[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-slamp-la-traviata-by-robert-wilson":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":89},{"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":84,"matched_pages":85,"match_count":86,"two_pages":87,"show_text":88},13538,"La Traviata by Robert Wilson","slamp-la-traviata-by-robert-wilson","\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff7\u002F41c8f910b83865e6e4ea3f0bc35fcd-275bf44748.pdf","Slamp",229,"slamp","4.8 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81],{"image":7,"text":15,"number":16},"design by\nROBERT WILSON\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.2.png","3\n2\nSLAMP S.p.A.\nLA TRAVIATA COLLECTION\nEditor: Roberto Ziliani\n  \nArt Direction: Luca Mazza\nTexts: Erika Martino\nTranslations: Melissa Marchese\nPhotos: Lorenzo Sechi\nSpecial Thanks: Stephanie Engeln, Aikaterini Karagkouni,\nAlex Innamorati, Celestino Sale, Roberto Tino.\nPrint: Euroteam, BS\n© 2017-2018 SLAMP SpA, Italy\nTutti i diritti riservati - All rights reseved\nwww.slamp.it\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.3.png","5\n4\nSE TEMPO, SPAZIO E IMMOBILITÀ\nFOSSERO CATTURATI NON SINGOLARMENTE,\nMA IN UN’UNICA MANIFESTAZIONE ASTRATTA,\nQUESTA SI CHIAMEREBBE “LA TRAVIATA”\nIF TIME, SPACE, AND STILLNESS\nWERE TO BE HARNESSED, NOT INDIVIDUALLY,\nBUT AS A SINGULAR, NON-INTERPRETIVE MANIFESTATION, \nTHAT MANIFESTATION WOULD BE “LA TRAVIATA”.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.4.png","7\n6\nLA TRAVIATA, design by Robert Wilson\nRobert Wilson (4-10-1941), definito dal The New \nYork Times come l’artista teatrale più visionario \nal mondo, è un avanguardistico direttore teatra-\nle, regista e drammaturgo americano. Nell’arco \ndella sua articolata carriera, lavora anche come \ncoreografo, performer, pittore, scultore, video \nartist e sound\u002Flighting designer. A partire dagli \nanni sessanta, le produzioni di Wilson hanno \nradicalmente sconvolto in forma ed estetica il \nmondo del teatro e dell’opera lirica fino a quel \nmomento noto. Il suo caratteristico modo di \nutilizzare la luce, la continua ricerca sul movi-\nmento, il rigore classico del design scenico e \ndegli allestimenti scelti, articolano, alimentano \ne rendono facilmente identificabile la forza e \nl’originalità della visione di Robert Wilson. Pro-\nducendo capolavori a cavallo tra le arti, Wilson \nintraprende legami e collaborazioni con i più \nautorevoli artisti, scrittori, e musicisti interna-\nzionali, continuando ad affascinare giorno dopo \ngiorno il pubblico di tutto il mondo.\nRobert Wilson (born October 4, 1941) is an Ame-\nrican experimental theater stage director and \nplaywright who has been described by The New \nYork Times as the world’s foremost avant-garde \ntheater artist. Over the course of his wide-ran-\nging career, he has also worked as a choreo-\ngrapher, performer, painter, sculptor, video ar-\ntist, and sound and lighting designer. Since the \nlate 1960s, Robert Wilson’s productions have \ndecisively shaped the look of theater and opera. \nThrough his signature use of light, his investiga-\ntions into the structure of simple movement, and \nthe classical rigor of his scenic and furniture de-\nsign, Wilson has continuously articulated the for-\nce and originality of his vision. Wilson’s close ties \nand collaborations with leading artists, writers, \nand musicians continue to fascinate audiences \nworldwide.\nROBERT WILSON,\nTHE WORLD’S FOREMOST\nAVANT-GARDE THEATER ARTIST\nRitratto di Robert Wilson, foto di Yiorgos Kaplanidis\nRobert Wilson’s portrait, photo by Yiorgos Kaplanidis\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.5.png","8\nLA TRAVIATA, design by Robert Wilson\nIn questa pagina: La Traviata, diretta da Robert Wilson. Atto 1, Myung Joo Lee (Violetta Valéry). Linz, 2015. Foto di Lucie Jansch. \nNella pagina precedente, da sinistra in senso orario: Macbeth, diretta da RW. San Paolo, Theatro Municipal, 2012. Foto di Roger \nH. Sassaki. Odyssey, diretta da RW. Atene, 2012 Foto di Evi Fylaktou. The Old Woman, diretta da RW. Scena 6, The Bakery, Willem \nDafoe e Mikhail Baryshnikov. Manchester, 2013. Foto di Lucie Jansch. Adam’s Passion, di Arvo Pärt e RW. Nella foto, Michalis \nTheophanous. Prima teatrale alla Noblessner Foundry di Tallinn, Estonia, 12 maggio 2015\nThis page: La Traviata, directed by Robert Wilson. Act 1, Myung Joo Lee (Violetta Valéry). Linz, 2015. Photograph: Lucie Jansch.On \nthe previous page, clockwise: Macbeth, directed by RW. São Paulo, Theatro Municipal, 2012. Photo by Roger H. Sassaki. Odyssey, \ndirected by RW. Athens, 2012 Photo by Evi Fylaktou. The Old Woman, directed by RW. Scene 6, The Bakery, Willem Dafoe and Mikhail \nBaryshnikov. Manchester, 2013. Photo by Lucie Jansch. Adam’s Passion, by Arvo Pärt and RW. In the photo, Michalis Theophanous. \nPremiered on May 12, 2015 at the Noblessner. Foundry, Tallinn, Estonia.