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let there be light
Nel 2004 con la mostra In Dust We Trust Industreal ha
esplorato le potenzialità espressive della prototipazione
rapida. Con Model Ideas nel 2005 ha indagato l’archetipo
dell’idea del modello. Dream ha analizzato nel 2006 la
potenza espressiva del sogno in ogni azione progettuale.
First Cut, nel 2007, ha suggerito al designer l’uso di
forbici potentissime che permettono di tagliare, incidere,
e disegnare ogni tipo di superficie.
Quest’anno, per il Salone del Mobile 2008, Industreal
propone i concetti e i progetti di luce elaborati dagli
studenti della SAIC (School of the Art Institute of
Chicago).
La mostra Let there be light vuole essere una riflessione
non accademica sulle forme dei corpi illuminanti e
dell’illuminazione come metafora del conoscere.
Collaborando al processo creativo dei lavori svolti dagli
studenti, Industreal ha messo in campo e condiviso la
propria idea di ricerca intesa come studio e processo
creativo capace di coniugare funzione e innovazione.
Let there be light
For the In Dust We Trust exhibition in 2004, Industreal
explored the creative possibilities of rapid prototyping.
With Model Ideas in 2005, it investigated the archetype
of the idea with models. With Dream it analysed in
2006, the expressive potential of dreams on every
creative act. First Cut in 2007 gave designers a pair
of extraordinarily powerful scissors with which to cut,
engrave and draw on any kind of surface.
This year, for the Salone del Mobile 2008, Industreal
proposes concepts and projects for lighting, developed
by students at SAIC (School of the Art Institute of
Chicago).
The exhibition, is a reflection on illuminating shapes
and lighting as a metaphor of knowledge.
By working with the students on the development of
their projects, Industreal has opened up and shared its
thoughts on research, intended as a study and creative
process that can combine function with innovation.
3
Search of light
La luce è fatta della materia di cui sono fatte le idee e
non è un caso che il lampo di genio viene solitamente
rappresentato da una lampadina che si accende sopra
la testa.
Concepire e progettare luce significa dunque pensare
nei termini stessi della creatività originaria, riecheggiata
nel passo del Genesi in cui il Creatore a!da al suono
della voce l’ordine “Luce sia! E la luce fu”. La luce ruba
le cose al buio portandole nel mondo dei corpi illuminati
che esistono ai nostri occhi proprio in virtù della luce.
Proponendo un saggio di idee, intorno al concetto di
luce, abbiamo voluto riflettere (ecco un altro termine
luminoso) sulle potenzialità sia della luce diretta sia di
quella riflessa.
La luce non è necessariamente energia elettrica, anzi
la luce è fuoco e fiamma, raggio e specchio, cristallo e
finestra, gemma e feritoia, diaframma e scintilla.
Disegnare la luce significa dunque concentrarsi su
un concetto semplice e potentissimo, un significante
illuminante che apprezza i voli della fantasia e i gesti
poetici.
L’immaginazione vola, veloce come la luce, abolendo
spazio e tempo.
Il tema è come il gesto che porta alla luce le cose,
nominandole. Sì perché ogni parola, ogni segno è la
promessa di una cosa prima immaginata, poi progettata
e infine, dopo molto pensare e provare, finalmente
prodotta.
In fondo nel nostro mondo non mancano le cose, ma la
luce delle idee
Giuliano Corti
Light is made of the same material from which ideas are
made and maybe it is not a coincidence that a flash of
genius is often represented in drawings by a light bulb
above a head.
However, to conceive and design light means thinking
modestly in the same terms as in the original of all
creativity, echoed in the phrase from Genesis ‘Let there
be light and there was light, light was good and light was
separated from darkness’. Light steals things from the
darkness taking them into the world of illuminated things
which then exist in our eyes due to the virtue of the light
itself.
By introducing students to a project of ideas based on
the concept of light, we should reflect (another luminous
terminology) on the potential both of direct light and
reflected light.
Light is not necessarily electric, light is fire or flame, ray
or mirror, crystal or window, jewel or opening, lens or
spark.
However, designing light signifies that we must
concentrate on a simple and powerful concept, one which
acknowledges flights of fantasy and poetic gestures.
Imagination flies high, at the speed of light, abolishing
space and time.
The theme is like a caress that brings things to light, (!)
naming them.
That is why every word, every mark is the promise of
something that was previously only imagined, which
when studied and developed in the end, after much
thought and testing, finally becomes a product.
After all, in our world there is no shortage of actual things,
just of the light from ideas.
5
Nell’aprile 2007 durante il Salone del mobile Caren
Yusem, (Director of Communications) della The School of
the Art Institute of Chicago visita la mostra First Cut, dove
alcuni studenti dell’università, selezionati da Industreal,
espongono i loro progetti.
In quell’occasione Caren dimostra grande interesse per
la ricerca sul design e le nuove tecnologie, avviata da
Industreal fin dal 2004 con le mostre In dust we trust,
Model ideas, Dream e First cut.
In vista di una possibile collaborazione fra due realtà
che considerano il processo di ricerca una missione, si
decide che all’inizio dell’estate ci sarà un nuovo incontro
per valutare la possibilità di una collaborazione per il
Salone del Mobile 2008.
In un caldo giorno di luglio Caren e Helen Maria Nugent
(Associate Professor, Coordinator, Designed Objects
Programs) sono a Milano per presentare a Industreal il
tema intorno al quale, durante l’autunno, avrebbe lavorato
una Master class del SAIC .
La classe fa parte del GFRY Design Studio– una realtà
trans-disciplinare che propone una stretta collaborazione
fra la scuola e l’industria per o"rire agli studenti la
possibilità di esplorare e sperimentare come le nuove
tecnologie, le forme sociali e i materiali si possono
integrare per creare prodotti innovativi.
Durante il lunch sotto il grande platano, nel giardino
di Industreal, matura nei discorsi e nei gesti conviviali
dell’incontro l’idea di una ricerca sul rapporto fra
la tecnologia delle sorgenti di luce e le tecniche di
lavorazione del vetro, inteso come di"usore e medium
dell’illuminazione.
Gli sudenti SAIC sono invitati ad approfondire, attraverso
idee, oggetti, eventi ed esperienze il tema della relazione
fra la “luce” e l’ ”illuminazione”, intesa come metafora della
conoscenza. Per la realizzazione dei prototipi, Il processo
creativo dei diversi gruppi di lavoro si può avvalere delle
risorse e delle attrezzature messe a disposizione da SAIC
e dall’industria del vetro, dei LED e delle tecnologie CNC
a controllo numerico.
