Let there be the Light Collection by INDUSTREAL

let there be light

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.

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.

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).

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).

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.

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.

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 affida 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

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.

Giuliano Corti

The idea of light

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 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.

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.

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.

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 .

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

La classe fa parte del GFRY Design Studio– una realtà trans-disciplinare che propone una stretta collaborazione fra la scuola e l’industria per offrire 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.

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 offer 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.

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 diffusore e medium dell’illuminazione.

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 diffusing light.

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.

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.

tree picture

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

Concepts of light

Il 15 ottobre arrivano ad Industreal le prime idee elaborate dagli studenti SAIC .

On the 15th of October, Industreal received the initial concept ideas developed by the SAIC students

Quando le idee, in vista della loro realizzazione, cominciano a prendere forma è uno dei momenti più belli della ricerca.

One of the best moments in research is when ideas start to take shape with the prospect of actually becoming objects.

I concetti che guidano il processo di ricerca proposto da SAIC sono: mimetismo, evidenza, ﬂusso, dispersione, innesto, limite, traccia, erosione, fossilizzazione, memoria, respiro.

The guideline concepts for the SAIC research project were the following: camouﬂage, evidence, ﬂow, diffusion, grafts, limits, tracks, erosion, fossilization, memory, breath.

Le direzioni di ricerca stabilite sono quattro:

Four areas of research were deﬁned:

Line Plane Volume: si ispira alla dispersione e alla diffusione della luce e intende esplorare il rapporto fra il colore della luce e il vetro. Line, Plane, Volume.

Line Plane Volume inspired by the diffusion and dispersion of light and the exploration of the relationship between the colour of light and glass.

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.

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: nell’interazione fra la luce e la ﬁsica dell’oggetto illuminato si inﬂuenzano reciprocamente sia l’oggetto sia la luce diffusa. Drawn Shades, Explosion, Building Light, re:morph, Meta-Loops.

Trace the Evidence and Flow of the interaction between light and the physics of the illuminated object; both the object itself and the diffused light are reciprocally inﬂuenced by each other. 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.

Flexible Light designed to adapt itself to different 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.

Trace the evidence of flow #VJMEJOH -JHIU 3PCZO $BSUFS 9JBP9VF ;IFOH ;BDI 8FJTT 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 fixtures. 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 fixture 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.

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SF NPSQI 3PCZO $BSUFS 9JBPYVF ;IFOH ;BDI 8FJTT A simple gesture, such as pulling on a cord, can dramatically change the effect 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 different circumstances; from working at a table to a cocktail party.

The refined triangular shape of the glass allows the chandelier 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 significant, as their directional nature will increase the efficiency and quality of the light.

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We intend on creating a lighting object that exhibits elements of trace, evidence and flux through interaction 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 transparent 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 childâ&#x20AC;&#x2122;s toy. The magnetic trails, silhouettes, and gradients 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.

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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.

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Windows allegory Eric Rosenbaum / Caroline Linder and Sonia Shim allegory â&#x20AC;&#x201C; a story, poem or picture that can be interpreted to reveal hidden meaning

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.

tex e tured r glass shade

LED light and lamp ffrrame

lattice, pixels, weaving

LED light and lamp ffrrame

inside of window

The visual allusion creates a barrier that acts as camouflage, distorting the truth on either side of the window. Privacy is obtained by using light rather than darkness.

outside of window

side view

ront (inside) view

scroll Sonia 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 signifies 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.

pane Caroline 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.

Glass & LED nodes

The plane of the window and the lit obect join together to create a new field of light. Stems can be positioned in a cluster or bent across the window pane to fill the space.

Suction Cup Flexible Stem

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 Structural element attached to glass blown pieces.

Original “Line” component arranged to create a volume of light

Flexible light HEAP

lee, riha, schmidt, smith

GLASS (EMITS LIGHT)

is a collection of objects that fit together in a multitude of ways to produce different formal and phenomenological effects.

RUBBER (WEIGHT + FRICTION)

The â&#x20AC;&#x2DC;heapâ&#x20AC;&#x2122; is formed of 3 different types of objects. Each type has different properties, all of which contribute to the heap in a different 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 inspired by the fragility and monumentality of cairns and the suggestiveness (but lack of prescriptiveness) of rock-climbing handholds.

FELT (PADDING + FILL)

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

DIFFERENT ASSEMBLAGES OF OBJECTS

Fits - IN Blair Schmidt, Lisa Smith, Michael Riha, SJ Lee.

corner mold

handle slot

imprint multiple imprints increase versatility

mold positive

changeable light aperature

object

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.

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Four visions of light

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.

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

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.

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 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.

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 different techniques of glass working. 4 out of the 14 projects are chosen to be presented during the Salone del Mobile 2008 as working prototypes.

Drawn Shades - iron filings & magnets

Study of light - paper

Scroll - LEDs & acrylic

Allegory - illuminated window pane

Drawn Shades - iron filings & magnets

Chandalier - metal beeds

Line, Plane, Volume - paper model

Building Light - iron filings & magnets

And there was light

Il 24 gennaio 2008 il corriere consegna a Industreal i 4 scatoloni con i prototipi provenienti da Chicago.

