Udesign shop & catellani & smith by UDESIGN-SHOP

Quando vivrĂ˛ di quello che ho pensato ieri, comincerĂ˛ ad avere paura di chi mi copia. Fortunato Depero (1892-1960)

When I live by what I thought the day before, I will start fearing him, who copies from me. Fortunato Depero (1892-1960)

office and distribution:

show-room:

via Antonio Locatelli, 47 I-24020 Villa di Serio (BG) tel. +39 035 656088 fax +39 035 655605 info@catellanismith.com www.catellanismith.com

via Palma Il Vecchio, 3 I-24122 Bergamo tel./fax +39 035 210193 show-room@catellanismith.com

PostKrisi | Installation Galleria Vittorio Emanuele II | Milan | Italy | Christmas 2010

PostKrisi 2004

I - PostKrisi, una collezione che apre un nuovo capitolo. Per la prima volta

resistenti, dall’aspetto delicato, ci proiettano in un mondo fantastico che

è stato inserito l’elemento colore, o meglio, è stato messo in primo piano.

un poco ci riporta all’atmosfera creata dalle lampade di carta giapponesi.

Lampade in tessuto di vetro dipinte a mano, con colori primari, puri; lampade

Luci colorate che disegnano ombre, luci dalle forme pure e dai colori

a due facce dove la luce interagisce contemporaneamente con il colore e

primari. Una carta di vetro, un vetro elastico, una carta impermeabile,

con la forma in un gioco di trasparenze e di contrasti. La forma, elemento

brandelli strappati dall’effetto materico che contrastano armonicamente

che nelle collezioni ha sempre avuto un ruolo determinante, ancora una

con la pura, fredda, struttura in acciaio. E’ stato utilizzato il tessuto di

volta imprigiona la luce modellandone l’ombra. Questa volta però il gioco si

vetro, la sua trasparenza, anche lasciandolo puro, non dipinto: l’effetto

spinge oltre: il tessuto di vetro infatti, sapiente unione tra elasticità e robusta

qui è altrettanto suggestivo, la trama del tessuto, inglobata nella resina,

trasparenza, consente, con semplici gesti, di avere variazioni di forma che

spezza la luce creando quasi un riverbero. Lampade con le quali giocare,

producono intriganti e suggestive ombre sui muri, il cui effetto è amplificato

forme da inventare, macchie di colore che si trasformano in disegni di luce.

dalla sfrangiatura, come un pezzo di stoffa stracciata. Lampade molto

Questa collezione, dalle infinite combinazioni, ha solo un limite: dire basta.

REGISTERED COMMUNITY MODEL

PostKrisi | Milan | Italy | 2010

GB - â&#x20AC;&#x153;PostKrisiâ&#x20AC;?, a collection that opens a new chapter. For the first

piece of ripped cloth. Extremely resistant lamps, but with a precarious

time Enzo Catellani added colour or rather brought it to the forefront.

look, that project us into a fantastic world, into an atmosphere vaguely

Lamps hand-painted with pure primary colours; lamps with two sides where

similar to that created by Japanese paper lamps. Coloured lights that draw

light interacts simultaneously with colour and shape creating an interplay of

shadows, lights with pure shapes and primary colours. Fibreglass, elastic

transparency and contrasts.

glass, waterproof paper, ripped shreds with physical characteristics that

The shape, an element that has always had an all-important role in his

contrast harmoniously with the pure, cold steel structure. Fibreglass used

collections, once again imprisons the light, moulding the shadows, but

to create transparency, also leaving it pure and unpainted: the effect is just

this time the effect is more pronounced: the fibreglass, in fact, is a skillful

as captivating; the weave of the cloth incorporated in the resin breaks up

mingling of elasticity and robust transparency, which by simple movements

the light almost creating a reflection. Lamps to play with, shapes to invent,

allows variations in shape, producing intriguing and suggestive shadows

patches of colour that transform into drawings of light. This collection, with

on the wall, the effect of which is enhanced by the fringing; much like a

its infinite combinations, has only one limit: you would never say stop.

PostKrisi | Installation | Short Stories | Palazzo della Triennale | Milan | Italy | 2006 Lighting for the sculptural works of Mimmo Paladino, Doriana and Massimiliano Fuksas. It is a mingling experiment of technical and creative lighting, playing with the refraction of light inside some big fibreglass domes of 2 metres. The result is a smooth warm light.

Heavy Light | Installation | Porta Romana | Milan | Italy | 2006 A 3 metres fibreglass half-sphere, torn and covered with golden leaf on the outside and in silver leaf on the inside; it is lightened by a huge incandescent warm bulb of 500 Watt power. The outcome is a spectacular object of great emotional effect, which clashes with the sixteenth century construction of the Spanish Ramparts (1596).