In April 2007 during the Salone del Mobile, Caren Yusem,
Director of Communications at the The School of the Art
Institute of Chicago saw the First Cut exhibition which
included projects by some of the university students
On that occasion Caren showed great interest in the new
technologies and design research that Industreal had
been involved in since 2004 with the exhibitions In Dust
We Trust, Model Ideas, Dream and First Cut.
With the idea of a possible collaboration between the
two organisations and considering their shared belief
in the process of research as mission, they decided to
meet again during the summer months to evaluate the
possibility of collaborating for the Salone del Mobile
2008.
On a hot July day Caren e Helen Maria Nugent (Associate
Professor, Coordinator, Designed Objects Programs)
were in Milan to illustrate to Industreal the theme they
intended to work on with a class of SAIC Master students,
during the forthcoming autumn term
The class is part of the GFRY Design Studio - an
interdisciplinary course that focuses on the close
collaboration between school and industry in order
to o!er students the possibility of exploring and
experimenting with new technologies and illustrating
how these can merge with social forms and materials to
create innovative products.
Conversation over lunch, under the large plane tree in the
garden connected to the workshop of Industreal, brought
about the idea of researching the relationship between
the technology of light sources and the techniques of
glass intended as a medium for di!using light.
The students were asked to study the relationship
between “light” and “lighting” intended as a metaphor
of knowledge, through ideas, objects, events and
experiences. To make their prototypes, each work group
had the possibility of using resources and equipment
provided by SAIC and the glass industry, as well as LED
and CNC numerically controlled technologies to assist
with their creative process.
The idea of light
6
tree picture
8
Jesse Li - Alicia Kuri Alamillo - Douglas Pancoast - Greta Stepp - Michael Riha - Blair Schmidt - Eric Rosenbaum
Caren Yusem - So Jung Lee - Helen Maria Nugent - Zachary Weiss - Lisa Smith - So Yun Shim - Caroline Linder
Shireen Bishop - Robyn Carter
Il 15 ottobre arrivano ad Industreal le prime idee elaborate
dagli studenti SAIC .
Quando le idee, in vista della loro realizzazione,
cominciano a prendere forma è uno dei momenti più belli
della ricerca.
I concetti che guidano il processo di ricerca proposto da
SAIC sono: mimetismo, evidenza, flusso, dispersione,
innesto, limite, traccia, erosione, fossilizzazione, memoria,
respiro.
Le direzioni di ricerca stabilite sono quattro:
Line Plane Volume: si ispira alla dispersione e alla
di!usione della luce e intende esplorare il rapporto fra il
colore della luce e il vetro. Line, Plane, Volume.
Windows: stabiliscono il confine del nostro spazio
personale interiore attraverso le nozioni di privacy e di
sorveglianza che ci colpiscono quando passiamo davanti
ad una finestra illuminata. Pane, Allegory, Scroll.
Trace the Evidence and Flow: nell’interazione fra la
luce e la fisica dell’oggetto illuminato si influenzano
reciprocamente sia l’oggetto sia la luce di!usa. Drawn
Shades, Explosion, Building Light, re:morph, Meta-Loops.
Flexible Light: progettata proprio per adattarsi agli spazi
dei vari ambienti: Fits – IN, Rigging Lighting System,
Heap, Untitled.
La ricerca è molto estesa ed approfondita ed è stata
condotta utilizzando manuali di illuminazione e brochure
di led, testi di fisica e concetti di lighting design.
Ad una prima analisi tuttavia i progetti appaiono molto
impegnativi da realizzare anche come prototipi.
Si invitano quindi gli studenti della classe GFRY Studio
project a presentare il processo che ha portato alle
singole proposte nel corso di un nuovo incontro fissato
per il 9 Novembre a Chicago.
On the 15th of October, Industreal received the initial
concept ideas developed by the SAIC students
One of the best moments in research is when ideas start
to take shape with the prospect of actually becoming
objects.
The guideline concepts for the SAIC research project
were the following: camouflage, evidence, flow, di!usion,
grafts, limits, tracks, erosion, fossilization, memory,
breath.
Four areas of research were defined:
Line Plane Volume inspired by the di!usion and
dispersion of light and the exploration of the relationship
between the colour of light and glass.
Windows define the borders of our inner personal space
through the notions of privacy and of being watched that
occur when we pass in front of a lit up window. Pane,
Allegory, Scroll.
Trace the Evidence and Flow of the interaction between
light and the physics of the illuminated object; both
the object itself and the di!used light are reciprocally
influenced by each other. Drawn Shades, Explosion,
Building Light, re:morph, Meta-Loops.
Flexible Light designed to adapt itself to di!erent
environments. Fits – IN, Rigging Lighting System, Heap,
Untitled.
In-depth research was undertaken with the help of
lighting manuals and LED brochures, physics texts and
studies of lighting design concepts.
The projects initially seemed highly complex to make
even just as prototypes.
During the next meeting, arranged in Chicago on the 9th
November, students involved in the GFRY Studio project
were asked to illustrate the development process which
led them to the definition of their proposals.
Concepts of light
10
We intend on creating a lighting object that exhibits
elements of trace, evidence and flux through interac-
tion with the physicality of the object, altering both the
appearance of the object and the transmission of the
light. We came to the idea of using the reaction of iron
filings to magnets, when separated through a transpar-
ent medium, because of its infinite formal potential and
exhibition of natural phenomenon.
Iron filings and magnets allow for a dynamic interaction with the
object, one based on the sensibility of drawing and the playful
attitude of a child’s toy. The magnetic trails, silhouettes, and gradi-
ents found through this interaction create a poetic visual and
tactile experience for the user. As the iron filings are dragged
through the object by the user, they are temporarily held in the
groves of the etched glass as evidence of the with the object,
revealing surface patterns and unexpected forms.
Ultimately, a new experience is discovered, one that is as
elegant as the blown glass form and iron filings that create it,
yet as simple and playful as the childhood toys we left behind.
Lights are rarely meant to be touched. Glass objects too,
except for drink-ware, are usually not considered to be
interactive. With glass, our immediate concern is fragility, that
is to say, dropping the object. With lights, heat is a typical
concern, but so is the preciousness of certain types of �xtures.
Our proposed system intends on getting around these issues
in a couple of ways, in order to create a fun but elegant
lighting object.
By using LEDS as our light source, we are greatly reducing the
amount of heat that will be generated, thus removing the danger of
touching the object. By tethering the objects to a �xture above we
are eliminating the potential for an accidental drop. With this in
mind we have considered the use of magnets as a method of
joining together glass objects that allows for easy
assembly/disassembly, requires no complicated handy work and
allows for both imperfection and interpretation. .