\n9\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.6.png","11\nLa Traviata è un’opera d’arte totale: è architettu-\nra, è luce, è poesia, è danza, è movimento. È uno \nscenario immaginario, a tratti contemplativo, \nqualcosa di calmo che permette di ascoltare e \npercepire meglio l’ambiente grazie alla luce. Nel \ndesign del prodotto, sul palcoscenico, così come \nin ogni altro mezzo espressivo usato da Wilson, \nl’opera è frutto di una “riduzione del linguaggio \nalle strutture minime che ne compongono la \ncomplessità” (Achille Bonito Oliva, “Space Time” \n- SilvanaEditoriale, 2014). Il risultato è totalmen-\nte astratto, non interpretativo, lascia all’osser-\nvatore la possibilità di associarvi il suo personale \nuniverso immaginifico. La luce è spazio, senza di \nessa nulla avrebbe la stessa dimensione. \nLa Traviata is a complete work of art: it is archi-\ntecture, light, poetry, dance and movement. It is \nan imaginary scene that allows the observer to \ncontemplate; the light evokes a calm that enhan-\nces the senses, making it easier to hear and \nperceive one’s surroundings. Wilson designed \nthe product on stage with the same approach he \nuses in all of his expressive vehicles: the work \nis the fruit of  “the reduction of the languages \nof words, gestures and behaviors to their basic \ngrammars, to the minimal structure of their \ncomplexity” (Achille Bonito Oliva, “Space Time” - \nSilvanaEditoriale, 2014). The result is completely \nabstract and non-interpretive, leaving the on-lo-\noker the chance to freely associate their own, \nimaginative universe. Light is space, and without \nit, nothing would have the same dimension.\nLA TRAVIATA:\nA DESIGN “OPUS”\n10\nLA TRAVIATA, design by Robert Wilson\nIn questa pagina e nella successiva: sketch originali di Robert Wilson, 28 gennaio 2016.\nThis page and the next: original sketches by Robert Wilson, January 28th, 2016. \n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.7.png","13\n12\nLA TRAVIATA, design by Robert Wilson\nLa Traviata 220. Nel design del prodotto, sul palcoscenico, così come in ogni altro mezzo espressivo usato da Wilson, l’opera\nè frutto di una “riduzione del linguaggio alle strutture minime che ne compongono la complessità” (Achille Bonito Oliva,\n“Space Time” - SilvanaEditoriale, 2014).\nLa Traviata 220. Wilson designed the product on stage with the same approach he uses in all of his expressive vehicles: the work\nis the fruit of “the reduction of the languages of words, gestures and behaviors to their basic grammars, to the minimal structure\nof their complexity” (Achille Bonito Oliva, “Space Time” - SilvanaEditoriale, 2014). \n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.8.png","15\nInterpretare correttamente un’idea astratta, \ncoglierne i valori estetici e di innovazione tec-\nnologica, saperne immaginare rapidamente la \ntrasformazione in un oggetto vero, reale, che \nsia tanto espressione dell’identità del designer \nquanto dello stile del brand, sono le sfide che si \nparano davanti al team di Ricerca e Sviluppo nel \nmomento in cui si avvia un processo creativo. Nel \ncaso de “La Traviata”, dopo questi primi passi, ci \nsi è subito focalizzati sulla scelta del materiale e \nla tecnica di chiusura degli elementi che ne com-\npongono il volume. Richiamando la lampada, \nper colore e struttura, un cristallo di ghiaccio, e \nlavorando Slamp con tecnopolimeri brevettati in \nlastra (bidimensionali), la scelta è ricaduta sul \nLentiflex® che si contraddistingue per la traspa-\nrenza e la straordinaria capacità di “fluidificare” \nla luce. Lo studio sul metodo di costruzione degli \nelementi lanceiformi, per i quali era necessa-\nrio ottenere una perfetta sagomatura dei bordi, \nè stato condotto parallelamente a quello sulla \ncomponente illuminotecnica, per garantire che i \n“cristalli” ottenessero l’esatta quantità di colore \ndesiderata da Wilson. In un clima di dialogo co-\nstante e confronto costruttivo, luce e forma sono \nstati fissati in circa quattro mesi di lavoro. Per \nla luce, dal momento che nessuno dei LED esi-\nstenti sembrava fare al caso de “La Traviata”, si \nè deciso di progettarne da zero; sulla forma, per \ngarantire la solida connessione dei vari elemen-\nti, tra loro e con la “main arrow” senza mettere \nin discussione la leggerezza e la trasparenza \ndella lampada, sono stati ingegnerizzati dei con-\nnettori stampati a iniezione totalmente invisibili. \nPensare che tutto questo processo sia avvenuto \ncosì fluidamente come vi è stato raccontato sa-\nrebbe mentire a sé stessi, ma l’enorme rispetto \nper le idee dell’altro, il confronto quotidiano, la \nstima personale che unisce il team in occasioni \nche prescindono l’ambito professionale, sono ciò \nche ha reso questo processo creativo un favolo-\nso percorso condotto con il sorriso sulle labbra e \nla passione negli occhi.