PostKrisi workshop Villa di Serio (Bergamo) | Italy

D - „PostKrisi“, eine Kollektion, die ein neues Kapitel der Produktion von Enzo

Lampen projektieren uns in eine fantastische Welt, die uns etwas an die

Catellani eröffnet. Er hat zum ersten Mal das Element Farbe miteinbezogen,

Atmosphäre erinnert, wie sie von japanischen Papierlampen geschaffen

oder besser gesagt, hat es sogar in den Vordergrund gerückt. Handbemalte

wird. Farbige Lichter, die Schatten malen, Lichter mit reinen Formen und

Lampen in reinen Primärfarben, Lampen mit zwei Kopfseiten, wo das Licht

in Primärfarben, Glaspapier, Fiberglas, wasserdichtes Papier, abgerissene

gleichzeitig mit der Farbe und mit der Form interagiert und so ein Spiel von

Fetzen mit organischem Aussehen, die sich der reinen kalten Stahlstruktur

Transparenz und Kontrasten entstehen lässt. Die Form, ein Element, das in

harmonisch entgegensetzen. Catellani hat das Fiberglas gebraucht,

seinen Kollektionen immer eine entscheidende Rolle spielt, fängt auch hier das

um Transparenz zu schaffen, wobei er es teils auch im ursprünglichen

Licht ein und modelliert seinen Schatten. Doch in diesem Fall dringt das Spiel

Zustand gelassen hat, ohne es zu bemalen: die Wirkung ist hier ebenso

noch weiter vor: das Fiberglas, eine geschickte Mischung aus Elastizität und

stimmungsvoll. Die in den Kunststoff eingearbeitete Gewebestruktur bricht

robuster Transparenz kann mit wenigen einfachen Gesten verändert werden,

das Licht, wodurch fast etwas wie ein Widerschein entsteht. Lampen, mit

wodurch faszinierende und suggestive Schatten auf den Wänden entstehen,

denen man spielen und Formen erfinden kann; Farbflecken, die sich in

deren Wirkung durch den Fransenrand, der wie ein zerrissenes Stück Stoff

Lichtmalereien verwandeln. Diese Kollektion kennt nur eine Grenze: nämlich

wirkt, weiter gesteigert wird. Sehr widerstandfähige, zart aussehende

„basta“ zu sagen.

Private home

F - PostKrisi, une collection qui ouvre un nouveau chapitre de la production

Ces lampes très résistantes, à l’aspect précaire, nous projettent dans un

E - “PostKrisi”, una colección que abre un nuevo capítulo en la producción

aspecto precario, nos proyectan en un mundo fantástico que un poco nos

de Enzo Catellani. Pour la première fois, il a introduit l’élément de couleur,

monde fantastique qui nous ramène un peu à l’atmosphère créée par

de Enzo Catellani. Por primera vez ha introducido un elemento de color, o

lleva a la atmósfera creada por las lámparas de papel japonesas. Luces

ou mieux encore il l’a mis au premier plan. Des lampes peintes à la main,

les lampes en papier japonais. Des lumières colorées qui dessinent des

mejor dicho, lo ha puesto en primer plano. Lámparas pintadas a mano, con

de colores que diseñan sombras, luces con formas puras y con colores

avec des couleurs primaires et pures; des lampes à deux faces où la

ombres, des lumières aux formes pures et aux couleurs primaires, un

colores primarios, puros; lámparas con dos caras dónde la luz interacciona

primarios, un papel de vidrio, un vidrio elástico, un papel impermeable,

lumière interagit aussi bien avec la couleur qu’avec la forme, dans un jeu de

verre-papier, un verre élastique, un papier imperméable, des lambeaux

contemporáneamente con el color y con la forma con un juego de

harapos desgarrados, de efecto material que contrastan armónicamente

transparences et de contrastes.

arrachés, à l’effet organique, qui contrastent harmonieusement avec la

transparencia y de contrastes.

con la pura, fría, estructura en acero.

La forme, cet élément qui a toujours eu un rôle déterminant dans ses

structure pure et froide en acier.

