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communication and the seductive ability are
a lot similar, exception made for the fact that
an additional value is needed in order for the
market to support innovation. This is what makes
it different from conventional stereotypes.
This transfer takes place in two distinct ways:
using irony on one hand and formal abstraction
on the other. Filo, designed by Andrea Anastasio
for Foscarini, belongs to the first group:
while exhibiting an innovative use of ceramic
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and glassy materials, through variegated
chromatic articulations, it theatrically reminds
of a memory game, a vision of fragments of the
past that, once composed, seem to wink and ask,
in a Freudian manner, “guess who I am.”
Less ironic but eye-catching is Ross Lovegrove’s
Medusa for LG lighting, floating into space
in accordance with an imaginary light wave.
The installation of the 87 project by Fahim
Kassam in Bocci space might belong to the
1 | Ross Lovegrove, Medusa, LG Lighting
2 | Arihiro Miyake, Titia, Nemo
second group. Here the form a nd lighting
technological solution literally merge to portray
an Avatar movie scene, a condition
of dematerialization of the lamp concept that
reaches a soft and sinuous dimension, without
a predominant character. Actually, in this case,
a singular process lies behind the image
of the product-installation: a transformation
of the plastic matter that allows unique luminous
effects, recalling the noble origin of glass
processing in kilns.
More essential and minimalistic are Wirering
and Blush lamp designed by Formafantasma
for Flos, where the compositional concept fully
blends with the interpretation of the solid state
light technology translated into lines and circles.
Blush lamp, for instance, is well suited for the
playful effects of a programmed direction that
allows to fully appreciate, in the essentiality
of vertical lines, the variations in intensity
and colours.
On the contrary, in Arihiro Miyake’s Kepler project
for Nemo, the suppleness becomes the leitmotif
of compositions that burst into space, making
the background walls almost inappropriate.
In fact, the product is a good integration of form
and technology, to the point where one might
think that these two dimensions were born
in symbiosis. Less sorted out are the common
hanging devices, especially in consideration
of the degrees of freedom embedded in this
luminous concept. The same connections have
been also used for Titia, another Miyake product
oriented to a particularly innovative
experimentation. In this case, the essentiality
of the reticular shape finds an interesting outlet
in its aerial and transparent cylindrical shape.
The level of abstraction is the common
denominator of these projects, though it stills
the testimony of a sector – that of the
reinterpreted decorative lighting – that tends
to move, without apparent limits, towards
a sometimes brave and pioneering evolution,
with the growing awareness of having to solve
tasks that are required by increasingly
demanding users that are more and more aware
of the end result. Beauty is not enough anymore!
In addition to approaching moods and inner
desires of people, it is now necessary to think
about multifunctionality and the essential
ability to provide answers to the specific activities
that take place in the spaces. By paraphrasing
the popular saying “the customer is always
right”, we could say that if no obstacle is
encountered, the human mind is going to ask
for the moon! And on this wish, I should
conclude by mentioning the extraordinary Coelux
achievement, which, at the end of a sequence
of rooms illuminated by semi-virtual skylights,
led us to the contemplation of a majestic and
almost incredible artificial moon; emotional
might not be a proper enough word. A rather
appropriate epilogue, if we consider that one
of the vocation of Euroluce is, indeed, to put
the lighting market in front of its challenges,
envisioning cutting-edge scenarios of which
universe and nature continue to be the main
sources of inspiration.