The system itself consists of a series of objects that
can congregate to create a singular solid form,
separate entirely to make a series of smaller objects,
or be entirely rearranged by the user to create a
light/object sculpture of their own design.
A simple gesture, such as pulling on a cord, can dramatically
change the e�ect of the light from directional spot lighting to
ambient area lighting. Altering the form of the chandelier and
thus the spread of the light. As a central light for a large
space, this would provide a range of lighting for di�erent
circumstances; from working at a table to a cocktail party.
The re�ned triangular shape of the glass allows the chande-
lier to come together in a unique but rhythmic form. Adding
to the form of the glass is the aesthetic of the rope and string
mechanism that allows the individual lamps to cluster
together. The use of LEDs is signi�cant, as their directional
nature will increase the e�ciency and quality of the light.
Trace the evidence of flow
1212
Suction Cup
paneCaroline Linder / Sonia Shim and Eric Rosenbaum
Windows mediate the boundary of our interior personal space and the exterior public realm.
Notions of privacy and surveillance come to mind as we walk past the lit window at night.
Interior light activates the lens of the window, granting us access to the private spaces within.
With the introduction of blown glass, the illuminated windowpane forms the primary dialogue
with the passerby while obscuring the personal space within.
The plane of the window and the lit obect join together to
create a new !eld of light. Stems can be positioned in a cluster
or bent across the window pane to !ll the space.
Glass & LED nodes
Flexible Stem
scrollSonia Shim / Eric Rosenbaum and Caroline Linder
Windows mediate the boundary of our interior personal space and the exterior public realm.
Notions of privacy and surveillance come to mind as we walk past the lit window at night.
Interior light activates the lens of the window, granting us access to the private spaces within.
With the introduction of blown glass, the illuminated windowpane forms the primary dialogue
with the passerby while obscuring the personal space within.
Just as a candle in a window sends forth a
warm welcome or signi!es a special occasion,
other window decorations carry messages of
their own. These glass scrolls are a celebration
of light and are just as alluring as a love note,
an announcement or even a lucky fortune.
allegoryEric Rosenbaum / Caroline Linder and Sonia Shim
Windows mediate the boundary of our interior personal space and the exterior public realm.
Notions of privacy and surveillance come to mind as we walk past the lit window at night.
Interior light activates the lens of the window, granting us access to the private spaces within.
With the introduction of blown glass, the illuminated windowpane forms the primary dialogue
with the passerby while obscuring the personal space within.
LED light and
lamp frlamp flamp f amerr
texee turedr
glass shade
ront (inside) viewside view
outside of
window
inside of
window
LED light and
lamp frlamp flamp f amerr
texee turedrr
glass shade
lattice, pixels, weaving
The visual allusion creates a barrier that acts as camou!age,
distorting the truth on either side of the window. Privacy
is obtained by using light rather than darkness.
allegory – a story, poem or picture that can
be interpreted to reveal hidden meaning
Windows
13
Line, Plane, Volume
Line, Plane, Volume
Shireen Bishop and Greta Stepp
Line, Plane, Volume is inspired by the leaking or bleeding of light and is intended to explore the mixing of colors of light, glass.
It is composed of several fixtures created by an initial singular Line fixture; the Line is composed of many blown glass elements with
LED lighting inside. This fixture can be ceiling mounted, raised or lowered to provide pooling effect on a table or along the floor creating
a single line of light throughout a space.
Line
Blown glass to
diffuse light.
LED’s inside each
of the glass objects.
Cables to support
weight of glass.
Line, Plane, Volume
Shireen Bishop and Greta Stepp
The Plane fixture is composed of two or more Line fixtures connected together with cables, creating a partition or curtain of light.
Not only will light be emitted, while installed as a curtain, sunlight will be transmitted through even when the lights are turned off.
This fixture will create a unique plane of light across a wall, space or window.
Plane
Line, Plane, Volume
Shireen Bishop and Greta Stepp
The Volume fixture incorporates a structural component that wraps the Line around and attaches the glass and LED components into a
circular ceiling mounted light fixture. It can easily be raised or lowered and glass elements can be allowed to hang from the structure or
be totally connected. Depending on the color and composition of glass components on each Line, the Volume fixture will appear different
each time it is installed.
Volume
Original “Line” component arranged
to create a volume of light
Structural element attached to
glass blown pieces.
14
GLASS(EMITS LIGHT)
(WEIGHT + FRICTION)
(PADDING + FILL)
RUBBER
DIFFERENT ASSEMBLAGES OF OBJECTS
FELT
is a collection of ob-
jects that fit together
in a multitude of ways
to produce different
formal and phenomeno-
logical effects.
The ‘heap’ is formed of
3 different types of
objects. Each type has
different properties,
all of which contribute
to the heap in a differ-
ent but essential way.
Each object can also
stand alone based on
their unique properties.
For example. the felt
objects can function as
a pillow, and the glass
objects can stand alone
as individual lights to
be moved from room to
room.
These objects are in-
spired by the fragility
and monumentality of
cairns and the sugges-
tiveness (but lack of
prescriptiveness) of
rock-climbing handholds.
HEAPlee, riha, schmidt, smith
objects can stand
alone. the rubber
weight can act as a
paperweight or a
doorstop.
the glass objects carry light
via a small LED that is
plugged into an aperture in
the glass
objects balance
each other,
resulting in a
unique assemblage
mold positive
imprint
object
corner mold
handle slot
multiple imprints
increase versatility
changeable light aperature
Blair Schmidt, Lisa Smith, Michael Riha, SJ Lee.
Fits - IN
Rigging Lighting System
Blair Schmidt, Lisa Smith, Michael Riha, SJ Lee
A light that is completely dependent upon a secondary extraneous strap. The strap is designed to be the primary holder for the light.
In conjunction with this strap the light can adapt to various environments.
The refinement of the glass form contrasts with the makeshift placement.
Page 2/2
Flexible light
15
Maurizio Meroni e Monica Favara visitano il Department
of Architecture, Interior Architecture + Designed Objects
(AIADO) del SAIC che ha la propria sede in un edificio di
L.H. Sullivan a Chicago.
Li colpisce la vivacità dell’ambiente, l’organizzazione della
didattica, ma anche le procedure legate alla security.
Ogni studente è provvisto di un badge di riconoscimento
e tutti i visitatori che ne sono sprovvisti devono essere
accompagnati e farsi scansire la retina prima di accedere
alle aule.
SAIC è una scuola privata che nella retta comprende
un uso della struttura molto ampio. Gli spazi sono
a disposizione degli studenti 24 ore su 24: aule di
informatica, laboratori di prototipazione e sale video
comprese.
Ogni studente ha in dotazione un Mac equipaggiato con
i software di progettazione.