La forma, elemento que en sus colecciones ha tenido siempre un papel

Ha utilizado el tejido de vidrio, su transparencia, aunque dejándolo puro, sin

collections, capture encore une fois la lumière tout en modelant son

On a utilisé la fibre de verre, quant à la transparence, même en le laissant

determinante, todavía una vez más aprisiona la luz modelándole la sombra;

pintar: el efecto aquí es igualmente sugestivo, la trama del tejido englobada

ombre; mais cette fois le jeu va plus loin: en effet la fibre de verre, mélange

pur, non peint: ici l’effet est tout aussi suggestif, la trame du tissu englobée

pero esta vez el juego va más allá: el tejido de vidrio, sabia mezcla entre la

en la resina divide la luz creando casi un reverbero.

savant entre élasticité et transparence robuste du tissu de verre, permet,

dans la résine brise la lumière en créant presque une réverbération. Des

elástica y robusta transparencia del tejido de vidrio, consiente, con simples

Lámparas con las que jugar, formas de inventar, manchas de color

avec de simples gestes, d’avoir des variations de forme qui produisent

lampes avec lesquelles on peut jouer, des formes à inventer, des taches

gestos, tener variaciones de forma que producen intrigantes y sugestivas

que se transforman en dibujos de luz, esta colección, con las infinitas

des ombres intrigantes et suggestives sur les murs, dont l’effet est

de couleur qui se transforment en dessins de lumière, cette collection aux

sombras sobre los muros, cuyo efecto se amplifica con el desflecado;

combinaciones, tiene un sólo límite: decir basta.

amplifié par l’effrangement, tout comme un morceau d’étoffe déchirée.

combinaisons infinies n’a qu’une seule limite, celle de dire “ça suffit”.

como un trozo de tela rasgada. Lámparas muy resistentes, desde el

PostKrisi 0051 | pendant lamp Red Bull Arena | Harrison, New Jersey | USA

PostKrisi 0052 | pendant lamp Rocks Resort | Laax | Switzerland Versione ignifuga per locali pubblici. Feuerhemmende Ausführung für den öffentlichen Bereich. Fireproof version for public spaces. Version ignifuge pour lieux publics.

PostKrisi 0046 | pendant lamp | Petit Bistrot | Milan | Italy

ph. Hugo Thomassen

PostKrisi 0070 | wall lamp | Neue R채ume | Zurich | Switzerland

PostKrisi 0032 | pendant lamp

PostKrisi 0044 | pendant lamp Carbon Hotel | Genk | Belgium

PostKrisi 0046 | pendant lamp | Petit Bistrot | Milan | Italy

Fil de Fer concept

Out Collection 2002

I - Out Collection raccoglie prototipi e concetti “fuori collezione” fino al 2002

piccolo groviglio di fil di ferro, “Sweet light”, con una piccola luce interna,

realizzati inizialmente in serie limitata, poi entrati in produzione.

variabile d’intensità al tatto della mano.

Fil de Fer

Luce che dipinge

Nasce dalla richiesta di realizzare un enorme lampadario per il Museo

Catellani realizzò una tela ricoperta completamente in foglia d’oro e

della Cartografia di Stato presso la Fontana di Trevi a Roma. Si chiedeva

illuminata da una lampadina schermata, che rifrangeva e diffondeva una

una lampada di enormi dimensioni, ma nello stesso tempo aerea e con

luce dorata.

tante luci. Una lampada che richiamasse l’universo. Enzo Catellani pensò

Da questo oggetto però scattò la sua riflessione sulla luce nella pittura. La

subito ad un materiale leggero e plasmabile che, nello stesso tempo,

pittura dei grandi maestri ha sempre cercato di dipingere la luce, ottenendo

diventasse struttura adatta a contenere tanti punti luminosi. Sperimentò la

luce con colore. Così, con il supporto di una tela importante, di un materiale

plasmabilità del filo di ferro e la prima forma che ne uscì fu un’enorme sfera.

nero e plasmabile trovato a New York, e di una lampadina da 12 Volt, riuscì

L’aspetto ricordava i cespugli mossi dal vento e rotolanti leggeri nel deserto

a plasmare la luce a suo piacimento, creando orme e disegni di luce molto

messicano. La lampada del museo fu tutta un’altra cosa, ma restò quel

suggestivi.

prototipo. Fu facile poi realizzarlo in diverse dimensioni e, non ultimo, un

“Cosa sia non lo so” dice, "ma certo è una luce che dipinge".

REGISTERED COMMUNITY MODEL

photo by Landerberg.com

Fil de Fer | pendant lamp | Stock Exchange | Copenhagen | Denmark | 2009 In 2009 Catellani & Smith contributed to the replacement of the original light fittings in the Exchange Hall, providing 4 custom-made Fil de Fer lights with a diameter of 200 cm. The hall was the vital centre of the Stock Exchange, where all types of goods were exchanged; today it is hired out for conferences and events.

GB - Out Collection gathers prototypes and concepts “outside of any other

to produce it in other sizes and last but not least, to realize a tangle of iron

collection” up to 2002 originally realized in a limited series, now entered into

wires with a small internal light, “Sweet light”, the intensity of which could be

production.

varied with the touch of the hand.

