[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-nemo-la-luce-2019":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":105},{"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":100,"matched_pages":101,"match_count":102,"two_pages":103,"show_text":104},7508,"La Luce 2019","nemo-la-luce-2019","\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Faa\u002Fd3ecd6032b55b62c5f94eb2264ce37.pdf","Nemo",179,"nemo","4.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97],{"image":7,"text":15,"number":16},"FLC\u002FADAGP PARIS\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.2.png"," [ nemo editions ] 2019\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.3.png","NEMO \nMEETS THE \nMASTERS\nSans jamais non plus modifier cette na-\nture tout à la fois spartiate et sophisti-\nquée qui les rend uniques.\nEn le partageant pour la première fois, \nnous initions une démarche que nous \npensons belle, utile et novatrice. \n► Crediamo che progettare architettu-\nre ed oggetti sia uno di quei lavori che \nobbligano a guardare sempre avanti e \nsempre indietro, contemporaneamente.\nSi sta sempre nel mezzo tra tracce di \npassato ed ambizioni di futuro. \nIl tutto, per arrivare a quell’idea di \"otti-\nmo progetto\" che è alla base del nostro \nmestiere.\nNel caso di Le Corbusier e Charlotte \nPerriand, nemo è innanzitutto l’in-\nterprete contemporaneo dei progetti \nche, nel passato, essi hanno suggerito.\nLe lampade di Le Corbusier e Charlotte \nPerriand erano pensate come progetti \nassoluti, da realizzare esclusivamente \nper le architetture   per le quali erano \nstate disegnate. nemo, la Fondazione \nLe Corbusier e Pernette Perriand hanno \ninsieme ripreso il suggerimento origi-\nnario ed hanno realizzato dei progetti \nche sono e saranno un riferimento nel \nmondo del design.\nLa qualità di un prodotto la si legge nel-\nla sua presenza tranquilla in qualunque \nambiente. Il suo essere non necessita \ndi giustificazioni estetiche e si esprime \nsemplicemente svolgendo il proprio la-\nvoro. Allo stesso modo le lampade di Le \nCorbusier e Charlotte Perriand, nascen-\ndo per progetti architettonici e interni \ninnovativi e radicalmente moderni, sug-\ngeriscono quella qualità atemporale che \nle rende semplici, iconiche e sempre au-\ntentiche.\nIl lavoro che nemo ha svolto con la \nFondation Le Corbusier e gli Archives \nCharlotte Perriand è stato dunque un \nsottile calibrare di dettagli, finiture e ag-\ngiornamenti, senza mai tradire l'essenza  \noriginale di questi prodotti, per non ca-\ndere nel nostalgico o nel retrò, per non \nmodificare quella natura spartana e so-\nfisticata che li rende unici.  \nPer questo motivo nemo, dopo il lavoro \ndi studio e selezione degli ultimi anni, \nha voluto raccogliere il materiale esclu-\nsivo che ci ha accompagnato in questi \nanni, e condividerlo, per la prima volta, \nin un esercizio che crediamo bello, utile \ne nuovo.\nLampe de \nMarseille mini \nLe Corbusier\n► Federico Palazzari, nemo   \n► We believe that, when designing ar-\nchitecture and objects, we are obliged \nto look forward and to look back at the \nsame time, between traces of the past \nand ambitions for the future, to reach \nthe idea of “good project”, that inspires \nour work.\nWhen speaking of Le Corbusier and \nCharlotte Perriand, nemo is the con-\ntemporary interpreter of the projects \nsuggested by them.\nLe Corbusier and Charlotte Perriand’s \nlamps were designed to be absolute \nprojects, but they were realized exclu-\nsively for the architectures for which \nthey were designed.\nnemo, the Le Corbusier Foundation \nand Pernette Perriand took together the \noriginal suggestion and realized proj-\nects that are and will be a reference in \nthe design world.\nQuality of product is found in its dis-\ncreet presence in every environment. Its \nbeing does not need aesthetic justifica-\ntions and it lives simply by doing its job. \nIn the same way, those lamps, created \nfor innovative and strongly modern \narchitectural and interior projects, sug-\ngest a timeless quality that makes them \nsimple, iconic and always authentic. \n \nnemo’s job, along with Le Corbusier \nFoundation and Charlotte Perriand’s \nArchives, consisted in calibrating de-\ntails, finishes and technical updates, \nwithout ever betraying the original es-\nsence of the products, in order not to fall \nin the nostalgic or in the vintage and \nnot to change the spartan and sophis-\nticated nature that makes them unique.\nFor this reason, nemo, after the studies \nand selection of these last years, wishes \nto share this exclusive material, for the \nfirst time, in an exercise that we believe \nit is beautiful, useful and new.\n► Chez nemo, nous pensons que conce-\nvoir de l’architecture et des objets exige \nun regard prospectif et rétrospectif \nen même temps. On assume ainsi une \nposition médiane entre les vestiges du \npassé et les ambitions du futur, afin de \nparvenir à l’idée du «projet excellent» \nqui est à la base de notre métier.\nDans le cas de Le Corbusier et de \nCharlotte Perriand, nemo se présente \ncomme l’interprète contemporain des\nlampes que ces artistes ont créées \ndans le passé. Celles-ci étaient conçues \ncomme des projets absolus, destinées \naux seules architectures pour lesquelles\nelles avaient été dessinées. Elles corres-\npondaient à des espaces innovants et \nradicalement modernes, mais leurs qua-\nlités intrinsèques restaient évidentes, \nindépendamment de leur environne-\nment. Aujourd’hui, elles suggèrent un \ndesign intemporel qui les rend simples, \niconiques et toujours authentiques.\nnemo et ses collaborateurs ont ainsi \nrecueilli du matériel d’archive  exclusif \ndont ils se sont imprégnés durant un \nlong travail d’étude, afin de rééditer, \nre-présenter ces objets, qui sont et res-\nteront une référence dans le monde du \ndesign.\nLe travail conduit par nemo, la Fonda-\ntion Le Corbusier et les Archives Char-\nlotte Perriand a consisté à calibrer les \ndétails, les finitions et les mises à jours \nde ces produits, sans trahir leur essence, \nni tomber dans la nostalgie ou le retro. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.4.png","selection of lamps designed by Le Cor-\nbusier for his Paris apartment-atelier, \nthe maison La Roche, the Marseille Cité \nradieuse, the Chandigarh Capitole.