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BRUNO MUNARI
10-11
ACHILLE CASTIGLIONI
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JORDI CANUDAS
5-7
ANTONI AROLA
3-4
INGO MAURER
1-2
JAMES TURRELL
OLAFUR ELIASSON
INDEX
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PROLOGUE
DESIGN IS NOT HOW IT LOOKS LIKE AND FEELS LIKE. DESIGN IS HOW IT WORKS
STEVE JOBS
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OLAFUR ELIASSON O
lafur Eliasson was born on February 5, 1967. Is an Icelandic Danish artist known for sculptured and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research. In 2014, Eliasson and his long-time collaborator, German architect Sebastian Behmann founded Studio Other Spaces, an office for architecture and art. Olafur represented Denmark at the 50th Venice Biennale in 2003 and later that year installed The Weather Project, which has been described as “a milestone in contemporary art”, in the Turbine Hall of Tate Modern, London. This project is linked to Eliasson’s fascnation with the way museums mediate the reception of art. In a museum, visitors are offered an array of information before they even see a work of art – from the marketing poster and press reviews to the interpretation text panel on the walls of the gallery. Eliasson recognises that this information influences the experience and understanding of the work. In this project he decided to direct these less overt aspects of making an exhibition, so that the experience of the work would be left as unscathed as possible for the viewer. He conducted a survey of staff at the museum, posing a series of questions ranging from the everyday to the abstract (‘How often do you discuss the weather?’, ‘Do you think the idea of the weather in our society is based on nature or culture?’). The statistical data gathered from this study was then used in the promotional campaign for the exhibition. Instead of photographs of the work, simple
I SEE THE ARTIST AS A PARTICIPANT, CO-PRODUCER OF REALITY statements about the weather can be seen on advertisements in magazines, taxis or on the internet. Eliasson carefully chose information which would not prejudice or influence the visitor’s expectation of the work of art: ‘I think there is often a discrepancy between the experience of seeing and the knowledge or expectation of what we are seeing’.
JAMES TURRELL J
ames Turrell was born in Pasadena (1943), California, a place undoubtedly full of light, and his work as a cartographer at the age of sixteen may have been the origin of his attraction to space. He would later study psychological perception at Pompona College in 1965, as well as mathematics, geology and astronomy. It was not until 1966 that he took the step to artistic studies at the University of California, producing his first works based on the projection of light. It was then, in 1967, that he had a solo exhibition of his work Projection Pieces at the Pasadena Art Museum, in which he used high-intensity projectors to modify spaces through light. His philosophical training often leads him to quote Plato’s parable of the cave as the basis for his perception of things through light: our senses are limited by our environment and our culture and our reality is what we create. This is the basis for his Skyspaces rooms with an opening in the ceiling through which to see the sky, spaces that give us the option, as spectators, to create our own vision of the changes that take place in light and colour. The MFAH commissioned Turrell’s The Light Inside for the underground tunnel linking the museum’s Caroline Wiess Law Building with the Audrey Jones Beck Building when the latter opened in 2000. The Light Inside turns the walls of the tunnel into vessels for conducting light. An expanded version of his earlier explorations of light in his Shallow Space Construction series, Turrell’s The Light Inside is an all-encompassing environment. Transcending the traditional confines of built spaces, The Light Inside acts as both a passage and a destination. The raised walkway guides visitors forward and gives them the sense of floating in space, while the changing cycle of illumination (which shifts from blue, to crimson, to magenta) further invites contemplation. The Light Inside makes the experience of moving between the Law and the Beck Buildings not only an exploration of light and space, but also a profound and awe-inspiring experience.
“I’m known as a light artist. But rather than be someone who depicted light, or painted light in some way, I wanted to have the work be light.”
ingo maurer I
ngo Maurer was born in 1932 on the Island of Reichenau, Lake Constance, Germany. He trained as a graphic designer from 1954-1958 and emigrated to the United States in 1960, where he worked as a freelance designer for three years at Kayser Aluminum and at IBM. After that period returned to Munich. After returning to Germany, Maurer began to focus exclusively on new concepts in lighting design. In 1966, Maurer opened Design M, a firm which specialized in producing cutting-edge lighting design. During the last forty-three years, Maurer has become the most prolific lighting designer, creating over 150 lights and lighting systems. He is considered to be a pioneer in the usage of new lighting technologies. He once said that he is fascinated by the magical and mystical properties of light, and this is evident in the humor, originality, and sheer beauty of his work. Maurer’s work is heavily influenced by Pop Art, a movement which he became familiar with while living in America, and his first lighting design, “Bulb” (1966), took on the form of an outsize light bulb of chromium-plated metal and hand-blown glass. Products in the “Essentials” category are usually available for immediate delivery. Stainless steel, heat-resistant satin-frosted glass, Japanese paper. 31 printed and 49 blank paper sheets DIN A5. The Zettel’z 5 is one of Ingo Maurer’s best known lamps. It gives the user plenty of room for his or her own creativity, and can be set up so that it is space-consuming and loose or narrow and dense. The blank sheets of paper supplied with it are designed to be used for your own messages or sketches. The Japanese paper is very thin and translucent. Two bulbs provide good light.
ANTONI AROLA A
rola was Born in Tarragona in 1960 and currently lives in Barcelona. He studied at the EINA school in Barcelona, and in 1984 he began his professional career at the Lievore and Pensi Studio, and later at AD Associate Designers. In 1994 he founded Estudi Antoni Arola.