\nWhen a Research and development team begins \na new creative endeavor, they face the challenge \nof correctly interpreting an abstract idea, of ra-\npidly imagining it as a real object that stands as \nthe designer’s expression as well as respects the \nidentity of the brand. In “La Traviata’s” case, after \nthe initial steps, we immediately focused on how \nto close the elements that make up its shape. The \nlamp has been compared to a crystal of ice, due \nto its colour and structure, and Slamp, who wor-\nks with patented two-dimensional techno-poly-\nmer sheets, chose Lentiflex® because of its \ntransparency and extraordinary ability to liquify \nlight. The method of constructing the “arrows” \nwas studied in parallel to the lighting technique, \nas it was necessary to find a way to perfectly seal \ntheir edges; the method of illumination was care-\nfully studied to ensure that each crystal had the \ncolour saturation that Wilson de- sired. Within an \natmosphere of constant dialogue and constructi-\nve comparisons, the light and shapes became \nconcrete after four months of work. Having found \nthat no existing LEDs were fit for “La Traviata”, \nwe decided to start from scratch. To be sure that \nthe main arrow and its varying elements were \nconnected without compromising the weight or \ntransparency of the lamp, we engineered prin-\nted injection connectors that are completely in-\nvisible. If we said that these various studies and \napplications came easily or fluidly, we would be \nlying, but the immense respect for another’s idea \nand for the daily interaction and pride that unites \na team even outside of their professional envi-\nronment, made the creative process a fabulous \njourney, filling our eyes with passion and putting \na smile on our faces.\nLuca Mazza\nTECHNICAL CHALLENGES\nLA TRAVIATA, design by Robert Wilson\nGli elementi che compongono il volume della scultura luminosa sono realizzati in Lentiflex®,\ntecnopolimero brevettato da Slamp che si contraddistingue per la trasparenza e la straordinaria capacità di “fluidificare” la luce.\nThe light sculpture’s elements are made of Lentiflex®, a patented techno-polymer created by Slamp,\nidentified by its elevated transparency and the ability to give light “fluidity”.\n14\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.9.png","17\nLA TRAVIATA, design by Robert Wilson\nIn primo piano: La Traviata 220; in secondo piano La Traviata 180. Il corpo centrale, realizzato in metacrilato sagomato,\nè illuminato a LED. Gli effetti cromatici diffusi sono generati da micro sorgenti a LED RGB disposte sul corpo centrale.\nEntrambe le fonti luminose sono dimmerabili. \nIn the foreground, La Traviata 220, and in the background, La Traviata 180. The central structure is made of contoured \nmethacrylate and illuminated by LEDs. The diffused, chromatic effects are created by LED RGB micro-sources spread \nthroughout the center. Both of the light sources can be dimmed. \n16\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.10.png","19\n18\n17 ottobre 2015, Milano:\nAl Piccolo Teatro, per le 4 settimane di repliche \ndi Odyssey, opera diretta da Robert Wilson con \n17 tra i migliori interpreti del teatro ellenico, si \nosserva con attenzione l’allestimento teatrale, \ngli originali collegamenti tra classico e moderno, \nl’uso progettuale della luce e dell’ironia.\n21 ottobre 2015, New York:\nUn kit di campioni di materiali brevettati da \nSlamp, circuiti LED e cataloghi vengono conse-\ngnati all’ufficio di Wilson sulla Ave. of the Ame-\nricas. Li osserva, li tocca, li piega, li condivide \ncon la set designer con cui collabora da oltre \nvent’anni.\n3 novembre 2015, Berlino:\nCon un rapido atterraggio all’aeroporto di Tegel, \ndurante un pranzo con l’executive director di \nWilson all’angolo di Gendarmenmarkt, si ufficia-\nlizza definitivamente la collaborazione.\n6 dicembre 2015, Roma:\nL’ufficio creativo di Slamp riceve da Wilson 14 tra \ndisegni, concept e rendering. Per un’affascinante \nalchimia, l’attenzione del team si focalizza sulla \nstessa immagine che, al primo incontro, Wilson \naveva mostrato a Ziliani: “La Traviata”.  Lo scam-\nbio continuo di idee, commenti e obiettivi con il \nteam di Wilson distribuito tra Francoforte, New \nYork e Parigi, porta in pochi giorni alla nascita \ndel primo prototipo.