\n► « Une lampe électrique est désor-\nmais chose familière à nos yeux  ; \nalors, pourquoi ces demi-mesures au \nlieu de laisser tout bonnement l’am-\npoule à nu, munie d’un banal abat-\njour en verre mince et laiteux, qui \ndonnera l’impression du naturel et de \nla simplicité. »\nTanizaki Junichirô\nEloge de l’ombre\n(Traduction René Sieffert)\nDans la maison La Roche qu’il réalise en \n1925 à Auteuil, Le Corbusier radicalise \nla proposition de Tanizaki, en alignant \ntrois ampoules nues, fixées par des \ntubes au plafond de la salle à manger \ndu collectionneur. Il reprendra le même \nprincipe pour ponctuer la galerie de \npeintures : des ampoules nues, à l’extré-\nmité d’une perche, ou sur des appliques \nformées d’un coude tubulaire très court \nposées dans les coins et recoins. Dans \nles escaliers, la promenade architectu-\nrale est guidée par des appliques Cha-\nlier, ready-made détournés, portant des \nnéons ; les espaces de repos et de lec-\nture sont simplement éclairés par des \nlampes posées sur des tables. Seul le \ngrand luminaire dessiné en 1928 consti-\ntue une véritable création qui vient tout \nà la fois structurer le grand volume de \nl’espace d’exposition, mettant douce-\nment en valeur les peintures cubistes et \npuristes tout en les protégeant de la lu-\nmière du soleil levant sur le mur oppo-\nsé. La maison La Roche illustre parfaite-\nment la manière dont l’architecte utilise \nles dispositifs électriques pour venir \ncombler par doses très mesurées les \nmanques de la lumière naturelle pour \npermettre à celui qui l’habite de circuler \nsans danger et d’y vivre sans ostenta-\ntion. Si la salle à manger, lieu privilégié \nde réception des hôtes de La Roche, \nbénéficie de nombreuses sources lu-\nmineuses, l’immense hall d’entrée reste \ndans la pénombre : espace monochrome \ndestiné à éblouir le visiteur dans la jour-\nnée par la lumière qui jaillit du pan de \nverre, l’éclairage minimaliste qui ac-\ncueille les invités doit produire le même \neffet d’aveuglement le soir… Le dessin \ndes luminaires, leur positionnement, \nleur puissance se situent constamment \nau point de tension entre l’ombre et la \nlumière, entre besoin et confort, entre \nsimplicité et mystère. Dans cette mai-\nson unique, la mise en lumière suit la \nmême logique que la mise en couleur : \nelles participent toutes deux de l’archi-\ntecture, elles contribuent ensemble, au \nmême niveau, à en préserver l’effet de \nsurprise, à en réserver le plaisir de la dé-\ncouverte à celui qui la parcourt aux di-\nverses heures de la journée, dans toutes \nles dimensions de l’espace et du temps.\nAvant même d’avoir réalisé ses créations \narchitecturales, Le Corbusier conçoit \ndes luminaires pour les aménagements \nintérieurs des appartements de ses pre-\nmiers clients. Il ne cessera par la suite \nde dessiner des appareils d’éclairage \npour accompagner toutes ses construc-\ntions, de l’humble Cabanon de Roque-\nbrune-Cap-Martin, aux bâtiments du \nCapitole de Chandigarh. Il utilisera des \nbulbes de verre « mince et laiteux » pour \nson propre appartement de la rue Nun-\ngesser et Coli. Il s’inspirera le plus sou-\nvent de systèmes ou d’objets existants \nqu’il adapte, détourne, met en couleur. \nTous conserveront une forme simple, \ncomposée de matériaux pauvres, qui \nviendra parfaitement s’adapter aux élé-\nments épurés de son architecture sans \nla parasiter, la décorer.\nCe sont ces qualités que, par une dé-\nmarche de réflexion menée en commun \net par une mise en œuvre soigneuse, \nnemo et la Fondation Le Corbusier \nsouhaitent transmettre en rééditant \nune sélection d’appareils d’éclairage \nconçus par Le Corbusier pour son ap-\npartement-atelier à Paris, la maison La \nRoche, la Cité radieuse de Marseille, le \nCapitole de Chandigarh. \n► « Una lampada elettrica è ormai \ncosa familiare; allora, perché queste \nmezze misure, anziché lasciare sem-\nplicemente la lampadina scoperta, \ndotata di un banale paralume in vetro \nsottile ed opale, che darà l’impressio-\nne del naturale e della semplicità. »\nTanizaki Junichirô\nElogio dell’ombra\nNella Maison La Roche che realizza nel \n1925 a Auteuil, Le Corbusier estremizza \nla proposta di Tanizaki, allineando tre \nsemplici lampadine, fissate con dei tubi \nal soffitto della sala da pranzo del colle-\nzionista. Egli riprenderà lo stesso prin-\ncipio per punteggiare la galleria: delle \nFONDATION\nLE CORBU-\nSIER\n► « An electric lamp is now a common \nobject; so, why these half measures, \ninstead of a bulb only, with a simple \nlampshade of thin and opal glass, that \nwill give the impression of natural-\nness and simplicity. »\nTanizaki Junichirô\nIn Praise of Shadows\nIn the Maison La Roche, designed in \n1925 in Auteuil, Le Corbusier, tough-\nens Tanizaki’s proposal, aligning three \nsimple bulbs, fixed to the ceiling with \ntubes of the collector’s dining-room. \nHe then used the same principal to \npunctuate the photographic gallery: \nsome simple bulbs to the extremity of a \nbeam or on some wall lamps composed \nby a very short tube-shaped angle and \ninstalled in the most of the corners. \nOn the stairs, the architectural walk is \nguided by the Chalier wall lamps, ready-\nmade with neon lights; rest and reading \nrooms are lighted up with simple table \nlamps. Only the big lamp designed in \n1928 is a real creation that structures \nthe big volume in the exhibition space, \nbringing gently Cubic and Purist paint-\nings out, protecting them from the \nsunlight, raising on the opposite wall.  \nMaison La Roche perfectly represents \nthe way in which the architect uses \nelectrical devices to fill, moderately, \nnatural lighting gaps, to allow the oc-\ncupier to walk without danger and to \nlive without ostentation. In the din-\ning room, La Roche’s privileged place \nto receive guests, has several lamps, \nthe large entrance is in semi-darkness: \nmonochrome room, aimed to fascinate \nvisitors during the day through the \nlight that floods from the glass panel, \nminimalist lighting that welcomes \nguests has to produce the same blind-\nness effect in the night… Lightings de-\nsign, their positioning, their intensity \nare evident in the power point between \nshadow and light, between necessity \nand comfort, between simplicity and \nmystery… In this unique house, the \nlighting choices follow the same logic \nof chromatic ones: they are both an in-\ntegral part of the architecture and they \nequally contribute to the same extent, to \npreserve the surprise effect, to preserve \nthe pleasure of discovery to the one that \nwalks though at different times of the \nday, in all dimensions of space and time.\nEven before having achieved his archi-\ntectural creations, Le Corbusier designs \nsome lighting fixtures for the interiors \nof his first clients’ apartments.\nThereafter, he continuously designs \nlighting fixtures to accompany all his \nbuildings, from the modest Cabanon de \nRoquebrune-Cap-Martin to the build-\nings of the Capitole de Chandigarh. \nHe will use bulbs with « thin and opal » \nglass for his apartment at rue Nungess-\ner et Coli. For the most part, he will in-\nspire to the existing systems or objects \nthat he adapts, transforms, paints. All \nwill keep a simple shape, composed by \npoor materials, that will adapt perfectly \nto the linear elements of his architec-\nture without « contaminating » it, with-\nout decorating it.