His projects cover a wide range of fields: lighting projects for various publishers such as Santa&Cole, Vibia, Viabizzuno, furniture pieces, perfume packaging, interior design projects and ephemeral installations.He combines his professional career with teaching, workshops, artistic experimentation and lighting research. His eternal and continuous search for beauty, inspired by ancestral cultures and his particular vision of light, gives him a singular versatility that filters through each project. His work has been shown in solo and group exhibitions in cities such as Barcelona, Madrid, Milan, London, Mexico, New York and Tokyo. Among other prizes, he has been awarded the National Design Award 2003, four times with a Silver Delta Award and in 2012 with a Red Dot Design Award. On the occasion of the PLDC (Professional Lighting Design Convention), Vbospagna and Antoni Arola presented a light installation from 20 to 23 October at Calle Fernando VI, 10, Madrid. The spectator becomes, by the artist’s will, the creator of the metamorphosis that floods the space. Slowness, fusion and chromatic movement transform the box into a labyrinth, turning light into tangible material. A plasterboard cube measuring 8x4.5x2.4m with exposed, unpainted profiles. The interior walls of the cube, painted blue on one side and red on the other. The ceiling and floor are white. During the tour, the visitor passes through three rooms through three doors that emit coloured light on the coloured walls. By opening and closing them, the spatial conception of the cube changes through the fusion of colours and light.
‘‘For a product to be successful, it must be based on two premises: it must be a universal concept and it must last over time’’.
JORDI CANUDAS J
ordi Canudas was born in Barcelona, 1975 He founded his studio in 2007 in London, after graduating from the Royal College of Art with a Master of Art in Product Design. He is a member of the London-based collective OKAY Studio and in 2011 he moved his studio to Barcelona. Jordi’s work develops from a conceptual base towards prototyping and testing with a very direct relationship with materials. This way of working is applied in a wide variety of fields from product design, product development, art direction, interior design and one-off productions. Jordi Canudas’ work is exhibited internationally and can currently be found in the collection of the MoMA in New York and the Design Museum Die Neue Sammlung in Munich. It has also been published in different international design magazines such as Wallpaper, BluePrint, Interior Design, Salon Magazine, ... etc. He currently teaches at the Escuela Superior de Diseño Elisava in Barcelona and at the Bath Spa University in Great Britain. One of Canudas’s most prominent works is The Lamp Dipper performs live to shade an opaline globe light. Each layer adds shading to the light to achieve the desired light intensity.
Starting with an opaline globe light, the Lamp Dipper machine dips the light into a coloured lacquer performing its shading while being made. Each layer gradually shades the light to achieve the desired intensity. The Giardineto’s Green unique globe light mounted on a brass base signed and numbered.
Achille castiglioni A
chille Castiglioni, born in Milan on 16 February 1918 and died on 2 December 2002 in Milan, was an Italian industrial designer and architect. Castiglioni is considered one of the fathers of Italian design. Endowed with an exuberant talent, Achille Castiglioni was able to combine observation, ingenuity and common sense to transform everyday objects into beautiful and functional pieces whose ability to fascinate remains unchanged. Above his enormous oeuvre, his marvellous lamps stand out, such as the Arco model he created with his brother Pier Giacomo, one of the most iconic objects of contemporary design. It is impossible to delve into Achille Castiglioni’s professional career and the transcendence of his contribution without knowing his intimate links with his native city, Milan, a city that knew how to make design a mark of identity and where the master benefited from a fortuitous combination of circumstances that made Italian design the best in the world. Achille’s career is impressive: nine Compasos d’Oro, the first in 1955 and the last in 1989; fourteen works in the MoMA in New York and many others in the world’s most renowned museums; countless awards and decorations, and, above all, unwavering prestige and recognition. This luminaire was designed by “Achille Castiglioni” and “Pio Manzú” and since it was launched on the market it has adapted to modern times without losing any of its style. Parentesi is a classic, a ceiling and floor lamp at the same time. Its versatility is achieved thanks to the fact that the light point can be easily raised and lowered, which allows a wide range of movement to adapt to any need. Its secret: an easy and versatile design, winner of the “Compasso d’Oro” award in 1979.
BRUNO MUNARI B
runo Munari was born on October 24, 1907 in Milan and died on September 30, 1998 in Milan, was an Italian artist, designer, and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art, and in non-visual arts such a literature, poetry with his research on games, didactic method, movement, tactile learning,
Design as Art is, to this day, a classic of iconography, a book that, despite having been first published in 1971, is still highly topical, having sometimes been described as timeless. For Munari, visual art was the most important; he knew that it had to be accessible to society as a whole, and no less important was iconography. He shared the Bauhaus ideal that art and life should be fused, being an aspect of everyday life. In Design as Art he showed that art is hidden in any object, behind any design, and that it could be enjoyed by everyone. Munari’s “artistic” production in its concrete sense, comprising more than 200 personal exhibitions and 400 group shows, is a pot-pourri of techniques, method and forms. In the years of fascism, Munari worked for a living as a graphic designer in the field of journalism, producing covers for various magazines. With the Futurists he exhibited some paintings, but around 1930 he created the first Useless Machines as true works of abstract art developed in spaces that involved the surrounding environment, devoting himself to increasingly unconventional works, such as the Macchina aerea of 1930, the Tavola tattile (Tactile Table) in 1931,
some collages in 1936, the mosaic for the Triennale di Milano in 1936, or the Strutture con elementi oscillanti (Structure with oscillating elements) of 1940. During the forties and fifties, he began to outline some guidelines for his exploration:
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