Nel giorno fissato per la selezione dei progetti gli studenti
hanno allestito l’aula del master con tutti i prototipi, e a
gruppi illustrano la propria idea e le fasi di realizzazione
dei primi prototipi funzionanti costruiti nei laboratori
SIAC.
Agli studenti vengono fornite alcune informazioni di
massima sulle tecniche di lavorazione del vetro.
4 dei 14 progetti vengono selezionati per essere
presentati al Salone del Mobile 2008 di Milano, come
prototipi funzionanti.
Maurizio Meroni and Monica Favara travelled to Chicago
to visit the SAIC Department of Architecture, Interior
Architecture + Designed Objects (AIADO) which is located
in a building designed by L.H. Sullivan
They were struck by the liveliness of the environment
and the academic organisation, but also by the security
procedures. Every student had an ID badge and any
visitor without a badge had to be taken for a retina scan
before being allowed to access the classrooms.
SAIC is a private school and the fees include constant
access to the premises. All spaces are available to
students 24 hours a day; IT areas, prototyping workshops
and video rooms are no exception.
Every student is allocated personal MAC complete with
3D software.
On the day set for the presentation of projects, the
students had organised the classroom in such a way that
all the prototypes are on display and took it in turns to
illustrate their research concept and the various stages
of construction of the first working prototypes, which
were built in the SIAC workshops.
Students were given some basic information on the
di�erent techniques of glass working.
4 out of the 14 projects are chosen to be presented during
the Salone del Mobile 2008 as working prototypes.
Four visions of light
16
Scroll - LEDs & acrylic Allegory - illuminated window pane
Drawn Shades - iron filings & magnets Study of light - paper
Drawn Shades - iron filings & magnets
Line, Plane, Volume - paper model Building Light - iron filings & magnets
Chandalier - metal beeds
Il 24 gennaio 2008 il corriere consegna a Industreal i 4
scatoloni con i prototipi provenienti da Chicago.
L’emozione è forte, come quando si apre un regalo.
I corpi illuminanti sono composti da LED e parti in alluminio
fresate.
Gli studenti hanno realizzato i prototipi perfettamente
funzionanti adattabili sia al voltaggio europeo sia a
quello americano.
Flex: un fascio di sei luci che pendono liberamente ma si
muovono insieme e al variare dell’angolo di oscillazione
cambiano la forma dell’illuminazione.
Fizz: una lampada che si ispira al gesto infantile di fare le
bolle e si può usare come elemento singolo o in gruppo.
Impromptu: un sistema di illuminazione che si adatta
all’ambiente e alla situazione. Può pendere dal so"tto, si
può tenere in mano oppure attaccare alla libreria.
Line: un sentiero immaginario viene tracciato muovendo
un punto illuminato nello spazio.
Inizia così il lavoro di interpretazione delle parti in vetro
da parte di Industreal per dare alla luce la forma delle
trasparenze di luce.
On the 24th January a courier service delivered 4 boxes
containing the prototypes from Chicago.
There is a much excitement, like when a gift is opened
The lighting objects are made of LEDs and some parts
milled from aluminium
The students had made perfectly functioning prototypes
suitable for both American and European voltage
Flex: A bundle of six freely-hanging lights that move
together and modify the shape of the lighting according
to the angle of oscillation.
Fizz: a lamp inspired by the children’s game of bubble
blowing. Can be used as a single element or combined
to form a group.
Impromptu: a lighting system that adapts to the
environment and to the situation. It can be hung form the
ceiling, can be hand-held or be fixed to a book shelf.
Line: an imaginary path is traced by moving an illuminated
point in space
Industreal now takes on its job of interpreting the glass
parts in order to give a transparent shape to the source
of light.
And there was light
22
LINEShireen Bishop and Greta Stepp
LED Block Specifications
Set Screw
Screw Style: Standard Socket
Material Type: Stainless Steel
Finish: Plain
Stainless Steel Type: 18-8 Stainless Steel
Point: Cone
Inch Thread Size: 4-40
Hex Key Size: 1.27mm
Length: 6.35mm
McMaster-Carr Part
#92785A116
Aluminum Squre Bar
Material: Aluminum Square Bar (Alloy 2024)
Finish/Coating: Unpolished (Mill)
Thickness: 15.88mm
Length: 91.44cmMcMaster-Carr Part
#86895K4835.79mm
2.10mm
2.74mm
10.16mm
3.86mm diameter
2.44mm
13.97mm
2.41mm diameter
hole tapped for 4-40 screw
24mm
13.97mm
McMaster-Carr Part
#94812A113
Nylon Hex Nut
Material Type: Nylon 6/6 plastic
Color: Off-white
Inch Thread Size: 6-32
Width: 7.93mm
Height: 3.175mm
McMaster-Carr Part
#94609A153
Nylon Machine Screw
Head Style: Round
Material Type: Nylon 6/6 plastic
Color: Off-white
Inch Thread Size: 6-32
Length: 25.4mm
Head Diameter: 6.60mm
Head Height: 2.62mm
Nylon Washer
Material: Nylon 6/6 Plastic
Color: White
Inside Diameter: 4.3mm
Outside Diameter: 9m
Thickness: .67mm-.93mm
McMaster-Carr Part
#95610A150
LED
Osram Flex Top
Color Temperature: 4700KSylvania
Caroline Linder�zz
components
a) thread pipe
3.175 mm diameter; 762 mm length
b) aluminum hollow hemisphere
127 mm diameter; 63.5 mm height;
3.175 mm wall thickness
c) aluminum clamp-on shaft collar
28.575 mm diameter; 12.7 mm bore;
10.32 mm width
d) aluminum tubing
12.7 mm diameter; 76.2 mm length;
10.92 mm inside diameter;
.89 mm wall thickness
e) aluminum collar
76.2 mm diameter; 53.98 mm width
f) thumb screws
4.76 mm diameter; 9.53 mm length
g1) copper LED plate with one LED
g2) copper LED plate with three LEDs
h) acrylic defuser
55.37 mm diameter; 3.18 mm thick
i1) small glass globe
9.25 mm diameter
i2) large glass globe
161.29 mm diameter
b
d
c
f
e
g1
g2 h
he
i1
i2
a
A
B
C
D
E
F
G
H
I
J
K
K
L
g
gg
g
d
d d
d
d
M
A. Main pendant:
Top opening diameter: 76.2 mm
Middle dia.: 152.4 mm
Bottom opening dia.:101.6 mm
Height: 127 mm
Wall thickness: 6.35 mm
B. Center pendant:
Top opening dia: 82.55 mm
Middle dia: 130.81 mm
Bottom opening dia: 101.6 mm
Height: 127 mm
Wall thickness: 6.35 mm
C. Acrylic Di!user:
Dia. 69.85 mm
Thickness: 3.175 mm
Holes: 3.175 mm
D. Screws:
Dia: 3.175 mm
E. LED Circuit Board:
Dia: 69.85 mm
Outer Holes: 3.175 mm
Center Hole: 8.38 mm
F. Heat Sink:
Dia: 69.85 mm
Height: 19.05 mm
Outer Holes: 3.175 mm
Center Hole: 8.38 mm
G. Cord Grabber:
Height(max): 25 mm
Width(max): 13 mm
H. Collar:
Outer Dia: 12.7 mm
Inner Dia: 6 mm
Height: 8 mm
I. Hemi-Spherical Cover:
Dia: 76.2 mm
Height: 38.1 mm
J. O-Ring:
Inner dia: 69.85 mm
Thickness: 3.175 mm
K. Rayon Sheatherd Cable:
Length: 1270 mm
Width: 6.35 mm
Thickness: 3.175 mm
L. Sliding Collar:
Width: 31.75 mm
Height: 63.75 mm
Hole dia: 6.35 mm
M. Ceiling Cover:
Width(Max): 354.8 mm
Height: 9.525 mm
"ex
Nella divisione dei compiti Industreal ha scelto di
contribuire al progetto Let there be light con una ricerca
sui vetri disegnati dagli studenti SAIC. Ricercare in
questo caso significa applicare tecniche innovative a
questa antichissima materia di design: il vetro; il medium
illuminante per eccellenza, la materia che con le sue
trasparenze e cromatismi disegna la forma stessa della
luce.