Fil de Fer

Luce che dipinge

This idea came from the request for a huge chandelier for the Museo della

Catellani created a canvas completely covered in golden leaf and lit by a

Cartografia di Stato by the Fontana di Trevi in Rome. Enzo Catellani was

shaded lamp that refracted and diffused a golden light.

asked to design a chandelier that was not only very large but, at the same

He only made a few examples of this item and gave them as Christmas

time, ethereal and with many lights. A chandelier symbolizing a universe.

presents. However, it made him think more about light in paintings.

He immediately thought of using a light and flexible material that could

The great artists in their paintings always tried to paint light, obtaining

also become a suitable structure for holding many spots of light. He

light with colour.

experimented with the malleability of iron wire and the first shape that was

This way, using a large canvas, a black malleable material found in

created was an enormous sphere. Its appearance reminded him of the light,

New York and a 12 Volt light bulb, he was able to mould the light

rolling bushes, blown by the wind in the Mexican desert. The Museum lamp

in the way he wanted and create fascinating shapes and patterns.

was completely another thing, but this prototype remained. It was then easy

“I am not sure what it may be” he says, “but it is certainly a light that paints”.

Fil de Fer | pendant lamp Private cellar

Fil de Fer | pendant lamp Restaurant

D - „Out Collection“ vereint alle „außerhalb der Kollektion“ geschaffenen

Kern, „Sweet Light“, welches mit der Berührung der Hand an Leuchtkraft

Prototypen und Ideen der letzten Jahre, erst nur in begrenzter Serie

gewinnt oder verliert, das Licht sich ein- und ausschaltet.

hergestellt, fließen nun in die Produktion ein. Fil de Fer

Luce che dipinge

Catellani wurde gebeten, einen enormen Leuchter für das Museum „Museo

Catellani hatte eine Leinwand auf einen Rahmen gezogen und komplett

della Cartografia di Stato“ bei der Fontana di Trevi in Rom zu gestalten.

mit Goldfolie beschichtet. Sie wurde von einer abgeschirmten Glühbirne

Es sollte eine Leuchte riesigen Ausmaßes werden, und von vielen Lichtern

indirekt beleuchtet. Dadurch reflektierte das Licht golden. Hiervon machte

übersät sein. Eine Lampe, die an das Universum erinnern sollte. Er

er nur wenige Exemplare als Weihnachtsgeschenk. Dieses Objekt regte

entdeckte die Gestaltungsmöglichkeiten des Drahtes.

ihn jedoch zum Nachdenken über das Licht in der Malerei an. Die Großen

Die erste Form, die dabei herauskam, war eine unglaublich große Kugel.

Künstler haben seit jeher versucht, das Licht zu malen, das heißt mit Farbe

Sie sah aus wie ein vom Wind getriebener Strauch in der mexikanischen

den Eindruck von Licht zu schaffen. Mit einem schwarzen biegsamen

Wüste. Die Leuchte für das Museum wurde etwas ganz anderes, aber der

Material, welches er in New York fand, einem Halogenniedervoltbirnchen

Prototyp blieb.

und einer großen Leinwand gelang es ihm, eindrucksvolle Formen und

So war es einfach, die Kugel in verschiedenen Größen zu machen, nicht

Bilder aus Licht entstehen zu lassen. „Ich weiß zwar nicht, was es ist“ sagt

zuletzt als kleines Knäuel aus dünnem Draht mit einem kleinen Licht im

er, „aber eines ist gewiss: es ist das Licht, das malt“.

Fil de Fer | Installation | Serie Fuori Serie | Triennale Design Museum | Milan | Italy | 2009 Catellani & Smith took part to "Serie Fuori Serie", an exhibition held at the Triennale Design Museum in Milan, with a special Fil de Fer installation with a diameter of 200 cm. The exhibition illustrated the contemporary landscape of Italian design, tracing a path from experimental research to mass markets, using both handcrafted materials and advanced technology, and seeking to promote a broader concept of design, seen as a tool for working on reality.

Fil de Fer | Permanent Installation | Palazzo della Triennale Gardens | Milan | Italy | 2006 A 3 metres diameter sphere, created by using 22.000 metres of aluminium wire and weighing 350 kilos, with 400 bulbs of 10 Watts each, which release a 4000 Watts of soft and fascinating light. The visual and emotional impact is like a fallen cosmos, a globe you must see.

F - Out Collection rassemble les prototypes et les concepts “hors collection”

mais ce prototype est resté, facile par la suite de la réaliser dans des

des dernières années, qui, réalisés en série limitée, entrent en production.

dimensions différentes; parmi ces réalisations ne fut pas la moindre un petit

Fil de Fer

enchevêtrement de fil de fer, «Sweet Light», avec une petite lumière interne

Cette lampe est née de la demande de réaliser un énorme lampadaire

dont l’intensité varie au contact de la main.

pour le Museo della Cartografia di Stato près de Fontana di Trevi à Rome.