\n27-28 gennaio 2016, Roma:\nAlle 22 Wilson atterra all’aeroporto di Fiumicino \ne, nonostante le due coincidenze, non rinuncia \na una cena con il team di Slamp. Si parla della \nluce, “misura di tutte le cose”, dell’architettura, \ndella stretta relazione tra le due; si ritorna poi \nsu temi personali, come tra amici di lunga data. \nLa mattina successiva si lavora presso lo Slamp \nHQ sulla definizione del prototipo: piccoli e mi-\nnuziosi aggiustamenti operati con il giusto ritmo \ndi sottofondo, sketch con matite colorate su fogli \nbianchi e slow motion fanno da cornice alle ore \ndi lavoro trascorse nella black room allestita ad \nhoc per “La Traviata”. \nOctober 17th, 2015, Milan:\nWilson’s ‘Odyssey is showing for 4 weeks at the \nPiccolo Teatro, featuring 17 of the best artists \nfrom contemporary Greek theatre. The sceno-\ngraphy is studied carefully, as well as the ties \nbetween classic and modern, irony, and lighting \ndesign.\nOctober 21st, 2015,  New York:\nA kit containing Slamp’s patented materials, LED \ncircuits, and catalogues is delivered to Wilson’s \noffice on Ave. of the Americas. He looks at them, \ntouches them, folds them and shares them with \nhis set designers, with whom he has shared the \nstage for more than twenty years. \nNovember 3rd, 2015, Berlin:\nA brief layover in the Tegel airport, during a lun-\nch with Wilson’s Executive Director in the Aigner \nrestaurant, on the corner Gendarmenmarkt, \nwhere  the collaboration becomes official.\nDecember 6th, 2015, Rome:\nWilson sends 14 designs, concepts and rende-\nrings to Slamp’s creative department. Due to \nits fascinating alchemy, the team focuses on the \nsame design that Wilson presented Ziliani when \nthey first met; “La Traviata”. After a continuous \nexchange of ideas, objectives and comments \nwith Wilson’s team, who are spread between \nFrankfurt, New York, and Paris, the first pro-\ntotype is created within days.\nJanuary 27th and 28th, 2016, Rome:\nWilson lands at Fiumicino airport at 10pm, and \ndespite the late hour, sits down to dinner with the \nSlamp team. They speak of light as the “measure \nof all things”, of architecture, and the close \nrelationship between the two. They also return \nto private matters, as if they have been friends \nfor a lifetime. The next day, they work together \nin the Slamp HQ to define the prototype. Small \nadjustments are made to it within the hours \nspent in the black box, a space created ad hoc \nfor the “La Traviata” project, accompanied by the \nright beat, coloured-pencil sketches, and a slow \nmotion video.\n8 settembre 2015, Milano:\nDurante una cena organizzata dall’amica comu-\nne Luziah Hennessy, Robert Wilson e Roberto Zi-\nliani (CEO di Slamp) hanno modo di confrontarsi \nsu temi sensibili a entrambi (design, arte, luce). \nSi sentono complici, arrivano a interrogarsi su \ntemi più intimi (l’infanzia, l’emotività, le rela-\nzioni personali). Bastano pochi scatti dell’opera \n“La Traviata” messa in scena da Wilson qualche \nmese prima a Linz per suggellare una definitiva \nintesa progettuale. \n29 settembre 2015, Roma:\nIn una lettera scritta di suo pugno, Wilson rin-\ngrazia Ziliani per la piacevole serata, esprimen-\ndo un più chiaro desiderio a procedere insieme \nin direzione di un progetto che sia sintesi di luce, \nscultura e design.\nSeptember 28th, 2015, Milan:\nDuring a dinner organized by Luziah Hennessy, \nwho is friends with both Robert Wilson and Ro-\nberto Ziliani (CEO of Slamp), the two meet and di-\nscuss the important things they have in common, \nincluding art, design, and of course, light. They \nare immediately comfortable with one another, \ndelving deep into personal topics (their childho-\nod, emotions, and personal relationships). After \nseeing several shots of Wilson’s “La Traviata”, \nproduced in Linz a few months before, they begin \nto create an agreement for a project together.\nSeptember 29th, 2015, Rome:\nIn a hand-written letter, Wilson thanks Ziliani \nfor a lovely evening, and expresses his desire to \nmove ahead with a collaboration that would in-\nclude light, sculpture and design. \nPROJECT JOURNAL\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.11.png","21\n20\nLA TRAVIATA, design by Robert Wilson\n12 febbraio 2016, Parigi: \nMentre fervono i preparativi per la “prima”, si \npensa già alla replica. Lo scenario potrebbe \nessere il percorso che dopo pochi mesi Luziah \nHennessy ospiterà tra le colline del Chianti: una \nserie di espressioni artistiche contemporanee, \ntra cui le sculture di Heinz Mack e fotografie di \nIsaac Julien, esposte in cantine storiche della \nzona di Castelnuovo Berardenga. Si ipotizza già \nun posizionamento per La Traviata: tra le botti di \npassito della Cantina Felsina. \n11 marzo 2016, Perm - Roma:\nIl prototipo definitivo de “La Traviata” è nello \nstudio fotografico di Slamp nella zona dell’Appia \nAntica. Durante gli scatti, il team di Slamp mo-\nstra, via Skype, i dettagli tecnici della scultura \nluminosa alla collaboratrice di Wilson in Siberia. \n16 marzo 2016, Roma:\nVengono messe in moto le linee di produzione \nper la creazione dei 30 prototipi necessari per \nla “prima” presentazione del mese successivo a \nMilano.