In una prima ipotesi pensiamo Murano come luogo
d’eccellenza di quest’arte antica. Nell’ottobre 2007
organizziamo una visita a una fornace per conoscere da
vicino la produzione del vetro so!ato.
Così veniamo in contatto con una serie di artigiani
chiamati con il nome della mansione a cui sono addetti. Il
serventino che preleva dalla fornace la quantità di vetro
necessaria per la lavorazione. Il servente che so!a i vari
elementi e il maestro che compone il prodotto.
Tutti i ruoli sono necessari, e la precisione o la bellezza
di un pezzo è il risultato di un gioco di squadra a regola
d’arte.
Nella fornace fa caldo, e osservare i movimenti delle
squadre è come osservare un balletto di movimenti
coordinati intorno a porzioni di vetro incandescente che
sotto i nostri occhi si trasforma in un oggetto trasparente
e multicolore.
L’abilità umana e non la tecnologia è la protagonista
assoluta di una scena di aria e fuoco immutata da tempo
immemorabile.
Una seconda visita a una fornace di Colle di Val d’Elsa,
nel febbraio 2008 permette di mettere a confronto
le tecniche di produzione che qui hanno una valenza
industriale anche se i modi artigianali non cambiano.
Constatiamo che ci sono molti limiti nelle geometrie
possibili del vetro so!ato.
Ci vorrà del tempo per capire come introdurre il digitale
in questa produzione.
Vengono comunque realizzati con l’ausilio del controllo
numerico i prototipi fisici che servono a fare gli stampi
per la so!atura.
Ma non siamo però del tutto soddisfatti, vogliamo
interpretare al meglio i progetti SAIC e così decidiamo
in marzo di far visita ad un maestro vetraio Matteo Gonet
che lavora vicino a Berna in Svizzera.
L’invenzione e l’interpretazione trovano in questa fase
un’accelerazione entusiasmante. Il processo sta per
giungere alla sua conclusione e comincia a mostrarsi.
Il vetro si fa luce.
When sharing out the various tasks Industreal chose to
contribute to the Let there be Light projects by researching
the manufacturing possibilities of the glass components
designed by SAIC students. Researching in this case
implied finding a way of applying innovative techniques
to this ancient material: glass; the lighting medium par
excellence that with its transparencies and colour hues
creates the shape of light.
The initial focus was on blown glass technique, and
obviously on Murano as a place of excellence for
this ancient technique. A visit to a glass furnace was
organised in October 2007 in order to better understand
the production of blown glass.
We thus came into contact with several artisans with
specific names according to the role they hold in the
glass blowing production. The serventino removes the
required amount of glass from the furnace. The servente
blows the various elements and the maestro composes
the piece. All these roles are necessary and the precision,
or beauty, of a finished piece is the result of masterful
team work.
It is very hot in the furnace, and observing the movements
of the various team members is like watching a ballet
choreographed around portions of incandescent glass
that are turned into multicoloured transparent objects
under our watchful gaze.
We witness a scene of fire and air, unchanged since
bygone times, in which human ability and not technology
is the only protagonist.
A visit to a second furnace in Colle Val d’Elsa in February
2008 provided the opportunity for comparing production
methods which in this case had a higher industrial quality
about them although the actual craft methods were the
same.
There are many limitations on the geometric possibilities
of blown glass. It will take time before the digital world
can in some way be applied to this craft. CNC technology
is used to prepare the prototypes required for creating
the moulds for the glass blown pieces.
We were still not completely satisfied and wanted to
interpret the SAIC projects in the best possible way. We
decided visit a master glass craftsman Matteo Gonet
who works near Bern in Switzerland.
Invention and interpretation at this stage move forward
at a very exciting pace. The process is about to reach
a conclusion and begins to take shape. Glass becomes
light.
Transparencies of light
26
Matteo Gonet
Born Lugano, Switzerland 1979.
Studied design, Gerrit Rietveld Academy, Amsterdam 1998 to 2001
Glass Technician, Cirva, Marseille – France 2000 to 2004
Artist in residence Sidney Collage of Arts, for six months - 2004
Since 2004 freelance glassmaker in Switzerland.
Teaching posts – since 2004 ECAL, Lausanne and CERFAV, Nancy
The glassmaker
Fizz
Fizz is a hanging lamp that is inspired by the childhood act of blowing
bubbles, behaving as a single element or in clusters.
Designed by CAROLINE LINDER
Glass becomes Light
Line
“An imaginary path traced by a moving point.” This luminaire is inspired by
that concept.
Designed by GRETA STEPP & SHIREEN BISHOP
Glass becomes Light
ImpromptU
IMPROMPTU is a lighting system that is adaptable to your environment by
allowing the user to install the light the best possible way for the situation.
It can be hung from the ceiling, held in the hand, or even attached to a
bookshelf. “IMPROMPTU” fuses the refined craftsmanship of glass with the
newer technology of LED lights creating a beautiful and versatile lighting
object.