Luce che dipinge

La demande était pour une lampe de dimensions énormes, mais qui soit

Catellani réalisait une toile complètement recouverte de feuilles d’or, éclairée

en même temps aérienne et avec beaucoup de lumières. Une lampe qui

par une ampoule voilée, qui réfractait et répandait une lumière dorée.

rappelait tout l’univers.

A partir de cet objet il se prit à réfléchir sur la lumière dans la peinture. La

Enzo Catellani a tout de suite pensé à un matériau léger et malléable qui

peinture des grands maîtres a toujours tenté de dépeindre la lumière en

puisse devenir en même temps une structure apte à contenir tant de points

obtenant de la lumière avec des couleurs. Ainsi, avec le support d’une toile

lumineux. Il a expérimenté la malléabilité du fil de fer, et la première forme

importante, d’un matériau noir et malléable trouvé à New York, et d’une

qui est née à été une sphère énorme.

ampoule de 12 Volts, il est arrivé à façonner la lumière à son goût, en créant

Son aspect rappelait les buissons poussés par le vent et qui roulent légères,

des formes et des dessins de lumière très évocateurs. «Je ne sais pas ce

dans le désert du Mexique. La Lampe du Musée fut tout à fait différente,

que c’est», il dit, mais certainement c’est une lumière qui peint.

©V&A Images/Victoria and Albert Museum/Galleries 12 to 16, Morris, Gamble and Poynter Rooms/Designed by MUMA/Lighting by Catellani And Smith

Fil de Fer | Installation | Hotel Art | Rome | Italy

Fil de Fer | pendant lamp | Victoria & Albert Museum | London | UK | 2006 The restaurant-cafeteria of the prestigious Victoria & Albert Museum in London, the largest art and design museum in the world, is illuminated by 4 special Fil de Fer lights with a diameter of 2 metres. The Café is located in the V&A's original refreshment rooms, the Morris, Gamble and Poynter Rooms. This Café was the first museum restaurant in the world. It is furnished the same style as the museum, which is characterised by modern design and quality craftsmanship.

Fil de Fer gold | floor lamp

E - “Out Collection” recoge prototipos y conceptos “fuera de colección” de

pequeña maraña de alambre, “Sweet light”, con una pequeña luz interna,

estos últimos años realizados en serie limitada, ahora empiezan a producirse.

variable de intensidad al tacto de la mano.

Fil de Fer

Luce che dipinge

Nace de la petición de realizar una enorme lampara de techo para el Museo

Catellani realizó una tela recubierta completamente de hojas de oro e

de la Cartografia de Estado cerca de la Fontana di Trevi en Roma. Se pedía

iluminada por una bombilla escudada, que refractaba y difundía una luz

una lámpara de enormes dimensiones, pero al mismo tiempo aérea y con

dorada. De este objeto comenzó su reflexión sobre la luz en la pintura.

muchas luces. Una lámpara que recordara al universo.

La pintura de los grandes maestros ha intentado siempre pintar la luz,

Enzo Catellani pensó inmediatamente en un material ligero y modelable que,

obteniendo luz con color.

al mismo tiempo, fuera una estructura apta para contener tantos puntos

De este modo, con el soporte de una tela importante, de un material negro

luminosos. Experimentó la maleabilidad del alambre y la primera forma que

y maleable encontrado en Nueva York, y con una bombilla de 12 voltios,

salió fue una enorme esfera. El aspecto recordaba a los matorrales movidos

conseguí plasmar la luz a su gusto, creando formas y dibujos de luz muy

por el viento y girando ligeramente en el desierto mexicano.

sugestivos.

La lámpara del museo fue totalmente otra cosa pero quedó el prototipo.

“Lo que es, no lo sé” dice, pero seguro es una luz que dibuja.

Fue fácil después realizarla en diferentes dimensiones resultando una

Fabbrica del Fil de Fer Scanzorosciate (Bergamo) | Italy

Luna nel pozzo Ă&#x2DC; 2 mt | Installation

Fil de Fer | Installation | Torino | Italy

Fil de Fer | Installation | Kammerlander Platz | Campo Tures (Bolzano) | Italy

Lucenera 2000

I - Lucenera rivede il modo di interpretare l'oggetto lampada, che sparisce

quasi in modo meditativo e rilassante. Lucenera quindi, altro non è che un

a favore della sua funzione: illuminare. Lo spunto nasce dalla richiesta per

concetto! La forma è molto semplice ed il materiale utilizzato è un tubo

una mostra fotografica nel grande spazio di una chiesa sconsacrata. Era

nero in carbonio con lampadine tecniche ed un supporto flessibile che

necessario quindi creare una luce tecnica in grado di direzionare il fascio di

rende l'oggetto estremamente versatile. L'unica protagonista è la luce.

luce sul corpo da evidenziare, lasciando in penombra il resto dello spazio

Tutto il contrario di quello fatto per 10 anni!