\n 12 aprile 2016, Milano:\nSul palcoscenico del Teatro dell’Arte della Trien-\nnale di Milano, la tavola imperiale viene allestita \nper ospitare la cena riservata alla presentazio-\nne de La Traviata. I 40 ospiti varcano l’ingresso \ndel teatro quando il preludio dell’opera di Verdi \nsegna il passo all’apertura della cena placè. Le \nsculture luminose sospese sul palcoscenico \nsono protagoniste di una performance di luci, \ncolori e movimenti. Particolarmente toccante \nil momento in cui Wilson, microfono alla mano, \nprima del suo discorso di saluto, dedica un lun-\ngo silenzio alla prematura scomparsa di Zaha \nHadid. Nel frattempo in via San Gregorio, all’in-\nterno di Hotel Wallpaper – il setup curato dall’o-\nmonima rivista top di lifestyle – le sculture La \nTraviata sono le luci prescelte per la Ballroom. \nMusiche di Anohni, ottimi cocktail, la visita di Bob \nprima che la folla si accalchi all’ingresso per as-\nsicurarsi un posto nell’Arcade. Emozioni forti per \ntutto il team e per gli ospiti intervenuti.\nFebruary 12nd, 2016, Paris:\nWhile preparing for the unveiling, there are thou-\nghts about the next showing. Only months away \nfrom her artistic itinerary in the Tuscan Hills, Lu-\nziah Henessey suggests that La Traviata join the \nranks of Heinz Mack’s sculptures and Isaac Ju-\nlien’s photography, to be exhibited in the wineries \nof the Castelnuovo Beradegna area. A possibility \nis to place La Traviata amongst the passito bar-\nrels in the Felsina winery.\nMarch 11th, 2016, Perm - Rome:\n“La Traviata’s” definitive prototype is photo-\ngraphed in a Roman studio, near the Appia An-\ntica. During the shooting, the Slamp team has a \nskype call to communicate the lamp’s technical \ndetails with Wilson’s collaborator in Siberia.\nMarch 16th, 2016, Rome:\nThe production lines take to action and begin the \nconstruction process of thirty prototypes needed \nfor the following month’s presentation.\nApril 12th, 2016, Milan:\nThe imperial table on the Teatro dell’Arte stage, \ninside Milan’s Triennale, is set to host 40 guests \nfor the unveiling of the La Traviata. The guests \nenter stage right to Verdi’s Prelude, signaling \nthe start of a performance that married the light, \ncolour and movement of the hanging sculptures \nin perfect choreography. Wilson’s moment of si-\nlence for the untimely loss of Zaha Hadid before \nhis welcome speech is particularly poignant. Me-\nanwhile, on Milan’s Via San Gregorio, La Traviata \nilluminates The Ballroom of Hotel Wallpaper, a \nspace curated by Wallpaper Magazine. The tunes \nof Anohni and cocktails serve as precursors to \nthe opening evening, and Bob stops by just be-\nfore the crowds flood the doors of the Arcade. It \nis an overwhelming, emotional experience the \nteams and the guests involved.\nFoto 1: Riunione creativa del 28 gennaio 2016 presso lo Slamp HQ di Roma. Da sinistra Luca Mazza (Art Director), Alex Innamorati \n(R&D Manager), Robert Wilson, Erika Martino (PR Director), Roberto Ziliani (CEO), Stephanie Engeln (Project Manager di RW). \nFoto 2: Aikaterini Karagkouni (Project Manager di Slamp per La Traviata). Foto 3: Luca Mazza e Alex Innamorati in una fase di \nprototipazione. Foto 4: Celestino Sale (ingegnere elettronico di Slamp) ritratto con La Traviata.\nPhoto 1:The creative meeting on January 28th, 2016, in Slamp’s HQ. From the left: Luca Mazza (Art Director), Alex Innamorati (R&D \nManager), Robert Wilson, Erika Martino (PR Director), Roberto Ziliani (CEO), Stephanie Engeln (Project Manager, RW).\nPhoto 2. Aikaterini Karagkouni (Project Manager for Slamp, La Traviata). Photo 3: Luca Mazza and Alex Innamorati in one of the\nprototype phases. Photo 4: A portrait of Celestino Sale (Slamp’s electronic engineer) with La Traviata.\n1\n2\n3\n4\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.12.png","22\nLA TRAVIATA, design by Robert Wilson\n6 maggio 2016, Castelnuovo Berardenga:\nSi parte alla volta della Cantina Felsina: il pro-\ngetto germinato a Parigi tre mesi prima è di-\nventato realtà. Un’ottima annata di Chianti e dei \ncantuccini alla mandorla spezzano il ritmo dell’i-\nstallazione effettuata dalla squadra di Slamp \nsotto l’Art Direction di Luca Mazza. Il progetto si \nchiama “Art of The Treasures Hunt” e proseguirà \na luglio con una serie di visite di ospiti interna-\nzionali. Contestualmente, anche la cantina Bor-\ngo San Felice dà il nullaosta all’istallazione di La \nTraviata nella cappella sconsacrata del borgo. \n13 giugno 2016, Watermill:\nLa risonanza mediatica delle istallazioni è tanta, \nanche il caldo. Nel clima umido degli Hamptons, \nil general manager di Wilson raggiunge Slamp \ncon una richiesta: donare una scultura