\nThrough a common reflection and a \nmeticulous implementation, nemo and \nthe Le Corbusier Foundation wish to \ntransmit these qualities, re-editing a \nMICHEL RICHARD,  \nFONDATION LE CORBUSIER, \nDIRECTOR (from 2004 to 2017) \n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.5.png","lampadine nude, all’estremità di un’asta \no su applique formate da un tubolare  \na L molto corto e collocate negli angoli. \nSulle scale, la passeggiata architetto-\nnica è guidata dalle lampade da parete \nChalier, un ready-made adattato con dei \nneon; gli spazi riservati al riposo ed alla \nlettura sono illuminati semplicemente \nda lampade appoggiate su dei tavoli. \nSolo la grande lampada disegnata nel \n1928 costituisce una vera creazione che \nstruttura il grande volume dello spazio \nespositivo, valorizzando dolcemente i \ndipinti cubisti e puristi, proteggendoli \ndalla luce del sole che si leva sul muro \ndi fronte. La maison La Roche illustra \nperfettamente il modo in cui l’architetto \nutilizza i dispositivi elettrici per colma-\nre, in modo molto misurato, le carenze \ndi luce naturale, per permettere a colui \nche ci abita di muoversi senza pericolo e \ndi viverci senza ostentazione. Se la sala \nda pranzo, luogo privilegiato per il rice-\nvimento degli ospiti di La Roche, gode \ndi numerose fonti di luce, l’immenso \ningresso resta nella penombra: spazio \nmonocromo destinato ad abbagliare il \nvisitatore durante il giorno con la luce \nche si diffonde dal pannello di vetro, l’il-\nluminazione minimalista che accoglie \ngli invitati deve produrre lo stesso effet-\nto di contrasti luminosi la sera… Il dise-\ngno delle luci, il loro posizionamento, la \nloro forza si situano costantemente nel \npunto di tensione tra l’ombra e la luce, \ntra la necessità ed il comfort, tra la sem-\nplicità ed il mistero… In questa abitazio-\nne unica, l’illuminazione segue la stessa \nlogica della tinteggiatura: esse sono en-\ntrambe parti integranti dell’architettura \ne contribuiscono insieme, nella stessa \nmisura, a preservarne l’effetto di sorpre-\nsa, a riservare il piacere della scoperta \na colui che la percorre nelle diverse ore \ndella giornata, in tutte le dimensioni \ndello spazio e del tempo. \nAnche prima di avere realizzato le sue \narchitetture, Le Corbusier progetta del-\nle luci per gli interi degli appartamenti \ndei suoi primi clienti.\nDa allora in poi, non smetterà di dise-\ngnare degli apparecchi di illuminazione \nper accompagnare tutte le sue costru-\nzioni, dall’umile Cabanon de Roquebru-\nne-Cap-Martin alle costruzioni del Ca-\npitole de Chandigarh. Egli userà delle \nlampadine di vetro « sottile ed opale » \nper il suo appartamento di rue Nunges-\nser et Coli. Per la maggior parte, egli \nsarà ispirato da sistemi e oggetti esi-\nstenti che poi adatta, trasforma, dipin-\nge. Tutti manterranno una forma sem-\nplice, composta da materiali poveri, che \nsi adatterà perfettamente agli elementi \npuliti della sua architettura senza 'con-\ntaminarla', senza decorarla.\nSono queste qualità che, attraverso un \nmetodo di riflessione condotto in co-\nmune ed attraverso una messa in opera \nscrupolosa, nemo e la Fondation le Cor-\nbusier desiderano trasmettere, rieditan-\ndo una selezione di lampade disegnate \nda Le Corbusier per il suo appartamen-\nto-studio di Parigi, la maison La Roche, \nla Cité radieuse di Marsiglia, il Capitole \ndi Chandigarh.\nlighting systems and lamps  \n designed for Villa La Roche, Paris \nLe Corbusier, 1925 \n© ph. Olivier Martin-Gambier - FLC\u002FADAGP\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.6.png","► Arthur Rüegg \u002F architect \n► Le Corbusier considered the simple \nbulb of La Roche lamp as the perfect \nresult of an industrial process, of an \nevolution during which common object \nbecomes a perfect tool, worthy to be \nshown as it is. After the second world \nwar, he added to these “type-objects” a \ncomplete series of lamps that, designed \nby him and identified as the “synthesis \nof major Arts” becomes fundamental \npart of a masterpiece, sculpture-lamps \nthat go far beyond their simple func-\ntion.\n► Le Corbusier considerava la sempli-\nce lampadina della applique La Roche \ncome il risultato perfetto di un processo \nindustriale, di una evoluzione nel corso \ndella quale l’oggetto comune diviene \nuno strumento perfetto degno di essere \nmostrato così com'è. Ma, dopo la secon-\nda guerra mondiale, egli aggiungerà a \ntali “oggetti-tipo” tutta una serie di lam-\npade da lui disegnate, che identificherà \ncome la “sintesi delle arti maggiori”, e \nche diverranno parte fondamentale di \nun capolavoro, delle lampade-scultura \nche vanno ben oltre la loro semplice \nfunzione.\n► Le Corbusier considérait l’ampoule \nnue de l’applique La Roche comme le ré-\nsultat parfait d’un processus industriel, \nd’une évolution au cours de laquelle \nl’objet usuel devient un outil parfait \ndigne d’être montré tel quel. Mais après \nla seconde guerre mondiale, il ajoutera \nà de tels «objets-types» toute une sé-\nrie de luminaires qui, dessinés par lui \net placés sous le signe de la «synthèse \ndes arts majeurs», deviendront partie \nprenante d’un Gesamtkunstwerk – des \nlampes-sculptures qui dépassent large-\nment leur simple fonction.\nESCARGOT [LC I] \nLe Corbusier, 1951-52\non this page \nOriginal note listing the Chandigarh \nLamps ©FLC\u002FADAGP. \nStudies for the Escargot lighting ©FLC\u002FADAGP.\nopposite page \nVersion on pole for the Firminy Unité \nd'Habitations, France.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.7.png","► Pierluigi Nicolin \u002F architect  \n► After having revolutionised the way \nto absorb natural light in the architec-\nture of the 1920s and 1930s with the \nfenêtre en longueur (ribbon window) \nand the invention of the famous solar \nshading of the brisesoleil (sunscreen), \nLe Corbusier designed some light-\ning fixtures immediately after the war. \nThese famous projects, the ones of the \n1940s for the Unité d’Habitation de Mar-\nseille and the ones of the 1950s for the \nHigh Court of Chandigarh, have been \nreconstructed through a demanding \nprocess of releasing and now they can \nbe admired for their innovative features \nand for their strong connection with \nthe architectural environment, which is \nthe most important objective of Le Cor-\nbusier. In order not to give up the “effect \nof volumes under the light”, even when \nit is artificially produced, he makes us \nunderstand the glow emanating from \nlamps in a pictorial way, as a substitute \nof natural light coming from a window.