Lucenera 502 LED | wall lamp Lucenera 503S | ceiling lamp

GB - Lucenera re-examines the way of thinking about the lamp as an object

D - Lucenera ändert das Denken über die typische Objekt-Leuchte: die

which disappears in favour of its only function: illuminating. The hint comes

Gestalt der Leuchte an sich verschwindet, um Ihre Funktion - die Beleuchtung

from the request to provide the lighting system for a photographic exhibition

- in den Vordergrund zu stellen. Die Idee für diese Serie kam nach einer

in the wide space of a deconsecrated church. It was necessary to create a

Anfrage einen großen Raum einer entweihten Kirche zu beleuchten.

technical light able to adjust and direct the light beam on the object, leaving

Es ging darum, ein technisches Licht zu erzeugen, dessen Lichtbündel die

the rest of the space in a dim light and thus creating sort of a relaxing and

Gegenstände direkt erleuchtet und die Umgebung in einem magischen und

meditative atmosphere. Lucenera is therefore nothing more than a concept!

meditativen Halbschatten lässt. Lucenera ist ein Konzept! Die Form ist sehr

Its shape is really simple and the material used is a black carbon tube, some

schlicht. Die Materialien sind ein schwarzes Karbonfaserrohr, technisches

technical bulbs and a flexible support to make the lamp extremely versatile.

Leuchtmittel und eine flexible Halterung. Das alles zusammen macht aus der

The only protagonist is light itself. It’s the very opposite of what it has been

Leuchte ein vielfältig verwendbares Objekt. Der einzige Protagonist ist das

done for ten years!

Licht. Genau das Gegenteil von dem, was zehn Jahre lang gemacht wurde!

Lucenera 504 | pendant lamp Porto Cervo | Italy

Lucenera 504 LED white | pendant lamp

Lucenera 300 | table lamp | Ithaa restaurant | Maldives

F - Lucenera repense la manière de créer l'objet-lampe qui disparait en

E - Lucenera re-estudia el modo de pensar una lámpara como un objeto

faveur de sa fonction: l'éclairage. L'occasion est née de la demande

que desaparece a favor de su función: iluminar. La idea nace de la petición

pour une exposition photographique dans le grand espace d'une église

de iluminar una muestra fotográfica en el gran y peculiar espacio de una

déconsacrée. Il était donc nécessaire de créer un éclairage technique avec

iglesia desacralizada. Se necesitaba crear una luz técnica para poder

un faisceau directionnel de lumière sur l'élément à mettre en évidence,

ajustar, orientar y concentrar su haz de luz a los objetos, dejando el resto del

laissant le reste de l'espace dans une pénombre quasi méditative et

espacio en la penumbra, obteniendo de esta manera un ambiente relajante,

relaxante. Lucenera donc, n'est rien d'autre qu'un concept! La lampe

casi meditativo. Lucenera no es más que un concepto! Sus formas son

est très simple: un tube, et le matériau utilisé, de la fibre de carbone noir,

muy sencillas, y los materiales que se utilizan son tubo de carbono negro,

avec une lampe technique et un support flexible qui donnent un objet

lámparas técnicas y un soporte flexible, que la convierten en una luminaria

extrêmement polyvalent. L'unique acteur est la lumière. Tout le contraire de

extremadamente versátil. La única protagonista es la luz. Todo lo contrario

ce qui a été fait pendant 10 ans!

a lo hecho durante 10 años!

photo: Sharon Adler

Lucenera 502 | wall lamp | The Memorial to the Murdered Jews of Europe | Berlin | Germany | 2005 The Memorial to the murdered Jews of Europe was erected in the heart of Berlin in 2005 by the famous American architect Peter Eisenmann. The work consists of an outdoor site of 19,000 square metres, which is covered with 2,711 concrete stelae arranged in a grid formation and an underground information centre which proposes a tour through the memorial sites. In the Room of Places (Raum der Orte), witnesses of the holocaust sites can be seen and heard. The audiovisual media are illuminated by wall lamps from the Lucenera collection.

LUCENERA 500

LUCENERA 200 - 300

LIGHT BEAM. You can adjust the volume and intensity of the light beam by simply moving the carbon tube or rod forwards or backwards.

