June 2002, pp. 502-503\nFoscarini punta di più sull’innovazione, in\n“Affari&Finanza”, supplement to \n“La Repubblica”, June 3 2002, p. 28\nLumières d’automne chez Foscarini, in\n“Intramuros”, 103, October-November 2002\nI. Carella (edited by), I love plastic, in “Modo”,\n223, November 2002, pp. 53-56\nB. Choi, Ferruccio Laviani, in “Modern Home”,\n293, November 2002, pp. 136-140\nLe Notizie, in “GDA”, November 2002, \npp. 55, 180\nM. Kroucharska, Forma e sostanza, in\n“Lighting”, 72, December 2002, pp. 7, 28-32\nr.t. (R. Tessa), Foscarini. La luce che vuol avere\nuna carica emotiva, in “Affari&Finanza”,\nsupplement to “La Repubblica”, \nDecember 16 2002, p. 27\nA. Bassi, La luce italiana. Design delle\nlampade 1945-2000, Electa, Milan 2003,\npp. 174, 176\nL. Prandi, Sfide all’emozione tattile, and Diletta\nToniolo, Linguaggi aziendali, in “Box\nInternational Trade”, 34, January 2003, \npp. 100-102 and 64-66, in partic. p. 65\nE.M., Foscarini: semplice complessità, in\n“OFX”, 70, January-February 2003\nUn salvagente chiamato design, in “Gente\nMoney”, 4, April 2003, pp. 40-45, \nin partic. p. 45\nL. Ridenti, Pensieri da un designer d’eccezione,\nin “Gap casa”, 183, June-July 2003,\npp. 94-97\nK. Ambühl, Form folgt Erfahrung, in\n“Wohnrevue”, 8, 2003, pp. 98-100\nFoscarini, in “iD”, September 2003, pp. 26-28\n",94,{"image":388,"text":19,"number":389},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.95.png",95,{"image":391,"text":392,"number":393},"\u002Fmedia\u002Fimages\u002Fbf\u002F3e26675afa4258823f15b611949b68-2854c02482.96.png","Foscarini Murano Srl\nvia delle Industrie 27\n30020 Marcon \u002F Ve\nT +39 041 595 1199\nF +39 041 595 9232\nfoscarini@foscarini.com\nwww.foscarini.com\nCompany certified\nISO 9001\nBook project and editor\nAlberto Bassi\nDocumentary research and editing\nFiorella Bulegatto\nTranslation\nOlga Barmine\nCoordination and graphic design\nDesignwork\nArt direction Artemio Croatto\nArt work Piero Di Biase\nMade and printed in Italy \nby GFP\n© 2003 by Foscarini Srl, Marcon \u002FVe\nAll rights reserved\nKevlar® is a registered trademark \nof DU-PONT de NEMOURS.\nphotocredits\nMassimo Gardone\u002FAzimut \npp. 14-16, 19-20, 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