luminosa \nper l’annuale asta benefica che si terrà nel quar-\ntier generale di Wilson a Long Island nel mese \ndi luglio. Dopo aver raccolto tutte le informazio-\nni sull’evento e sulle possibilità di allestimento, \nemerge che La Traviata potrebbe essere il cen-\nterpiece della Cena di Gala con gli 800 ospiti in-\nvitati da Wilson. L’operazione sembra maestosa, \nforse una sola scultura luminosa non è sufficien-\nte, si potrebbe pensare a dei multipli... \n2 luglio 2016, Castelnuovo Berardenga:\nNella suggestiva cornice della Cantina Felsina, \nbaciata dalle calde luci del tramonto, il set è \npronto: una tavolata in stile country attende gli \nospiti in arrivo dal Palio di Siena. Le luci de La \nTraviata si scorgono appena, l’apertura che sor-\nmonta il pesante portone di legno che delimita \nl’area con le grandi botti permette di intrave-\nderne solo i colori. La serata scivola veloce, poi \nil segnale della regia, e il preludio dell’opera di \nVerdi si diffonde nella campagna nell’istante in \ncui il grande portone si apre e gli ospiti si incam-\nminano tra le sculture di luce accompagnati dal \nprofumo della vendemmia. \nMay 6, 2016, Castelnuovo Beradegna: \nThe project whose seeds were planted in Paris \nblossomed; Slamp is on the road again, hea-\nding towards the Felsina Winery. Accompanied \nby cantucci biscotti and a fine Chianti, the team, \nunder Luca Mazza’s art direction, works on the \ninstallation. “The Art of the Treasure Hunt” will \nbegin at the beginning of July, attended by a host \nof international guests. As an additional honour, \nthe Borgo San Felice chapel will also host an ad-\nditional La Traviata installation.\nJune 13, 2016, Watermill: \nThe media coverage of the installations is on \nfire, much like the temperature. Cutting through \nthe Hampton’s humidity, Wilson reaches out to \nSlamp with a request: he wants them to donate \none of his light sculptures to his annual bene-\nfit auction, held on his compound in July. After \ngathering all the necessary information and in-\nstallation possibilities, it comes to light that La \nTraviata could serve as a centerpiece for WIl-\nson’s 800 person benefit dinner. The regal idea, \nhowever, calls for more than one…\nJuly 2, 2016, Castelnuovo Berardenga: \nWith Cantina Felsina as a backdrop, and the \nwarmth of the sun as it fades into the summer \nevening, an outdoor table is set and awaits gue-\nsts arriving from Siena’s Palio. As soon as the \nmassive winery doors are opened, La Traviata’s \nchromatic illumination bursts into the area. The \nevening slips by quickly, and suddenly under the \nspell of Verdi’s Prelude, guests are invited to \nwander amongst the sculptures and the thick \nodour of aging wines and wood.\n23\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.13.png","25\n24\nLA TRAVIATA, design by Robert Wilson\nLA TRAVIATA, design by Robert Wilson\n25-31 luglio 2016, New York City:\n10 ore di volo e una pioggia torrenziale non per-\nmettono allo Slamp team di rinunciare a un dop-\npio hamburger sulla Quinta prima di guidare fino \na notte fonda verso gli Hamptons. È lì che, per \ntutta la settimana, la squadra si occupa dell’al-\nlestimento delle 8 La Traviata destinate all’asta \nbenefica del The Watermill Center. Lo scenario \nè onirico: una ex fabbrica chimica convertita nel \ngrande laboratorio per le arti guidato da Robert \nWilson, circa 100 giovani di ogni parte del mondo \nche si cimentano in espressioni artistiche sotto \nl’occhio vigile e generoso del drammaturgo. La \nserata del Galà procede come da copione: Simon \nde Pury batte all’asta le lampade fino a raggiun-\ngere l’ambizioso obiettivo dei 120.000$ e Ja Rule \nintrattiene gli ospiti dal vivo fino a tarda notte. È \ntra la stanchezza e l’ebrezza che lì, pochi instanti \nprima di salutarsi, si gettano le basi per la pros-\nsima tappa de La Traviata: Berlino. \n4 ottobre 2016, Berlino:\nI festeggiamenti per il 75esimo compleanno \ndi Bob Wilson sono l’occasione di una nuova \nesposizione di La Traviata. A seguito di una per-\nformance dal titolo House of Madness, il palco-\nscenico del Berliner Festspiele si trasforma in \nun’enorme cena privata durante la quale fluttua-\nno le sculture luminose con la loro ampia palette \ncromatica. I due product designer di Slamp in \ncabina di regia permettono al resto della squa-\ndra a Roma di sbirciare i momenti più immersivi \ndella serata.