Stchu-Moon 1997

I - La collezione Stchu-Moon propone un oggetto che gioca con la rifrazione

tema del lavoro è infatti dimostrare il concetto di rifrazione della luce che,

della luce su superfici irregolari e che separa la fonte luminosa dall’oggetto

proiettata su un corpo volutamente irregolare, proprio per la sua irregolarità,

illuminante, dando così a quest’ultimo una valenza decorativa indipendente.

ne moltiplica la quantità rendendo l’oggetto stesso “tutta luce”. Luce infatti

Quello che colpisce di questa nuova collezione è l’estrema durezza ed

non è la fonte di partenza, ma luce diventa tutto ciò che la riceve. O no?

essenzialità della forma, elementi che ne nascondono il vero significato. Il

Enzo Catellani

Stchu-Moon 01 | floor lamp

Stchu-Moon 02 | pendant lamp Stchu-Moon 04 | wall lamp Stchu-Moon 05 | wall lamp

Stchu-Moon 05 | wall lamp

GB - The collection “Stchu-Moon” proposes an object which plays with

The theme of the work is in fact to demonstrate the concept of refraction of

the reflection of light on irregular surfaces and which separates the light

the light that is projected onto a deliberately irregular body, whose irregularity

source from the illuminating object, winning an independent aesthetic value.

multiplies its volume and makes the object itself “full of light”. Light is in fact

The thing that strikes you about this new collection are the extreme hardness

not the original source, but all that it touches becomes light. Or else?

and purity of the shapes that hide the true meaning of these objects.

Enzo Catellani

Stchu-Moon 05 | wall lamp | Hotel Schloss Elmau | Elmau | Germany Schloss Elmau is a unique Hotel & Spa situated in an enchanting mountain setting among the Bavarian Alps, 100 km from Munich. The main rooms of the hotel, from the reception to the music room, are illuminated and furnished with Catellani & Smith lamps from the Stchu-Moon, Luci D’Oro, Fil de Fer collections.

Stchu-Moon 02, 3 x ø 40 | pendant lamp

vom

Das Arbeitsthema ist denn auch, das Konzept der Brechung des Lichtes

Beleuchtungskörper, der damit selber einen unabhängigen ästhetischen

zu beweisen, das auf einen gewollt unregelmäßigen Körper projektiert wird,

Wert gewinnt. Die Lichtbrechung sieht sich hier mit unregelmäßigen

welcher eben aufgrund seiner Unregelmäßigkeit das Licht vervielfacht,

Oberflächen konfrontiert. Es handelt sich um handwerklich erzeugte und

wodurch der Gegenstand selbst in Licht verwandelt wird. Denn Licht ist

damit unwiederholbare, einzigartige Gegenstände. Was bei dieser neuen

nicht die Ausgangsquelle, sondern Licht wird alles, was Licht empfängt.

Kollektion sofort auffällt, sind die Härte und die Wesentlichkeit der Form,

Nicht Wahr?

Elemente, die die wahre Bedeutung dieser Gegenstände verbergen.

Enzo Catellani

Die

Kollektion

„Stchu-Moon“

trennt

die

Lichtquelle

Architects: Studio KO, Photographer: Gaelle Le Boulicaut

Stchu-Moon workshop Villa di Serio (Bergamo) | Italy

F - La collection “Stchu Moon” propose un objet qui joue avec la réfraction

de réfraction de la lumière, qui, projetée sur un corps volontairement

de la lumière sur des surfaces irrégulières et qui sépare la source lumineuse

irrégulier, justement du fait de son irrégularité, en multiple la quantité en

de l’objet éclairant, qui acquiert ainsi une valeur esthétique indépendante.

rendant l’objet lui-même «toute lumière».

Ce qui frappe dans cette nouvelle collection est le caractère extrêmement

En effet, la lumière n’est pas la source de départ, mais la lumière devient

dur et essentiel de la forme, éléments qui cachent la véritable signification

tout ce qui la reçoit. N’est-ce pas?

de ces objets. La thème de ce travail est en effet de démontrer le concept

Enzo Catellani

Stchu-Moon 05 | wall lamp

Stchu-Moon 05 | wall lamp Katris Restaurant | Istanbul | Turkey

E - La colección Stchu-Moon propone un objeto que juega con la refracción

El tema del trabajo es, de hecho, demostrar el concepto de refracción de

de la luz en las superficies irregulares y que separa la fuente luminosa

la luz que proyectada sobre un cuerpo intencionadamente irregular, justo

del objeto iluminante, dando así a este último una valencia decorativa

por su irregularidad, multiplica la cantidad convirtiendo el mismo objeto en

independiente. Lo que llama la atención de esta nueva colección es la

“todo luz”. Luz, de hecho, no es la fuente de salida pero en luz se convierte

extrema dureza y la esencialidad de la forma, elementos que esconden el

todo lo que la recibe. ¿O no?

verdadero significado de estos objetos.