On the 24th January a courier service delivered 4 boxes containing the prototypes from Chicago.

L’emozione è forte, come quando si apre un regalo.

There is a much excitement, like when a gift is opened

I corpi illuminanti sono composti da LED e parti in alluminio fresate.

The lighting objects are made of LEDs and some parts milled from aluminium

Gli studenti hanno realizzato i prototipi perfettamente funzionanti adattabili sia al voltaggio europeo sia a quello americano.

The students had made perfectly functioning prototypes suitable for both American and European voltage

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.

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: un sistema di illuminazione che si adatta all’ambiente e alla situazione. Può pendere dal soffitto, si può tenere in mano oppure attaccare alla libreria.

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: un sentiero immaginario viene tracciato muovendo un punto illuminato nello spazio.

Line: an imaginary path is traced by moving an illuminated point in space

Inizia così il lavoro di interpretazione delle parti in vetro da parte di Industreal per dare alla luce la forma delle trasparenze di luce.

Flex: A bundle of six freely-hanging lights that move together and modify the shape of the lighting according to the angle of oscillation.

Industreal now takes on its job of interpreting the glass parts in order to give a transparent shape to the source of light.

LINE Shireen Bishop and Greta Stepp LED Block Specifications 3.86mm diameter

2.74mm

10.16mm

McMaster-Carr Part #86895K483

5.79mm

2.10mm

McMaster-Carr Part #94609A153

2.41mm diameter hole tapped for 4-40 screw 2.44mm 13.97mm

McMaster-Carr Part #92785A116

24mm

13.97mm

Aluminum Squre Bar Material: Aluminum Square Bar (Alloy 2024) Finish/Coating: Unpolished (Mill) Thickness: 15.88mm Length: 91.44cm 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 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

Sylvania

LED Osram Flex Top Color Temperature: 4700K

McMaster-Carr Part #95610A150

Nylon Washer Material: Nylon 6/6 Plastic Color: White Inside Diameter: 4.3mm Outside Diameter: 9m Thickness: .67mm-.93mm

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

Caroline Linder fizz 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

a b

f e h

h i2

flex

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

M g g d

K g

d d

I L H K

G F

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 Diffuser: 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 A B

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

Transparencies of light

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.

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.

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 soffiato.

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.

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 soffia 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 soffiato. 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 soffiatura.

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.

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.

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.

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.

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.

The glassmaker

Matteo Gonet Born Lugano, Switzerland 1979. Studied design, Gerrit Rietveld Academy, Amsterdam 1998 to 2001 Glass Technician, Cirva, Marseille â&#x20AC;&#x201C; France 2000 to 2004 Artist in residence Sidney Collage of Arts, for six months - 2004 Since 2004 freelance glassmaker in Switzerland. Teaching posts â&#x20AC;&#x201C; since 2004 ECAL, Lausanne and CERFAV, Nancy

Glass becomes Light Fizz Fizz is a hanging lamp that is inspired by the childhood act of blowing bubbles, behaving as a single element or in clusters.

Glass becomes Light Line “An imaginary path traced by a moving point.” This luminaire is inspired by that concept.

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. â&#x20AC;&#x153;IMPROMPTUâ&#x20AC;? fuses the refined craftsmanship of glass with the newer technology of LED lights creating a beautiful and versatile lighting object.

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

Industreal We do not agree with Philippe Starck 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.

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 afferma: “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.

Industreal Variations 2007 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.

Michele De Lucchi

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. Alessandro Mendini

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.

Ettore Sottsass

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

George J. Sowden

First Cut

2007 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 offre, 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 offered 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.

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

First Cut 2007

Dream

2006 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.

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

Dream 2006 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 Pfligersdorffer 41. En Case De Divorce, Julie Pfligersdorffer 42. Love Story, Julie Pfligersdorffer 43. Tous les Chemins Mènent à la Crise de Foie, Julie Pfligersdorffer & 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. Coffee & 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

Model Ideas 2005 3

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.

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

Model Ideas 2005

In Dust We Trust 2004 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. 4

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

In Dust We Tust 2004

Thanks

Ettore Sottsass 2007

Art Direction Let there be light

Glass

George J. Sowden Costanza Calvetti Giuliano Corti Maurizio Meroni

Matteo Gonet, Glasswork + Design www.matteogonet.com

Industreal staff 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

Costanza Calvetti Monica Favara Giulia Lorini Alessandro Moro Maira Necchi www.industreal.it

ONEOFF staff Maurizio Meroni Lara Alexandre da Silva Giorgia Bellasio Chiara Casati NicolĂ˛ Gazzola Tiziana Presciutti Giordano Redaelli Carlo Romagnolo www.oneoff.it

Website Roomor, www.roomor.com Giovanni Antico, www.alt123.com

www.industreal.com 16 - 21 April 2008 H. 10:00 - 19:00 Opening: 16 April 2008 H. 20:00

industreal Via Luigi Nono 7 20154 Milano T +39 02 36 51 78 90 info@industreal.com

Industreal Fabbrica del Vapore Palazzina Liberty Via Procaccini, 4 20154 Milano