Designed by MICHAEL RIHA
Glass becomes Light
Flex
Flex is an array of six pendants that hang freely, but move together. As their
angle is altered, the character of the collective light and form changes.
Designed by ZACH WEISS
Glass becomes Light
34
IndustrealWe do not agree with Philippe Starck
Non è passato molto tempo da quando un gruppo di persone innamorate del
proprio lavoro decisero di unire le forze per partecipare al Salone del Mobile 2004
organizzando una mostra di idee, non di prodotti. Quella mostra diventò il retroterra
di Industreal.
Come poi si è dimostrato, quella prima mostra – In Dust We Trust – indicò una via
possibile per presentare alcune idee di design puntando sulla ricerca e dimostrò
come si possa fare design con sentimento e in modo propositivo. Fu una mostra di
“pensieri intorno al design” che guardava al futuro attraverso lo sguardo radicale
dei giovani!
Noi non siamo d’accordo con Philippe Starck quando a#erma: “design has no use”
- una boutade che non è solo fuorviante, ma anche molto triste – sarebbe come
dire che la poesia non ha senso.
Il mondo del design è una meravigliosa avventura culturale, ha una coscienza, e
questa è la via che Industreal intende seguire. Naturalmente il design deve essere
evocativo per definizione; si adatta ai mutamenti e alle trasformazioni della società,
dell’industria e degli ideali del proprio tempo. In definitiva esso è un’attività capace,
come l’arte e la musica, di dare un’identità alle cose che facciamo, senza le quali la
società non è nulla, esattamente come un gioco senza regole non è un gioco.
Not very much time has passed since a group of enthusiastic people decided to
join forces and take part in the Salone del Mobile 2004; they agreed to organise
an exhibition about ideas and not about products. The exhibition became the
background to the founding of Industreal.
As it turned out, that first presentation – In Dust We Trust – was a signpost which
showed a way to present design ideas, talk about research, and suggested how we
might contribute sentiments or make statements with design. It was an exhibition
about ‘design thought’ - but it also looked into the future with the radical eyes of
young people!
We do not agree with Philippe Starck when he claims ‘design has no use’ – it is like
saying, poetry has no sense - he misses the point and it is a very sad, misleading
thing to say.
Design is a wonderful cultural adventure, it does have a conscience, and this is
the way that Industreal intends it to be. Of course, design will always be allusive to
definition; it will change and modify itself along with the changes that take place in
society, in industry and in the transformation of ideals. But it will remain one of those
activities, like art and music, which give structure and a sense of identity to the
things we do, without which society is nothing, in the same way that a game without
rules is not a game.
35
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De Lucchi, Mendini, Sottsass e Sowden: variazioni d’autore sul tema della
porcellana.
Industreal interpreta la creatività come il risultato di una ricerca che investe non
solo le scelte formali ed espressive dei singoli designer, ma anche le tecniche
produttive, i materiali e le innovazioni tecnologiche che modificano senza sosta il
panorama del design.
Molti dei progetti che hanno dato vita alle mostre In Dust We Trust 2004, Model Ideas
2005 e Dream 2006 sono diventati oggi prodotti: oggetti capaci di comunicare,
ognuno col proprio linguaggio, la passione per la ricerca che anima il “fare design”
di Industreal.
Opere, di quattro autori, entrano nel catalogo 2007 di Industreal per sottolineare
come la creatività sia un’attività poetica che gioca con le forme e i materiali e come
i maestri siano tali perché in loro lo spirito della ricerca convive con la curiosità, la
gioia della forma e la voglia di dar un senso estetico alle cose e agli oggetti che ci
circondano.
Industreal vuole essere non solo un segno o un nome, ma anche un laboratorio di
idee, dove creatività e ricerca si incontrano per realizzare cose che parlano di noi
e del nostro tempo.
Industreal ha invitato i quattro designer ad interpretare ciascuno con la propria
sensibilità, il tema dell’arte sublime della porcellana, un archetipo narrativo che dà
un contenuto formale ai contenitori per antonomasia: il vaso, la ciotola, il cratere, la
coppa.
De Lucchi, Mendini, Sottsass and Sowden have created variations on the theme of
porcelain.
Industreal interprets creativity as the result of research which not only considers the
personal expression and direction of individual designers, but also the production
techniques, materials and technological innovations that are continuously changing
the design spectrum.
Many of the projects that inspired the exhibitions In Dust We Trust 2004, Model
Ideas 2005 and Dream 2006 have since become actual products: objects that
communicate, each in their own language, the passion for research and designing
that Industreal thrives on.
In 2007 objects by four designers were added to the Industreal catalogue to
emphasize how creativity is a poetical process which plays with shapes and
materials, and that designers are designers because their inspiration for research
interacts with curiosity, the love of shape and the desire to give an aesthetic context
to objects that surround us.
Industreal does not just want to be a symbol or a name, but also a workshop for
ideas, where creativity and research meet to create things which say something
about us and our time.
Industreal has asked these four designers, each using his own sensitivity, to create
variations on the theme of the sublime art of porcelain, a narrative archetype which
gives formal content to containers by antonomasia: a vase, a bowl, a platter, a
cup.
Giuliano Corti
Aprile 2007
Industreal Variations 2007
Michele De Lucchi
Alessandro Mendini
Ettore Sottsass
George J. Sowden
1. Tape temple, Jean-Charles Amey 2. Peace and tranquillity to earth, FX Ballèry 3. Bent, Enrico Bosa
& Isabella Lovero 4. Crashed, Enrico Bosa & Isabella Lovero 5. Gorgete Lampshade, Stefano Citi 6.
Doilies, Laura Coley & Jonathan Krawczuk 7. Cut the Light & the right cut for the right light, Isabel
Dada Ortiz 8. Light up the cut, Isabel Dada Ortiz 9. Body made bowler hat, Joie de Winter & Stephen
Reed 10. Andrena & Ariedo, Doodle 11. Medusa, Doodle 12. Pik, Monica Favara & Andrea Poggesi
13. Mako, Lisa Farmer 14. Freaks, Pierre Foulonneau 15. Lina K, Pierre Foulonneau 16. Ubik, Pierre
Foulonneau 17. Nouvel Empire, Emmanuel Gallina 18. Space Invaders are Back, Emmanuel Gallina 19.
Octopus Prensile, Nicolò Gazzola 20. SliceandCut, Jo Meesters & Willem Derks 21. Nina, Maurizio
Meroni 22. Stelle, Maurizio Meroni 23. Dina, Paolo Minola 24. Fracture, Kat Morrissette 25. First Blood
Letter Openers, Apostolos Porsanidis 26. Lamp Base, Apostolos Porsanidis 27. Animalabstraction,
r_are 28. Headlight, r_are 29. Agua Viva, Carlo Romagnolo 30. Jelly Fish, Carlo Romagnolo 31.