\n► Après avoir révolutionné dans l’archi-\ntecture des années ’20 et ’30, la manière \nde capter la lumière naturelle par la fe-\nnêtre en longueur (la fenêtre ruban) et \npar la célèbre protection du brise-soleil, \nLe Corbusier conçoit des lampes dans \nl’immédiat après-guerre.\nCes objets célèbres, ceux de  l’Unité \nd’Habitation de Marseille des années’40 \net ceux de la Cour Suprême de Chandi-\ngarh des années ’50, ont été reconstruits \naprès un long  travail de réédition. Il est \ndésormais possible de les apprécier pour \nleur caractère novateur et leur relation \npuissante à l’espace architectural. Cette \npréoccupation reste primordiale chez Le \nCorbusier. Pour ne pas renoncer au «jeu \ndes volumes sous la lumière», même \nlorsque celle-ci est produite artificielle-\nment, il nous fait saisir la lueur émanant \ndes appareils d’éclairage avec une sen-\nsibilité picturale, comme s’il s’agissait \nd’un substitut à la lumière naturelle.  \n \n \n► Dopo aver rivoluzionato nell’architet-\ntura degli anni ‘20 e ’30 il modo di as-\nsorbire la luce naturale con la fenêtre en \nlongueur (finestra a nastro) e l’invenzio-\nne della famosa schermatura solare del \nbrisesoleil (frangisole), nell’immediato \ndopoguerra Le Corbusier disegnò alcu-\nni apparecchi d’illuminazione. Questi \nfamosi progetti, quelli degli anni ’40 per \nl’Unità d’abitazione di Marsiglia e quelli \ndegli anni ’50 per l’Alta Corte di Chan-\ndigarh sono stati ricostruiti attraverso \nun impegnativo processo di riedizione \ne ora si possono apprezzare sia nel loro \ncarattere pionieristico sia nella loro for-\nte relazione con lo spazio architettonico \nche resta la preoccupazione principale \ndi Le Corbusier. Per non rinunciare al \n‘gioco dei volumi sotto la luce’ anche \nnella circostanza dove questa è pro-\ndotta artificialmente egli tende a farci \nintendere il bagliore emanato dagli ap-\nparecchi di illuminazione in chiave pit-\ntorica come si trattasse di un sostituto \ndella luce naturale proveniente da una \nfinestra.\nMarseille, Unité d’Habitation.  \nLAMPE DE MARSEILLE  \nLe Corbusier, 1949-52\non this page \nApartment interior at Unité \nd’Habitation de Marseille. \nOriginal sketch ©FLC\u002FADAGP. \nopposite page \nLampe de Marseille  \nproduced by nemo.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.8.png","PARLIAMENT  \nLe Corbusier, 1963 \non this page  \nParliament yellow\u002Fblack, produced by nemo. \nopposite page  \nLe Corbusier at his Paris rue N.C. apartment \n© ph. Robert Doisneau - FLC\u002FADAGP. \nApplique de Marseille produced by nemo.\n«Espace, lumière et ordre.  \nCe sont les choses dont l’homme  \na besoin, au même titre que le pain  \net une place pour dormir»\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.9.png","«Les lampes de Le Corbusier et \nCharlotte Perriand furent conçues \npour des projets d’architecture \ninnovants et radicalement modernes, \nmais leurs qualités intrinsèques \nsont évidentes, indépendamment de \nleur environnement. Elles suggèrent \naujourd’hui un design intemporel \nqui les rend simples, iconiques, et \ntoujours authentiques.»\n► Federico Palazzari \u002F ceo, nemo\nPROJECTEUR 365  \nLe Corbusier, 1954\non this page \nOriginal sketch ©FLC\u002FADAGP.  \nFloor version produced by nemo.  \nopposite page\nProjecteur on pole at the High Court of \nChandigarh, India © ph. A.J. Talati - FLC\u002FADAGP.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.10.png","08\n01\n02\n03\n04\n05\n06\n07\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.11.png","       \n►  Le Corbusier\n►  Charlotte Perriand\nMASTERS \nCOLLECTION\n\u002F NEMO\n1956 \nLuminaire\nVilla Le Lac\n1916-22 \nVilla Schwob \nlampes\n1925 \nVilla La Roche \nlampes\n1930-38 \nAppliques \nCylindriques \n1936 \nLuminaire Ministère \nde l'Agriculture \nParis\n1927 \nCorner Cascade \nLampe\n1938 \nPotence \nPivotante\n1940 \nLampes \u002F \nJapan\n1938-39 \nApplique  \nde Marseille\n[LC VII]\n1949-54\nAppliques\n[LC II]\n1949-52 \nLampe de Marseille\n[LC VI]\n1963 \nParliament  \nlampe\n1959-60\nLa Tourette \nLighting Systems\n1951-52 \nEscargot \n[LC I]\n1949-52\nApplique d’entrée\n[LC III]\n1957\nLampe de lecture\n[LC V]\n1950s \nPivotante  \nà Poser  \n1954 \nProjecteur 365\n1962 \nApplique à volet\nPivotant \n1963 \nRIO structure \npour lanternes\n1966 \nLuminaire \nAmbassade du Japon\n1977 \nApplique à volet \nPivotant Double \n1977 \nApplique à volet \nPivotant Plié \n1952 \nBorne Béton \n[LC IV]\n1952\nCabanon \nLampe à Poser\n1928 \nPhare  \nSaint-Sulpice\n1952-59 \nMaison du Brésil\nlampes\nAPPLIQUE  \nDE MARSEILLE\nPARLIAMENT\nFloor Lamp \nAPPLIQUE À \nVOLET PIVOTANT \nPLIÉ \nAPPLIQUE À \nVOLET PIVOTANT \nDOUBLE \nESCARGOT \nPROJECTEUR 165\npincer clip \u002F pendant \u002F wall\nPROJECTEUR 365\nfloor \u002F pendant \u002F wall\n\u002F indoor \u002F outdoor\nAPPLIQUE À  \nVOLET PIVOTANT \nLED \u002F E14 \u002F R7s halo \nPIVOTANTE  \nÀ POSER  \nBORNE BÉTON \ngrande \u002F petite\nindoor \u002F outdoor\nLAMPE DE \nMARSEILLE\nstandard \u002F mini\nPOTENCE \nPIVOTANTE\nstandard \u002F mini\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.12.png","10\n11\n12\n13\n09\n14\n15\n16\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.13.png","minaire par la Société d’encouragement \nà l’art et l’industrie.\nEn 1929, dans la rubrique « Les grands \nensembliers » publiée par le journal \n«  La Semaine à Paris », le nom de Char-\nlotte Perriand était suivi de la mention : \n« installation moderne, meubles, déco-\nration, éclairage ».\nSon intérêt pour les dispositifs de lu-\nmière artificielle n’a jamais cessé. \nNaturellement, tous ses projets archi-\ntecturaux ou d’équipement de l’habita-\ntion comportaient l’étude de l’éclairage \net de luminaires. Lorsque le budget le \nlui permettait, elle crée de nouveaux \nmodèles en fonction du programme et \ndes circonstances. Au Japon en 1940, \npar exemple, elle a créé une série de lu-\nminaires en bambou, faute de métal.  \nLorsqu’elle n’avait pas un budget suffi-\nsant pour ses chantiers, elle prenait un \nsoin particulier à sélectionner des mo-\ndèles existants pour répondre au « be-\nsoin de lumière ». Dans les années 1920, \nelle utilisait des projecteurs de cinéma \nKodak ou un phare de voiture pour \néclairer des habitations.\nLes luminaires de Charlotte Perriand \nsont intemporels. Ils sont à la fois fonc-\ntionnalistes et minimalistes, conçus \ncomme ses meubles, à l’échelle de l’ar-\nchitecture. Ce ne sont pas des lumi-\nnaires de «  designer  », mais bien des \nluminaires d’architecte qui jouent avec \nles volumes et les proportions, comme \nun élément architectonique d’un en-\nsemble, pour faire « chanter » l’espace.