A tribute to the masters of lighting, names that have contributed to the history of design and of Oluce itself: this year the company presents the reissue of a product from the 50s by Ostuni and Forti. The lamp 1953 designed, by Ostuni e Forti, has two models, floor and table, varying in proportion and size but identical in their design which shifts the whole lampshade section from the centre to the side. A range that elegantly recalls the style of those years, such as the use of a shade in the classic cylindrical shape and the fine contrast of the satin gold – stem and shade’s interior – against the black – the exterior of the shade, the base and the stem grip. Decorative but with a clean, linear design, 1953 is striking in its modernity, attesting to Oluce’s instinct to create objects capable of transcending fashions and eras.
Joe Colombo‘s first project for Oluce, the only one worked on together with his brother Gianni. From then on, the two Colombo brothers clearly separated their fields: Joe left art in which he had shown interesting promise with “Nucleari”, while Gianni no longer worked in design, becoming one of the leading exponents of the kinetic, programmed movement. The 281 model, created in 1962, was immediately nicknamed “Acrilica” due to its surprising conspicuousness and exception innovation of the significant curve made from acrylic. Methacrylate, used for about a decade in the field of lighting, usually in thin sheets that are cut or thermoformed, found a very particular use here: its thickness and curve meant that, thanks to its conduction properties, the light from a fluorescent lamp contained within the painted steel base moved through the transparent body, eventually lighting the head in an incredible way. Due to this “magical movement”, “281” is more a work of kinetic art than a lamp.
The concept of Alba starts with a very simple element: the designer’s imagination was inspired by a drop of water – which she puts to use in different ways, depending on the model. References to the world of nature, with soft shapes contrasted with square lines, together with the use of a satin brass finish, combine to create Alba, a family with a strong visual impact. In the table lamp version, the drop rests delicately on a satin brass rectangular-section profile in the shape of a double asymmetrical ‘L’ , serving as the base and ornamentation of the light. Suspension Alba on the other hand consists of two models: the single one, gracefully suspended by a cable, and the double one, where the cable supports a metal structure with a satin brass finish, with two offset arms, under which light shines from the opaline drops. In the wall model, the solid is lightly attached to a square-section tubular support that fixes it to the ceiling rose. Two floor-standing versions complete the project: in both versions, a large rectangular-section stem with a satin brass finish arises from an anthracite base. In the first version, an arm branches off from the top, with a sphere suspended underneath it, while in the second, two arms of different heights, on each side, support the luminous drops, one from above and the other from below.
Designed in 1977 by Vico Magistretti, over the years, Atollo has become the archetype of the table lamp, winning the Compasso d’Oro in 1979 and completely revolutionising the way we imagine the classic bedside lamp. The geometric shapes that compose it – cylinder, cone and hemisphere – have resulted in a product that is decorative and essential at the same time, disconnected from the historical period and the fashions of the moment, and one that has now fully become one of the icons of Italian design