As for the domestic environments, which we perceive differently once the walls are repainted. Perhaps daring an unusual color, so we feel a sort of amazement in seeing an object that we took for granted.
Which is shown in an unusual nuance or finish which makes it appear new and unexpected. It is the sensation that the colored lamps evoke, especially if they are models that we used to see in a different finish, like those of the Foscarini Be / Color capsule collection presented during the Brera Design Week 2018 .
There is a relationship between color and form, because the first is a constitutive part of the project, therefore, not pure decoration or simple accessory. In fact, the lampsmust be designed to live both at night and during the day, switched on and off .
they have a physicality and not just a function. Color and design can not be separated because color brings volumes to life, allows us to read the full and empty: expresses the object, the personality. Here’s how the idea of colored lamps came about.
In this “capsule collection” of colored lamps, signed by Ferruccio Laviani
,The chromatic dialectics are explored, between combinations and contrasts. Each color acts within a context: designing color and design means considering not only what is at the center, but also what is next to it and around it.
The color is able to change the perception of reality, make it different, unexpected, new. The luminous objects must transmit emotion and do so, as well as with light, through form and color, triggering the sophisticated balance between our chromatic sensitivity and the taste that best represents us.
The color has only recently been cleared by those rationalist legacies
(and as regards the design by the precepts of the Weimar school) that have always considered it something accessory, not fundamental, remaining at the maximum within the declination of the individual primary colors.
It was only with the advent of Postmodernism, and especially with Memphis and Alchimia, that unusual color palettes were introduced with unusual combinations / decorations . The theme of color and its presence in contemporary industrial design becomes an important topic in design and one of the main elements of each new creation.
Emotion and perception then become one.
The color and its values - ranging from the physiological to the biological, from the cultural to the symbolic – are concretized in the projects through the material, transforming an idea into something solid, tangible .
Twiggy (Marc Sadler) is a true icon of Foscarini
. It has never been proposed in black or white. The project has never been reduced to a single sign, because the sign – that thin arch that bends to the ground in such an elegant and sophisticated way – spontaneously lends itself to the use of color, without ever becoming excessive. It is a lamp capable of furnishing an entire room, and that in this new garment becomes even more charismatic.
This of Laviani is not just a variation of Twiggy, but a re-design of it. The lamp, so marked in the parts that compose it, acquires a completely new personality. The curve of the stem emerges as a gesture, the base takes different weights depending on the contrast, the speaker communicates with what supports it and with the light source it contains. The forms – read in succession – become a rhythm. The saturated and bright colors are suitable for the lightness of Twiggy.
We needed a lamp with an essential and decisive character like Magneto (Marc Sadler) to get the maximum impact in the dialogue between two colors.
La Magneto two-tones is a design work on meaning and hierarchies: the white stem holds a black diffuser; there is a white diffuser. Warm and saturated colors are combined with pastel colors. And the personality of the lamp changes completely. A magnet combines a supporting stem and an illuminating body, allowing the light to be directed like a torch, at will.
There has always been a strong functional component in a decorative lamp like Magneto.
To rethink the colors, has allowed us to give new energy to the product and a new aspect to its technicality.His slim being acquires solidity: both lit and turned off. Magneto has always been at home in homes and in the most crowded offices. In this two-color version its versatility and discretion are enriched by an even more incisive character: sign and color attract each other, in an unexpected and magnetic relationship.
Binic (Ionna Vautrin)
is game through color: since its creation . This compact lamp, playful, fun, with all the features to love, expresses its personality as a colorful form. White, green, amaranth, orange, oil, gray. The Binic palette changed over time, to meet the most diverse tastes and needs. With this new look, we take a step further, beyond the monocolour. The volumes of the lamp shows up by separating it into its two constituent parts. The conical base and the projector. Where previously there was only a finishing contrast – polished above and satin underneath. Now there is contrast between the 2 colours.
With a change in the personality of the object that immediately jumps to the eye.
T With different visual results, depending on whether it is lighter or darker than what is above. It is a new dynamism of shapes: if before Binic easily entered in harmony with the environment. Studio, children’s room, living area – now also gives him energy, character, uniqueness.
Bahia + Bahia mini (Lucidi and Pevere)
are lamps that express themselves in the relationship between forms . Three superimposed plates, slightly asymmetric in profile and arrangement. With light flowing on the surface like water on the sand lapped by the sea. And the name Bahia recalls just this. A beach caressed by the sun’s rays, the sand with small sandy waves, the elegance of bossa nova … White on white. But today Bahia – that on the wall draws a game of screens and reflections. With every glow that seems contained in the radius of more extended glow – is enriched by the color, which characterizes the entire surface of the innermost plate and the profile of those external.
The effect is unusual
unexpected. The enhanced decorative force. Bahia can solve the furniture of an entire wall by itself. But also give life to multiple compositions, luminous archipelagos in the domestic or collective space. The color emphasizes even more the essential shapes and the scenographic potential of this lamp. If to be without appearing was the stylistic choice of Bahia all white. To show itself without imposing itself is the formal declaration of two-tone Bahia.
Gregg (Ludovica + Roberto Palomba), at first sight, has organic, free forms. It resembles a stone, a pebble smoothed by water. It looks like a circle and yet – like certain perfect imperfections of nature – circle is not. It is the celebration of asymmetry. It changes its appearance according to the angle from which it is looked at. You could choose to emphasize even more this peculiarity of a natural object, trying to make the base disappear. Make that stone look even more stone, something that gave the impression of leaning and almost rolling on the ground.
No longer white, but gold and graphite, no longer opaque, but shiny, reflecting light. The new two-color version of Gregg is available in midi and small versions. It is a completely new lamp, where the base acquires a completely different personality: from support, it becomes an accent. From function, it becomes a visual action, a sign.