\n► Editare le luci di Charlotte Perriand \ncon nemo significa far rivivere delle \ncreazioni di ieri nel mondo di oggi e \nrenderle accessibili ad un gran nume-\nro di persone. Significa dimostrare che \ndelle opere “corrette”, create 50 o 70 \nanni fa, rispondono ancora alle necessi-\ntà contemporanee.\nLa maggior parte degli avanguardisti, \ncome Charlotte Perriand, hanno sempre \nvoluto essere alla portata di tutti, senza \nperò riuscirci all'epoca. Quello che non \nsi è potuto fare nel passato, si realizza \nora grazie ad un’azienda come nemo. \nÈ sempre un grande piacere per noi far \nuscire delle opere dagli archivi, da un \nmuseo o da una collezione e di metterle \ncosì a disposizione del pubblico, di tutti. \nL’interesse di Charlotte Perriand per le \nluci risale alla sua formazione alla Scuo-\nla di Arti decorative di Parigi dal 1920 \nal 1925. All’età di vent'anni, ha ricevuto \nla medaglia d’argento al concorso di il-\nluminazione indetto dalla Société d’en-\ncouragement à l’art et l’industrie.\nNel 1929, nella rubrica “I grandi desi-\ngner d’interni” pubblicata dal giornale \n“La Semaine à Paris” il nome di Char-\nlotte Perriand è seguito dalla menzione \n“allestimento moderno, mobili, decora-\nzione, illuminazione”. Da allora, il suo \ninteresse per le luci artificiali non è mai \nvenuto meno.\nNaturalmente tutti i suoi progetti archi-\ntettonici o di arredamento comportava-\nno anche uno studio dell’illuminazione \ne delle luci. Ogni qualvolta il budget lo \npermetteva, creava dei nuovi modelli in \nfunzione del progetto e delle circostan-\nze. In Giappone, nel 1940, ad esempio, \nscarseggiando il metallo, creò una serie \ndi lampade in bambù.\nQuando non aveva un budget sufficien-\nte per i suoi cantieri, usava una parti-\ncolare cura nel selezionare dei modelli \nesistenti per rispondere al “bisogno di \nluce”. Negli anni ’20, utilizzò dei pro-\niettori cinematografici Kodak o un faro \ndi automobile per illuminare delle abi-\ntazioni. Le luci di Charlotte Perriand \nsono senza tempo. Sono al contempo \nfunzionali e minimaliste, progettate, \ncome i suoi mobili, su scala architetto-\nnica. Non sono delle luci da “designer” \nma delle luci da “architetto”, che gioca-\nno con i volumi e le proporzioni, come \nun elemento architettonico, parte di un \ninsieme, per far “cantare” lo spazio.\nARCHIVES \nCHARLOTTE \nPERRIAND\n► Editing Charlotte Perriand lightings \nwith nemo means let past creations \nlive again in the modern world, to make \nthem accessible to a large number of \npeople. It means to demonstrate that \n“correct” works, created 50 or 70 years \nago, still respond to modern needs.\nMost of the avant-garde people, as \nCharlotte Perriand, always wanted to \nreach the masses but at the time they \ndid not succeed. Thanks to nemo, what \nwas impossible in the past, today it is \nrealized.\nIt is always a great satisfaction for us \nproducing a project coming from the ar-\nchives, a museums or a collections and \nmake it available to the public.\nCharlotte Perriand’s interest for light-\ning dates back to her education at \nthe School of decorative arts of Paris, \nfrom 1920 to 1925. When she was 20, \nshe got the silver medal in the light-\ning competition held by the Société \nd’encouragement à l’art et l’industrie.\nIn 1929, in the “the big interior design-\ners” column, published on “La Semaine \nà Paris” newspaper, charlotte Perriand’s \nname was followed by the mention \n“modern installation, furniture, decora-\ntion, lighting” .\nHer interest for artificial lighting was \nconstant. Certainly, all her architectural \nor interior projects for residences in-\nvolved a lighting study. Whenever she \nhad insufficient budget for her works, \nshe selected available objects to hack \n“lighting needs”. In the ‘20s, she used \nsome Kodak movie projectors or the \nheadlight of a car to light houses up. \nCharlotte Perriand’s lightings are time-\nless. They are at the same time function-\nal and minimalist, designed, as her fur-\nniture, on an architectural scale. They \naren’t lightings of a “designer” but of an \n“architect”, that play with volumes and \ndimensions, as an architectural element \nof a combination, to let space “sing”.\n► Editer les luminaires de Charlotte \nPerriand chez nemo, c’est faire vivre \ndes créations d’hier dans le monde \nd’aujourd’hui et les rendre accessible \nau plus grand nombre. C’est montrer \nque des œuvres « exactes », créées voi-\nlà 50 ou 70 ans, répondent aux besoins \ncontemporains.\nLa plupart des avant-gardistes comme \nCharlotte Perriand, ont toujours voulu \natteindre « le plus grand nombre », c'est-\nà-dire tous les publics, sans pouvoir le \nréaliser à l’époque. Ce qui n’a pas pu se \nfaire dans le passé se réalise  mainte-\nnant grâce à une firme comme nemo.\nC’est toujours un grand plaisir pour \nnous de faire sortir des œuvres des ar-\nchives, d’un musée ou d’une collection, \net de les mettre à la disposition du pu-\nblic, de tous les publics.\nL’intérêt de Charlotte Perriand pour \nles luminaires remonte à sa formation \nà l’école des Arts décoratifs à Paris de \n1920 à 1925. A l’âge de 20, elle avait reçu \nla médaille d’argent du concours du lu-\nPERNETTE PERRIAND-BARSAC, \nJACQUES BARSAC, ARCHIVES \nCHARLOTTE PERRIAND\nPHARE - Charlotte Perriand, 1928 \nReady-made assembled lamp, created  \nwith a Grebel car spot and a mechanical \nhinge fixture for Ch. Perriand apartment-studio, \nPlace Saint-Sulpice, Paris ©achp\u002Fadagp.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.14.png","► Arthur Rüegg \u002F architect  \n► Charlotte Perriand designed a whole \nfamily of lamps adjustable, revolving, \nand orientable: lamps with rotating \nscreens and wall lamps with adjustable \nscreens – painted with bright colors \n– or rotable arms. To these “essential \nforms”, she will then add some fantastic \ninventions for specific use, as the Rio \nlamp, that recalls a series of Japanese \nlanterns with soft light, suspended to a \nbranch of a tree and gently blown by the \nevening wind. \n► Charlotte Perriand dessina toute une \nfamille de luminaires dont les modèles \nsont réglables, pivotables, dirigeables: \ndes lampes aux écrans tournants et \ndes appliques avec volets orientables \n– peintes en couleurs vives – ou encore \ndes potences pivotantes. Elle ajoutera \nà ces «formes utiles» simples mais ex-\ntrêmement raffinées quelques inven-\ntions fantastiques destinées à des cas \nconcrets, telle le modèle Rio qui rap-\npelle une série de lanternes japonais \nà la lumière douce, suspendus à une \nbranche d’arbre et déplacés aléatoire-\nment dans le faible vent du soir.