\n5 dicembre 2016, Parigi:\nAppena atterrati in Croazia per una breve pausa \npre-natalizia, arriva una chiamata lapidaria: il \nThéatre de La Ville di Parigi onorerà dopo pochi \ngiorni l’opera di Wilson con il classico “Letter to \na Man”. Nel giro di poche ore viene organizzato \nil trasferimento delle sculture luminose nella \nfredda Ville Lumiere dove, a seguito della per-\nJuly 25-31, 2016, New York City: \nA ten-hour flight and torrential rain do not stop \nthe Slamp team from ordering a double ham-\nburger on Fifth Avenue before beginning the ne-\nver-ending journey out to the Hamptons; they ar-\nrive in the wee hours of the morning. For the next \nweek, they work on the installation of the 8 La \nTraviata sculptures for the live benefit auction. \nWilson’s laboratory is something out of a modern \nfairytale; an ex-chemical plant cum centre for \nthe arts that hosts more than 100 young perfor-\nmers from around the world, gathered together \nto perfect their craft under the watchful, gene-\nrous gaze of the producer. The Gala evening goes \noff without a hitch; world renowned auctioneer, \nSimon de Pury sells all eight lamps, reaching the \nambitious goal of 120,000€, and rapper Ja Rule \ngives a live performance late into the summer ni-\nght. Somewhere between exhaustion and adre-\nnaline, in the final hours before departing once \nmore for Italy, La Traviata’s next stop is planned, \nthis time, in Berlin.\nOctober 4, 2016, Berlin: \nBob’s 75th Birthday events are the setting for the \nnext La Traviata exhibition. After the “House of \nMadness” performance, the Berliner Festspiele \nstage turns into an immense private dinner, whe-\nre the fluctuating sculptures cast their chromatic \nglow. Two of Slamp’s product designers remain \nbehind the control board, allowing for the others \nto take part in the highlights of the evening.\nDecember 15, 2016, Paris: \nJust having landed in Croatia for a pre-Christ-\nmas pause, a direct call comes requesting the \nlight sculpture once again; in a few days time, the \nParis’ Théatre de La Ville is honouring Wilson’s \nclassic production, “Letter to a Man”. Only after \nseveral hours, the transfer of the sculptures to \nthe cold of the Théatre de La Ville is organized, \n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.14.png","27\nDettaglio sul sistema di chiusura degli elementi lanceiformi. La rigatura del materiale permette di amplificare la luce dei LED e \nrendere luminoso ogni punto della lampada.  Il sistema di connessione degli elementi tra loro, e con la “main arrow” è realizzato \ncon elementi invisibili stampati a iniezione. \nA detail of the system designed to close the arrorws. The material’s lining amplifies the LED’s light and illuminates\nevery point of the lamp. The system that connects the various pieces together, as well as to the main arrow, is made from invisible, \ninjection-printed elements.\nformance teatrale, Wilson sarà main guest di \nuna serata tra amici.\n12 marzo 2017, Gedda:\nNell’ambito dei Design Days organizzati da La \nFarnesina, in occasione della Giornata del Design \nItaliano nel Mondo (100 ambasciate per 100 am-\nbasciatori del design), La Traviata è celebrata tra \ni masterpiece del design Made in Italy a Gedda, \ninsieme ad altri prodotti iconici della produzione \nitaliana nel mondo.\n6 aprile 2017, Atene: \nNella suggestiva cornice del museo dell’Acropoli, \nle sculture luminose sono lo sfondo di un elegan-\nte evento che si apre con un concerto di Thodoris \nEconomou e prosegue con un confronto sul tema \ndella luce tra Robert Wilson e Dimitrios Pander-\nmalis, direttore del Museo. \nwhere after the performance, Wilson and friends \nhave dinner.\nMarch 12, 2017, Jeddah: \nDesign Days, organized by the Farnesina (the Italian \nMinistry of Foreign Affairs) is part of the worldwide \nDay of Italian Design, recognized by 100 embassies \nin 100 countries. La Traviata is celebrated amongst \nother iconic pieces Made in Italy in Jeddah, Saudi \nArabia.\nApril 6, 2017, Atene: \nWithin the suggestive Acropolis Museum, the li-\nght sculptures are the background to an elegant \nevent where Thodoris Economou plays an ope-\nning concert, followed by a discussion between \nRobert Wilson and museum director, Dimitris \nPandermalis.\n26\nLA TRAVIATA, design by Robert Wilson\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.15.png","In primo piano: La Traviata 220; in secondo piano La Traviata 180. Il corpo centrale, realizzato in metacrilato sagomato,\nè illuminato a LED. Gli effetti cromatici diffusi sono generati da micro sorgenti a LED RGB disposte sul corpo centrale.\nEntrambe le fonti luminose sono dimmerabili.