As Seen in Atomic Ranch Magazine Spring 2012
Can personality and emotion come from lighting? Lamps from Foscarini are designed to do—and express—just that, with bold creativity, cutting edge forms and innovative materials that push well beyond the limits of traditional lighting fixtures. For more than 30 years the Venice‐based manufacturer has been working with leading designers like Marc Sadler, Karim Rashid, Patricia Urquiola and even international fashion brand Diesel. The result has been a collection of lighting that is focused around good design, with each product capturing playfulness, imagination and sophistication.
With a certain sparkle and visual allure, the Foscarini Caboche Suspension easily transforms a space from ordinary to extravagant. Designed in 2005 by Patricia Urquiola and Eliana Gerotto, this well‐recognized piece features a circle of polymethylmetacrylate transparent globes around a single light source, creating shimmer and shadow in the surrounding space. Urquiola has also designed products for Alessi, Kartell, Flos, and others and is known for her highly imaginative, pragmatic style found in her designs. From furniture to lighting, she conceives every object she designs as part of a domestic landscape, rather than as an individual piece.
Bon jour, Mademoiselle! Designed by Ilmari Tapivaara in 1956, the Mademoiselle Lounge Chair is a classic Finnish design from the mid‐century. Tapivaara’s take on the Windsor chair is lower and more laid back than traditional versions, available in painted black or white birch wood.
Used to hold the pot of a long‐stemmed flower, this Cachepot is part of a collection from designer Mario Trimarchi designed to emphasize shadows and inspired by the strong Scirooco winds in Sicily. Trimarchi is an architect of the “freehand” generation, considering drawing, photography, design and image all equal parts of the visual universe.
The Eames House Bird started out as just that—a black wooden bird that was a part of Charles and Ray Eames’ house, later rising to fame after being seen in many of the Eames’ photographs. Its exact origin is unknown, but Vitra used 3-D scans of the original to create a wood reproduction of this piece of American folk art.