\n► Charlotte Perriand disegnò tutta una \nfamiglia di lampade i cui modelli sono \nregolabili, girevoli, orientabili: delle \nlampade con gli schermi rotanti e del-\nle lampade da parete con degli schermi \norientabili – verniciati con colori vivi – \no ancora dei bracci girevoli. A queste \n“forme essenziali”, semplici ma estre-\nmamente raffinate, aggiungerà delle \ninvenzioni fantastiche destinate a degli \nusi specifici, quali il modello Rio, che \nricorda una serie di lanterne giappone-\nsi dalla luce dolce, sospese ad un ramo \nd’albero e mosse dolcemente dal delica-\nto vento della sera.\nAPPLIQUES  \nÀ VOLET PIVOTANT  \nCharlotte Perriand, 1962-77 \non this page \nAppliques produced by nemo.  \nopposite page \nPerriand's Rio lamp at her Rio de Janeiro \napartment, Brazil  ©AChP\u002FADAGP.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.15.png","► Domitilla Dardi \u002F design historian \n► In his Decorative Art, in 1924, Le \nCorbusier writes about “machines for \nsitting, for classifying, for lighting”. \nAmong the illustrations of the famous \nessay, he uses a suspension of American \nindustrial production as an up-to-date \nobject, counter-posed to the nonsense \nof the Deco lightings, so widely avail-\nable at that time. He starts his battle \nfor the affirmation of a functional and \nlinear design, practical and versatile, \nthanks to its long-lasting materials and \nformal choices, that goes far beyond the \nmoods of decorative fashions. As for \nfurniture, the encounter with Charlotte \nPerriand contributes to the definition \nof objects that embody what the Master \nalready begun with his theories. \nThe nemo’s new editions tell a story \nof lighting, without which modernity \nwould never become part of our daily \nlanguage. Lightings that bring to envi-\nronments an idea of light that reflects \nthe “new spirit”.\n► Già nel 1924, nella sua Arte Decorati-\nva, Le Corbusier parla di “macchine per \nsedersi, per classificare, per far luce”. \nTra le illustrazioni del celebre saggio \nutilizza una sospensione di produzio-\nne industriale americana come solo \noggetto all’avanguardia, contrapposto \nall’insensatezza dei lampadari in stile, \nancora ampiamente diffusi all’epoca. \nInizia così la sua battaglia per l’afferma-\nzione di un design funzionale e asciutto, \nconcreto e versatile, durevole nel tempo \nper materiali e scelte formali, che vada \nben oltre i capricci delle mode decora-\ntive. Come per gli arredi, l’incontro con \nCharlotte Perriand porta alla definizio-\nne di oggetti che incarnano quello che \nil maestro con le sue teorie aveva già \niniziato.\nLe nuove edizioni di nemo raccontano \nuna storia di luce senza la quale la mo-\ndernità non sarebbe entrata nel nostro \nlessico quotidiano. Lampade che por-\ntano negli interni un’idea di luce che è \nriflesso dello “spirito nuovo”.\n► En 1924 déjà, Le Corbusier parle dans \nson «Art décoratif» de “machines pour \ns’asseoir, pour classer, pour éclairer”. \nParmi les illustrations du célèbre essai \napparaît une lampe à suspension de \nproduction industrielle américaine. Elle \nest présentée comme un objet d’avant-\ngarde opposée à l’aberration des lampes \n«de style» encore largement répandues. \nAinsi débute son combat pour un de-\nsign fonctionnel et linéaire, concret et \npolyvalent, durable par ses formes et \nses matériaux. Un design qui va bien \nau-delà du caprice des modes  décora-\ntives. Comme pour le mobilier, la ren-\ncontre avec Charlotte Perriand conduit \nà la définition d’objets qui incarnent ce \nque le maître avait déjà évoqué par ses \nthéories.\nLes nouvelles éditions de nemo ra-\ncontent une histoire de la lumière sans \nlaquelle la modernité ne serait pas en-\ntrée dans notre quotidien. Les lampes \nde Le Corbusier et Charlotte Perriand \namènent dans nos intérieurs cette idée, \nreflet de l’«esprit nouveau».\nPOTENCE PIVONTANTE \nCharlotte Perriand, 1938 \non this page \nPotence Pivotante produced \nby nemo - CLS Architects, \nZurich - Ph. Delfino Sisto \nLegnani.  \nopposite page\nThe long perch at \nLe Corbusier Apartment,  \nrue Nungesser et Coli, Paris. \n© ph. Olivier Martin-Gambier - FLC\u002FADAGP.\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.16.png","► Giulio Cappellini \u002F architect  \n► Lighting designed by Le Corbusier \nand Perriand are extraordinarily con-\ntemporary. Their technique doesn’t \nalter plasticity of forms. Iconic objects \nthat, alone, are able to give a particular-\nity to environment. Objects conceived \nand calculated, result of the brilliance \nand competence of these two great \nMasters of Design. Colour, sometimes \nbrighter and sometimes more nuanced, \nmakes these lights suitable for the most \ndifferent architectural contexts. Beauti-\nful lamps, lamps that make us dream, \nlamps ready to become part of our do-\nmestic universe and from which it will \nbe difficult to move away. This is the \nreal value of the objects of grand design. \n► Les lumières conçues par Le Corbu-\nsier et Perriand sont extraordinaire-\nment contemporaines.\nLeur dimension technique n’enlève \nrien à la plasticité de leurs formes. Ob-\njets iconiques qui, par eux-mêmes, ap-\nportent un signe distinctif aux espaces. \nObjets conçus et calibrés, fruits du gé-\nnie et de la professionnalité de deux \ngrands maîtres du design. La couleur, \nparfois vive, parfois neutre, rend ces \nlampes adaptées aux cadres architectu-\nraux les plus variés.\nDe beaux objets, qui font rêver, \nprêts à intégrer notre univers et \ndont on ne pourra plus se détacher.  \nC’est là ce qui fait la valeur des objets de \ngrand design.\nBORNE BÉTON  \nLe Corbusier, 1952\non this page \nGrande and Petite version, by nemo. \nOriginal drawing ©FLC\u002FADAGP.  \nopposite page \nGrande version, by nemo. \n► Le luci progettate da Le Corbusier e \nPerriand sono straordinariamente con-\ntemporanee. Il loro tecnicismo nulla to-\nglie alla plasticità delle forme. Oggetti \niconici che da soli sono in grado di dare \nun segno distintivo agli ambienti.\nOggetti pensati e calibrati, frutto della \ngenialità e professionalità di questi due \ngrandi maestri del design.\nIl colore, talvolta più vivo talvolta più \nsfumato, rende queste luci adatte ai più \ndiversi contesti architettonici.\nLampade belle, lampade che ci fanno \nsognare, lampade pronte a far parte del \nnostro universo domestico e da cui di-\nventerà molto difficile distaccarci.\nQuesto è il vero valore degli oggetti di \ngran design.\n \n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.17.png","PROJECTEUR 165 \nLe Corbusier \nPendant version, by nemo.