\nIn the foreground, La Traviata 220, and in the background, La Traviata 180. The central structure is made of contoured methacrylate \nand illuminated by LEDs. The diffused, chromatic effects are created by LED RGB micro-sources spread throughout the center. Both of the \nlight sources can be dimmed. \n29\n28\nLA TRAVIATA, design by Robert Wilson\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.16.png","31\n30\nLA TRAVIATA, design by Robert Wilson\nQuando mi sono trovato per la prima volta faccia \na faccia con Bob, mi sono sentito immediatamen-\nte trascinato nel suo universo più intimo, di arti-\nsta e di uomo. Al di là delle parole della critica, e \ndell’esperienza totale che Wilson ti fa vivere in \nteatro, quello che mi ha affascinato di quest’uo-\nmo è qualcosa di toccante a livello ancestrale. \nSono una persona molto empatica, per me è fon-\ndamentale la genesi di un progetto creativo par-\ntendo da una relazione di qualità. Ho capito subi-\nto che la collaborazione con Wilson avrebbe ar-\nricchito Slamp di cultura, di visioni, di sensazioni, \ne che avrebbe portato a qualcosa di visionario e \navanguardistico, soprattutto per la sua idea della \nluce in quanto unico elemento in grado di dare di-\nmensione allo spazio. Il risultato, “La Traviata”, è \nuna collezione aspirazionale, misteriosa, sedut-\ntiva, sperimentale, innovativa, originale, e con \nquel pizzico di ironia che è onnipresente tanto \nnel lavoro di Bob quanto nelle creazioni di Slamp.\nThe first time I found myself face to face with \nBob was last September; we were at an intimate \ndinner in Milan. I was immediately pulled into his \nmost intimate universe, not only as an artist but \na human being. Beyond the critics’ words and the \nunstoppable experience that Bob’s scenes evoke, \nwhat fascinated me about that man, and what I \nhave told him every time I have seen him since, is \nthat he has something that touches people on an \nancestral level. I am an empathetic person; emo-\ntive aspects are very important for me at work, \nfrom the pleasure of spending time with others \nto the the moving genesis of a project, originating \nfrom quality relationships. I immediately realized \nthat a collaboration with him would enrich Slamp \nwith culture, vision, and sensations, bringing so-\nmething visionary and avant-garde, above all due \nto his idea that light is the only element able to \ndefine space. The result, the “La Traviata” col-\nlection, is aspirational, mysterious, seductive, \nexperimental, innovative, and original, with a \ntouch of irony that Bob integrates into all of his \nworks, as does Slamp.. \nRoberto  Ziliani\nSlamp CEO\nAN ILLUMINATING\nDIALOGUE\n“La Traviata”, è una collezione aspirazionale, misteriosa, seduttiva, sperimentale, innovativa, originale,\ne con quel pizzico di ironia che è onnipresente tanto nel lavoro di Robert Wilson quanto nelle creazioni di Slamp. \nThe “La Traviata” collection is aspirational, mysterious, seductive, experimental, innovative, and original, with\na touch of irony that Robert Wilson integrates into all of his works, as does Slamp.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.17.png","LIGHT SCULPTURE 220\nLED:\n 13 individually dimmable RGB \n+ 1 MAIN LED:  100W - 100~240V \n7500 Lumen - 2700 Kelvin \nDimmable with: Control System\nMade of: Lentiflex®  \u002F Methacrilate \nWith: DMX control included\nWeight: net 20 kg - gross 77,50 kg\nPackage: 222 x 63 x 82 cm \n220 cm\n(86”)\n112 cm\n(44”)\n88 cm\n(34”)\n180 cm\n(70”)\n90 cm\n(35”)\n66 cm\n(26”)\nLA TRAVIATA LIGHT SCULPTURE\n 23\u002F28  x 8,3\u002F12,7 x h. 4,3 cm \n(9\u002F11” x 3-1\u002F4” \u002F 5” h .1-1\u002F2”)\nStandard cable kit: 6 m\nKit cavi da 6m standard\nFINISHES\nLA TRAVIATA ENTIRE COLLECTION\nCANOPY DETAILS\n220\n180\nPRISMA + RGB LIGHTS\nLIGHT SCULPTURE 180\nLED:\n9 individually dimmable RGB \n+ 1 MAIN LED:  75W - 100~240V \n6000 Lumen - 2700 Kelvin \nDimmable with: Control System\nMade of: Lentiflex®  \u002F Methacrilate \nWith: DMX control included\nWeight: net 19,5 kg - gross 78 kg\nPackage:  222 x 63 x 82 cm \nADDITIONAL DIMMING SYSTEM \nDALI, BLUETOOTH, CASAMBI\nUPON REQUEST\nADDITIONAL DIMMING SYSTEM \nDALI, BLUETOOTH, CASAMBI\nUPON REQUEST\nLA TRAVIATA design by Robert Wilson\nCompendium page 72\nPRISMA\nPRISMA\nPRODUCT \u002F PRODOTTO\nDIMENSIONS \u002F MISURE\nCOLOUR \u002F COLORE\nCODE \u002F CODICE\n50- 600 cm\n20”-235”\n50- 600 cm\n20”-235”\nTRASL00PRS06TDX000EU\nTRASM00PRS06TDX000EU\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fef\u002Fc6113137f65517fbb27b8c49d5ea28-275bf5a6d7.18.png","“I THINK THAT THE GREAT THING ABOUT WORKING\nWITH SLAMP IS THAT I FEEL LIKE IT’S A REAL DIALOGUE;\nIT’S NOT A ONE-WAY STREET, THAT WE CAN EXCHANGE IDEAS AND SAY, \n“I DON’T THINK THIS WORKS” AND “THIS IS BETTER”, AND THAT’S\nVERY IMPORTANT, I THINK, AS ARTISTS, TO HAVE A DIALOGUE.”\n",18,[],0,false,true,{"success":88,"data":90,"meta":310,"count":311,"next":312,"previous":313,"results":351,"brand_chips":412},[91,104,114,124,134,144,154,164,174,186,199,212,222,235,248,258,268,278,288,300],{"id":92,"title":93,"slug":94,"image":95,"source":96,"brand_name":97,"brand":98,"brand_slug":99,"file_size":100,"pages":101,"pages_count":102,"matched_pages":103,"match_count":86,"two_pages":87,"show_text":88},26607,"Working 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