Cradle, Eric Rosenbaum 32. Framed up, Gian Maria Sforza with AAPA 33. Spring, Simone Simonelli
34. Flocked Rug, Lisa Smith 35. Leaf-It “Clothes Line”, Cameron Snelgar 36. Xtension, Irina Suteu &
Stefan Davidovici 37. Born Round, to22 38. Crescent Lamp, Cynthia Viale
Dopo aver esplorato le potenzialità espressive della prototipazione
rapida (In Dust We Trust 2004), dopo aver rivisitato un’idea di modello
(Model Ideas 2005), dopo aver analizzato la potenza espressiva del
sogno progettuale (Dream 2006), Industreal concentra la propria ricerca
sulle potenzialità che il taglio laser o"re, sia in termini di precisione, sia in
termini di flessibilità in rapporto alle idee.
Il designer dispone oggi di forbici potentissime che gli permettono di
tagliare, incidere, o semplicemente disegnare ogni tipo di superficie.
Having explored the expressive potential of rapid prototyping (In Dust
We Trust 2004), having revisited the idea of models (Model Ideas 2005),
having considered the expressive strength of a project dream (Dream
2006), Industreal has focused its research on the potential o�ered by
laser-cutting, both in terms of precision and in terms of adaptability to
ideas.
The designer now has a pair of powerful scissors with which to cut,
engrave or simply draw on any kind of surface.
First Cut2007
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First Cut 2007
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1. Star, Samuel Accocéberry 2. Fruit Teller, Zoltan Almodo 3. A Moon Bowl, Frida Andersson & James
Steiner 4. Smokes Like A Chimney, Frida Andersson & James Steiner 5. Webster, Omid Ali Asghari 6.
Blend, Greg Ball 7. Wax Works, Barnaby Barford & Alexander Taylor & André Klauser 8. Night Bright,
Guntram Bechtold 9. Les Cas-Pots, Michael Bezou & Marine Jourdy 10. Les Tasses d’Irma, Michael
Bezou & Marine Jourdy 11. Chupa Chups, Nadia Biavaschi & Alessandro Camilli
Industreal, dopo aver esplorato le potenzialità della prototipazione rapida, nella mostra In Dust We Trust del 2004, e dopo aver dato forma alle creazioni di Model Ideas nel 2005, per l’edizione 2006 ha chiamato 60 designer ad una riflessione sul sogno.
La mostra Dream propone quest’anno un’idea di creatività, o se si vuole un assunto poetico, che dice: ogni cosa, prima di diventare oggetto d’uso,
vive un sogno chiamato progetto.
Industreal, after exploring the potential of rapid prototyping with the exhibition In Dust We Trust, 2004 and after giving form to thoughts in the exhibition Model Ideas, 2005, for 2006 they have called upon 60 designers to dream.
This year, during the Salone del Mob ile, the exhibition Dream, proposes an idea of creativity, or even a poetic assumption, which declares: all things, before becoming everyday objects, live in a dream called the
project.
2Dream2006
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12. Teodoro, Nadia Biavaschi & Alessandro Camilli 13. The Last One, Nadia Biavaschi &
Alessandro Camilli 14. Cloud, Tim Boyce & Angela Violino 15. Dream Boxes, Tim Boyce & Angela
Violino 16. Flying & Falling, Tim Boyce & Angela Violino 17. Monster Kit, Dario Buzzini &
Jacob Brauer 18. A Dream That You Need, Peter Chatersides 19. Rebecca, Clémentine Chambon
20. CERA 1 VOLTA, Pasquale Cirulli & Andrea Daelli & Chris Miller 21. The Little Alchemist Set,
Stefano Citi 22. Never Empty, Jed Crystal 23. Sueños En Vela, Isabel Dada Ortiz 24. Quattro
Stagioni, Jan Dobmaier 25. Points of View, Monica Favara 26. Déjà-vu, Pierre Foulonneau
27. Meligoth, Pierre Foulonneau 28. Candlestick-Shadow, Pierre Gilles Fourquié 29. Pedrito,
Cristiana Giopato & Christopher Coombes 30. Stardust, Cristiana Giopato & Christopher
Coombes 31. Shen, Jim Hannon-Tan 32. Ornament Soup, Peter Hils 33. Wadachi Doki, Natsuko
Kuma 34. Chac Candela, Mauricio Lara 35. Bicchiere Mezzo Pieno, Elsa Marchese
36. Valence, Giles Matthews 37. Danielle, Paolo Minola 38. Fruit & Flowers, Angelika Mörlein 39. Filo,
Pervisioni 40. Café Pelé, Julie Pfligersdor�er 41. En Case De Divorce, Julie Pfligersdor�er
42. Love Story, Julie Pfligersdor�er 43. Tous les Chemins Mènent à la Crise de Foie, Julie
Pfligersdor�er & Ionna Vautrin 44. A Shark in My Soup, Apostolos Porsanidis 45. Progress Pot,
Apostolos Porsanidis 46. Link, Giordano Redaelli 47. Memin, Ignazio Ruiz 48. Fingerbowl, Judith
Seng 49. Bird’s House, Simone Simonelli 50. Dreaming Light, Cameron Snelgar 51. Chocolate
Pipe, Luna Spina 52. Spin, Irina Suteu & Stefan Davidovici 53. The Cup The Dish and Everything
in Between, Irina Suteu & Stefan Davidovici 54. Second Skin, to22 55. Co�ee & Cigarettes, Carlo
Trevisani 56. Corona, Carlo Trevisani 57. Iceberg, Ionna Vautrin & Guillaume Delvigne
58. Réflexion Faite, Ionna Vautrin & Guillaume Delvigne 59. Chine, Cynthia Viale
Dream 2006
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Dream 2006
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1. Space Invaders, Samuel Accocéberry 2. Cortex 2, Samuel Accocéberry 3. Windbreath,
Guntram Bechtold 4. Alpha, Laurent Bloedt 5. Portafrutta, Tim Boyce 6. Mr Impossible,
David Lucca Caon 7. Bowler, Will Carey 8. Double Vision, Will Carey & Shunsuke Ishikawa
9. English Wedding, Chou Caillou 10. Carreaux Enchantés, Chou Caillou 11. Lost Soles, Stefano Citi
12. Ektexine, Stefano Citi 13. Servagon, Christopher Coombes 14. Wakowski, Christopher
Coombes 15. Les Bobos, Elle & Lui 16. Vase Clos, Pierre Foulonneau 17. Bentobox, Jim
Hannon-Tan 18. Nanobowl and Nanostick, Jim Hannon-Tan 19. Poetic in Urban Living, Shunsuke
Ishikawa 20. Heartbeats, Johannes Klein 21. Hidden Forest, Marie Leblanc 22. Compliments,
Alexander Löhr 23. Stormy Weather, Julia Meandler 24. Fiorisutra, Mária Elena Mártinez-Fáyo &
Tomás Ortiz Ferrer 25. Huellas, Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 26. Monopianta,
Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 27. 3D Sketch, Pervisioni 28. Manifesto,
Pervisioni 29. My Balls, Apostolos Porsanidis 30. Programmatotem, Céline Steelandt & Michael
Radix 31. “erba pulveris”, Giordano Redaelli 32. Traces, Maria Irina Suteu 33. A moth to a flame,
to22 34. Wow!!!, Carlo Trevisani 35. Alcatraz, Ionna Vautrin & Guillaume Delvigne 36. Allo?!,
Ionna Vautrin & Guillaume Delvigne 37. Panier Percé, Ionna Vautrin & Guillaume Delvigne
38. Instructions for use, Cynthia Viale 39. Neglected Figures, Cynthia Viale 40. 12 Cra[ie]yons, Cynthia
Viale 41. Lighthammer, Niko Xanthopoulos 7
Nella primavera 2005 Industreal produce la sua seconda mostra dal titolo “Model Ideas”. Utilizzando ancora le tecniche di prototipazione rapida, i 40 designer partecipanti dimostrano come i modelli possano essere utilizzati all’inizio del processo progettuale per rappresentare i loro primi pensieri e
diventino base di partenza per la creazione di nuovi prodotti.