\nopposite page \nPOTENCE PIVONTANTE \nCharlotte Perriand, 1938 \nnemo’s special editions for the \n “Maison au Bord de l’Eau”- Miami, 2013  \n© ph. S. Muratet - Louis Vuitton - achp. \n► Marco Ferrante \u002F journalist \n► Lightings of Perriand and Le Corbus-\nier were broadly published. The ones \nof 40s and 50s took their space as soon \nas they were edited again, also thanks \nto the luck of those two decades, dur-\ning which there was a new formulation \nof bourgeois life. The Marseille wall \nlamps and the Projecteur of Le Cor-\nbusier become immediately objects for \nmagazines. There is a curious thing to \nsay about the Charlotte’s Potence Pivot-\nante. In the 50s she worked with another \ngenius, one of the architects that archi-\ntects love, as Faulkner for writers: Jean \nProuvé. Charlotte refined the shelf di-\nviders, loved by collectors and cabinets \nwith sliding doors, on which she worked \nsome time before with Jeanneret. But \nCharlotte’s influence on the Prouvé's \natelier was deeper than we could imag-\nine. A small example: in 1930 she de-\nsigns a lamp named Potence Pivotante. \nIn her autobiography, the lamp is post-\ndated two years. She writes: “In 1940  \nI designed a revolving and cheap \nlamp, manufactured with long, black \ntubes assembled in a shape of an in-\nverted L, to bring electrical cable from \nthe switch to the bulb”. In 1950 Jean \nProuvé designs his Potence, considered \none of the paradigms of his genius. \nCompare them! The idea is the same.  \n \n \n► Les lampes de Charlotte Perriand et \nde Le Corbusier ont été l’objet de nom-\nbreuses publications. Celles des années \n’40 et ’50 se sont immédiatement im-\nposées après leur réédition par nemo, \nà cause notamment du succès dont \njouissent ces deux décennies, durant \nlesquelles se définit un nouveau code \nde la vie bourgeoise. Les appliques de \nMarseille et le Projecteur, tous deux \nde Corbu, deviennent immédiatement \ndes objets de magazines. Quant à la \nPotence Pivotante de Charlotte, préci-\nsons que dans les années ’50 l’artiste a \ncollaboré avec un autre génie, l’un de \nces architectes que leurs semblables \napprécient beaucoup, comme Faulk-\nner pour les écrivains: Jean Prouvé.  \nCharlotte avait perfectionné les éta-\ngères à divisions tant appréciées des \ncollectionneurs et les armoires à portes \ncoulissantes pour lesquelles elle avait \ndéjà travaillé avec Jeanneret. Mais \nl’influence de Charlotte sur l’atelier \nProuvé aura été plus profonde qu’on \nne le pense. Un exemple: en 1938, elle \ndessine la lampe nommée Potence \nPivotante. Dans son autobiographie, \noù l’œuvre est postdatée de deux ans,  \nCharlotte écrit : «En 1940 j’avais conçu \nune lampe tournante très économique, \nconstruite avec des tubes longs et noirs \nassemblés sous la forme d’un L inver-\nsé, pour mener le fil électrique de l’in-\nterrupteur à la lampe».  En 1950, Jean \nProuvé conçoit sa Potence, considérée \ncomme un des paradigmes de son gé-\nnie. Comparez-les : l’idée est la même !\n► Le luci di Perriand e Le Corbusier \nsono già molto pubblicate. Quelle degli \nanni ’40 e ’50 si sono prese subito il loro \nspazio appena rieditate. Anche a causa \ndella nuova fortuna di quei due decen-\nni, in cui si ridefinisce una formulazione \nborghese della vita. Le lampade a parete \ndi Marseille e il proiettore di Corbu di-\nventano subito oggetti da riviste. Sulla \nPotence Pivotante di Charlotte c’è da \ndire una cosa curiosa. Negli anni ’50 \ncollaborò con un altro genio, uno di \nquegli architetti che piacciono molto \nagli architetti, come Faulkner per gli \nscrittori: Jean Prouvé. Charlotte perfe-\nzionò gli scaffali divisori, amati dai col-\nlezionisti e gli armadi ad ante scorrevoli \nsu cui aveva già lavorato con Jeanneret. \nMa l’influenza di Charlotte sull’atelier \nProuvé deve essere stata più profonda \ndi quel che comunemente si immagina. \nUn piccolo esempio: nel 1938 disegna \nuna lampada che si chiama Potence Pi-\nvotante. Nella sua autobiografia, la lam-\npada è postdatata di due anni. Scrive: \n“Nel 1940 avevo concepito una lampa-\nda girevole molto economica costruita \ncon lunghi tubi neri assemblati a elle \nrovesciata, per condurre il filo elettrico \ndall’interruttore alla lampada”. Nel 1950 \nJean Prouvé disegna la sua Potence, \nconsiderata uno dei paradigmi del suo \ngenio. Confrontatele. L’idea è quella.   \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.18.png","PIVOTANTE À POSER  \nCharlotte Perriand, 1950s  \non this page \nOriginal sketch and prototype ©achp\u002Fadagp. \nopposite page \nYellow and white versions, by nemo. \n► Jean Nouvel \u002F architect  \n► Lamps by Charlotte Perriand and  \nLe Corbusier are modern objects for \nmodern space. They are expressive, ab-\nstract and colourful, considering black \nto be a colour. They inhabit the place \nand mark it by their form and their light.\n[...] These lamps are in no way time-\nless... Fortunately! They are sensi-\ntive testimonies of modern times. \nWhat makes them modern is the free-\ndom with which the intimate space is \ncreated, with contrasts, emotions, sur-\nprises and this relevance that makes us \nsay: this is where they belong!\n► Les lampes de Charlotte Perriand et  \nLe Corbusier sont des objets modernes \npour l’espace moderne, ils sont expres-\nsifs, abstraits, colorés; le noir étant une \ncouleur, ils habitent le lieu, le ponctuent \npar leur forme et leur lumière. [...] \nCes lampes n’ont rien d’intemporel.  \nEt heureusement ! Elles sont de sensibles \ntémoignages des temps modernes. Ce \nqui les rend actuelles c’est la liberté avec \nlaquelle se fabrique l’espace intime avec \ndes contrastes, des coups de cœur, des \nsurprises et cette pertinence qui nous \nfait dire : elles sont bien là !\n► Charlotte Perriand e Le Corbusier \nhanno creato oggetti moderni per spazi \nmoderni. Le loro lampade sono espres-\nsive, astrat te e colorate, se consideria-\nmo il nero un colore. Abitano lo spazio e \nlo segnano, grazie alle forme e alla luce.\n[...] Queste lampade non sono senza \ntempo… Fortunatamente! Sono precise \ntestimonianze dei tempi moderni.\nCiò che le rende moderne è la libertà \ncon la quale creano spazi intimi, attra-\nverso contrasti, emozioni, sorprese ed è \nquesta peculiarità che ci fa dire: appar-\ntengono a questo luogo!\n«… Au fond, le \ndesign est une \nréponse aux gestes \nde l’être humain. \nMais il y a un aspect \nqui va au-delà et qui \nimplique une forme \nd’harmonie avec \nsoi-même et avec \nson environnement; \nce type de prise  \nde conscience \naffecte tout.» \n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.19.png","APPLIQUE À VOLET PIVOTANT AND \nPIVOTANTE DOUBLE  \nCharlotte Perriand, 1977  \non this page\nBlack anodized version, by nemo. \nopposite page \nShiki shop Paris,  design Ch. Perriand, 1975 \n©achp\u002Fadagp. \n«Les luminaires de Charlotte Perriand […]  \nne sont pas des luminaires de « designer », \nmais bien des luminaires d’architecte, qui \njouent avec les volumes et les proportions, \ncomme un élément architectonique d’un \nensemble, pour faire “chanter” l’espace.»\n► Pernette Perriand-Barsac, Jacques Barsac\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.20.png","Art direction, exhibition design \nand graphic design\nUNA [ Castelli - Folli - Paleari ]\nwww.una.works \n \nCurator \nValentina Folli\nHistorical material and documentation\nFondation Le Corbusier\nArchives Charlotte Perriand \n \nPhoto\nFLC\u002FADAGP \nAChP\u002FADAGP\nIsabella Paleari\nNicola Zocchi\nCube Photo Production\n \nPrinted in Italy by\nIntese Grafiche S.r.l., Montichiari (BS) \n \nLa Luce Firminy 2019 \navec la participation de  \n► Thanks to\nMichel Richard, Pernette Perriand-Barsac, \nJacques Barsac, Benedicte Gandini, \nArnaud Dercelle, Isabelle Godineau, Giulio \nCappellini, Domitilla Dardi, Arthur Rüegg, \nMarco Ferrante, Pierluigi Nicolin, Barbara \nLehmann, Fabio Perosa, Anne Coué, \nDomenico Scognamiglio, Simona Cairoli, \nRomy Batiste, Micol Francesca Facchinetti, \nGregoire Extermann.\nAll rights reserved. All the material \ncontained in this publication is proprietary. \nThe images and wording of this publication \nmay not be circulated, published and \ndisseminated or utilised in any manner \nwhatsoever without the prior written \nconsent of Nemo srl.\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F98\u002F9d37263d63bfc2dc1a96394734a0a4.21.png","ARCHIVE\nDIVING\n► Valentina Folli \u002F nemo  \n► Working on new release of historical \nproducts designed by le Corbusier and \nCharlotte Perriand was, from the be-\nginning, rather than a task, a great plea-\nsure. It is difficult to describe the value \nand importance of those products, proj-\nects, ideas that these two Masters cre-\nated or just imagined during their life.  \nQuality of these ideas is such that, \nsometimes, a section, a sketch on a \nnotebook are enough to bring back \nfrom the paper products that are im-\nmediately mature and correct, as for \nthe Projecteur, a spot hidden under \na concrete shell, drawn in side view, \nwithout any available prototype but \nextraordinarily functional and com-\nplete, once “recovered”.\nOnly by diving completely in the ar-\nchives, we understood the real nature \nof these projects; searching among \ntechnical tables, drawings, notebooks \nand notes, among pictures of architec-\nture, friends and travels, we discovered \na world of lights coming out from the \nedges of a picture, transformed and \ncolored according to the place, part of \nan unconscious made of natural, me-\nchanical and metaphysical shapes.\n \nThis is the way in which this exhibition \nwas born, surely it’s not exhaustive but \nhopefully it is representative of a mag-\nnificent way of designing lightings: \nobjects made to serve us, following \nour gestures, changing the spaces \nwe live in, taking us through time.  \n \n► Travailler sur la réédition d’œuvres \ndessinées par Le Corbusier et Char-\nlotte Perriand a été d’emblée, plus \nqu’une tâche, un réel plaisir. Il est diffi-\ncile de décrire la richesse et la densité \nconceptuelle des objets, des projets \net des idées que ces deux maîtres du \ndesign ont créés ou simplement ima-\nginés au cours de leur vie.\nLa qualité de ces idées est telle qu’il \nsuffit parfois d’un trait ou d’une es-\nquisse dans un carnet pour faire naître \nsur le papier des produits immédia-\ntement corrects et aboutis. Comme \nle Projecteur, un spot caché sous une \ncoque en béton, saisi en vision laté-\nrale, sans prototype disponible, mais \naussitôt fonctionnel et complet.\nC’est seulement au prix d’une immer-\nsion complète dans les archives qu’il \na été possible de saisir la vraie nature \nde ces projets. En cherchant parmi \nles dessins techniques, les croquis, \nles carnets et les notes ainsi que les \nphotographies d’architecture, d’amis \net de voyage, nous avons découvert \nun univers où la lumière, émanant des \ncontours d’une photographie, se trans-\nforme et se colore en fonction du lieu. \nElle devient alors partie intégrante \nd’un imaginaire de formes naturelles, \nmécaniques et métaphysiques. \nAinsi est née cette exposition, qui \nsans être exhaustive, se veut re-\nprésentative d’une façon merveil-\nleuse de concevoir la lumière: ob-\njets conçus pour être utiles, suivre \nnos gestes et transformer nos es-\npace d’habitation à travers le temps.  \n \n \n► Fin dal primo momento, lavorare \nalla riedizione di prodotti storici di-\nsegnati da Le Corbusier e Charlotte \nPerriand è stato più che un lavoro, un \ngrande piacere. È difficile descrive-\nre la ricchezza e lo spessore dei pro-\ndotti, progetti, idee che i due maestri \ndel design hanno creato o soltanto \nimmaginato nel tempo di una vita.  \nLa qualità di queste idee è tale che tal-\nvolta basta una sezione, uno schizzo \nsu un taccuino, per far rinascere dalla \ncarta prodotti da subito maturi e cor-\nretti: come il Projecteur, uno spot na-\nscosto sotto a una scocca di cemento, \ndisegnato in vista laterale, senza nes-\nsun prototipo disponibile, eppure im-\nmediatamente funzionale e completo.  \n \nSoltanto \nimmergendoci \ncompleta-\nmente negli archivi abbiamo compre-\nso la vera natura di questi progetti; \ncercando fra tavole tecniche, disegni, \nappunti, tra fotografie di architetture, \ndi amici e di viaggi, abbiamo scoper-\nto un mondo di luci che sbucano ai \nmargini di una fotografia, trasformate \ne colorate a seconda del luogo, par-\nte di un immaginario fatto di forme \nnaturali, meccaniche e metafisiche. \n \nCosì è nata questa mostra, certamen-\nte non esaustiva, ma - speriamo - rap-\npresentativa di un magnifico modo \ndi progettare le luci: oggetti fatti per \nesserci utili, seguendo i nostri gesti e \ntrasformando gli spazi che abitiamo, \naccompagnandoci nel tempo.\nLE CORBUSIER \n \n01 \nMaison La Roche, Paris. \n© ph. Olivier Martin-Gambier - \nFLC\u002FADAGP\n02 \nVilla le Lac, Switzerland. \n© ph. Olivier Martin-Gambier - \nFLC\u002FADAGP\n03  \nPavillon Esprit Nouveau, 1925, Paris. \n©FLC\u002FADAGP\n04  \nLe Corbusier in Marseille, 1949  \n©FLC\u002FADAGP \n05  \nLe Corbusier at Cabanon, \nRoquebrune-Cap Martin, France © \nph. Willy Boesiger -  \nFLC\u002FADAGP. \n \n06  \n1952 - Lampe en béton \u002F Chandigarh, \nIndia© ph. Dominique Darr - FLC\u002F\nADAGP\n07 \n© ph. Olivier Martin-Gambier  \n©FLC\u002FADAGP\n08 \nApartment Rue N.C., Paris \nCHARLOTTE PERRIAND\n09 \n1928, apartment-studio, Place Saint-\nSulpice, Paris. ©AChP\u002FADAGP\n10\u002F11  \nph. Charlotte Perriand\n©AChP\u002FADAGP\n12\nCharlotte Perriand at chalet de \nMéribel, France ©AChP\u002FADAGP\n13 \n1928, apartment-studio, Place Saint-\nSulpice, Paris. ©AChP\u002FADAGP\n14 \nla Maison au Bord de L’Eau \n©Louis Vuitton - AChP -  \nph. S. 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