In spring 2005, Industreal produces their second exhibition under the title “Model Ideas”. Once again using prototyping techniques, the 40 young designers taking part show how models can be used at the beginning of the design process to represent their first thoughts and from which they
start the shaping of new products.
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In Dust We Trust2004
Quando la tecnologia riduce al minimo i passaggi della catena produttiva. Quando fra l’idea e l’oggetto il passo si fa veramente breve. Quando la vena inventiva non deve sottomettersi alle perverse leggi del marketing delle grandi serie. Allora è un gran bel giorno per la creatività e il design.
Nella primavera del 2004 ONEOFF produce, con la collaborazione di 30 designer, la prima mostra dal titolo “In Dust We Trust” nella quale si dimostra come le tecniche di prototipazione rapida abbiano sviluppato una qualità talmente vicina alla produzione che il prototipo stesso è molto vicino ad essere un prodotto. Il metodo di prototipazione rapida utilizzato è il 3D Printing che utilizza una polvere similgesso per la realizzazione degli oggetti direttamente dal file 3D.
When technology reduces to a minimum the steps of the production process. When the distance between thought and object is whittled down. When creative inspiration need no longer be dependant on the perverse laws of large scale marketing. That will be a great day for creativity and design.
In spring 2004 ONEOFF produces their first exhibition under the title “In Dust We Trust”. The work of 30 designers was presented. It is an exhibition which demonstrates how prototyping techniques have developed a quality so close to manufactured objects that the prototype itself has come very close to being a product in its own right. The rapid prototyping method used is exclusively 3D Printing which uses plaster dust as basic material for constructing objects from 3D computer files.
1. Touch, Tim Boyce 2.O’s and X’s, Tim Boyce 3. Print, Will Carey 4. Reading lamp, Will Carey,
Natasha Chetiyawardana & Stijn Ossevoort 5. Chapeaux pour vase, Guillaume Delvigne 6. 72dpi,
144dpi, 300dpi, Guillaume Delvigne 7. Hula Hoop, Cristiana Giopato 8. NoPully, Cristiana
Giopato & Christopher Coombes 9. Antarctica, Jim Hannon-Tan 10. Moneybowl, Jim
Hannon-Tan 11. Wireless Speakers, Kyoko Inoda & Nils Sveje 12. MeccA, Zoran Jedrejcic
13. Working Cup 01, Johannes Klein 14. Working Cup 02, Johannes Klein 15. Superpiatto,
Johannes Klein 16. Globe, Alexander Löhr 17. Danielita, Maurizio Meroni 18. ‘Lord, blow the moon
out please’, Richard H. Mills 19. Detroit, Christopher Coombes 20. Diamond Democracy, Apostolos
Porsanidis 21. Stratum, Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 22. Doradilla, Jorge Najera
23. Jeannette, Ionna Vautrin 24. Jacquette, Ionna Vautrin 25. Pour ma retraite..., Ionna Vautrin 26.
Mikado Vaso, Cynthia Viale 27. Layer Lamp, Cynthia Viale 28. White Satellites, Dunya Weber 29.
2ma/-2ma, Giordano Radaelli 30. 4,9 Megabytes, Samuele Sannia 2
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In Dust We Tust 2004
Ettore Sottsass 2007
46
Thanks
Art Direction Let there be light
George J. Sowden
Costanza Calvetti
Giuliano Corti
Maurizio Meroni
Copy
Giuliano Corti
George J. Sowden
Layout
Stefano Citi
SowdeDesign
Photographers
Ilvio Gallo, www.ilviogallo.it
Matteo Gonet, Glasswork + Design
Danny Hsu, SAIC
Stefano Citi
Exhibition Design
GFRY Design Studio:
Helen Maria Nugent
Douglas Pancoast
Alicia Kuri Alamillo
Shireen Bishop
Robyn Carter
So Jung Lee
Jessie Li
Caroline Linder
Michael Riha
Eric Rosenbaum
Blair Schmidt
So Yun Shim
Lisa Smith
Greta Stepp
Zachary Weiss
Exhibition Press for the S.A.I.C.:
Caren Yusem
Zak Boerger
www.saic.edu
Glass
Matteo Gonet, Glasswork + Design
www.matteogonet.com
Industreal sta!
Costanza Calvetti
Monica Favara
Giulia Lorini
Alessandro Moro
Maira Necchi
www.industreal.it
ONEOFF sta!
Maurizio Meroni
Lara Alexandre da Silva
Giorgia Bellasio
Chiara Casati
Nicolò Gazzola
Tiziana Presciutti
Giordano Redaelli
Carlo Romagnolo
www.oneo".it
Website
Roomor, www.roomor.com
Giovanni Antico, www.alt123.com
www.industreal.com
industreal
Via Luigi Nono 7
20154 Milano
T +39 02 36 51 78 90info@industreal.com
16 - 21 April 2008
H. 10:00 - 19:00
Industreal
Fabbrica del Vapore
Palazzina Liberty
Via Procaccini, 4
20154
Milano
Opening:
16 April 2008
H. 20:00