Enzo Catellani

Luci d’oro 1995

I - “Viaggio sperimentale fatto involontariamente” direbbe Fernando Pessoa,

ragione lui, non è la forma, la destinazione. La meta è la luce. Le lampade

di Enzo Catellani. Destinazione: la luce. Meta raggiunta senza complicazioni.

di Catellani, anzi le sue luci (“La Luce d’Oro”) rispondono all’incanto degli

Ci sono parole come “luce, illuminare”, che esistono in tutte le lingue, non

occhi, al calore del fuoco, alla preziosità da morbida pepita dell’oro puro,

sono espressioni di un’idea, ma espressioni di uno sforzo verso quell’idea.

proprio quando viene trovata in mezzo a mille sassolini senza valore. Come

La luce, “la luce e basta” come dice Catellani, non è una riduzione a

il sole, come il fuoco, come la luce, queste luci non hanno (non vogliono

zero della forma, ma qualcosa di diverso, un “altrove” rispetto alla forma.

avere?) una forma che le incateni. Non sono forzate esercitazioni formali,

Così Catellani cerca con le lampade di condividere, con gli altri, cioè noi,

vivono di vita propria. Brillano di luce propria. Sono oggetti che lasciano

la “sua” percezione della luce, quella che preferisce. Una percezione che è

un’impronta nell’anima, che affascinano perché non sono mai uguali tra

il legame tra il mondo materiale e il mondo intellettuale: un mondo fatto di

loro. La loro luce è più vicina ad una voce, ad un suono, ad un’emozione,

pensieri, ma anche di sensazioni, di emozioni. Di semplicità perfetta, quasi

a una sensazione di benessere. Se la bellezza di un oggetto sta nel fatto

magica. Dice: “Perché quello che conta davvero, in una lampada, è la luce”.

che chi lo ha creato ha centrato più o meno il bisogno al quale l’oggetto

Come fa luce. Tra un’onesta arroganza e un’ipocrita umiltà, Catellani forse

risponde, le “Luci d’Oro” di Catellani sono belle, anzi bellissime. Suscitano

ha scelto quella frase latina che spesso troviamo sulle meridiane: “Sine

impressioni armoniose, procurano un’istintiva felicità. "Bello accenderle,

lumine, pereo”. Senza luce, non esisto. E così trovi le sue lampade, l’oro,

tenerle accese. Vedere come ti rimandano i loro bagliori dorati, come ti

il gesto semplicissimo del modificare una forma che c’era già; perché, ha

avvicinano ai sogni.” E.P.

Sistema Macchina della Luce | pendant lamp Casa Batllò (Arch. Antonio Gaudì) Barcelona | Spain | 2008

GB - “An experimental involuntary journey” as Fernando Pessoa might say

shape. It’s light. Catellani’s lamps, in fact, his lights (“La Luce d’Oro” – The

of Enzo Catellani. Place of destination: light. A goal achieved effortlessly.

Golden Light), respond to the enchantment of the eyes with the warmth

There are words like “ light, illumination” that exist in all languages: they do

of fire, the preciousness of a soft nugget of pure gold when it lies revealed

not express an idea, but the effort to attain the idea. Light, “light and that’s

among a thousand worthless pebbles.

all”, as Catellani says. Not a reduction to zero of shape, but something

Like the sun, like fire, like daylight, these lights do not (will not?) have a

quite different, an “elsewhere” than shape. Thus, with his lamps, Catellani

shape that chains them down. They are not forced formal exercises, they

attempts to share with others – with us – “his perception of light, the one

have a life of their own. They shine with a light of their own. They are objects

he prefers. A perfection that forms the bond between the material world

that leave imprint on the soul, whose charm lies in never being the same.

and the world of the mind: a world made of thoughts but also of feelings, of

Their light is closer to a voice, a sound, an emotion, a sense of well-being.

emotions. Of perfect, almost magic simplicity. He says: “because, in a lamp,

If the beauty of an object lies in its creator’s having met – to some extent –

what really counts is light”. How it lights. Perhaps hovering between sincere

the need to which that object responds, Catellani’s “Luci d’Oro” are indeed

arrogance and false humility, Catellani chose those Latin words we often

beautiful, and more. Arousing a sense of harmony, instinctive happiness.

find on sundials: “Sine lunime, pereo”. Without light, I do not exist. And thus

“So lovely to light, to leave burning. To see how they give off their golden

you find his lamps: gold, the simple gesture of changing a shape that was

glow, bringing you closer to your dreams.”

already there – because he’s right, the destination you are bound for isn’t

E. P.

Luci d’Oro workshop Villa di Serio (Bergamo) | Italy

E.T. Ø 2,4 mt | Installation

D - „ Eine unabsichtlich gemachte Versuch Fahrt“ würde Ferdinando Pessoa

zum Ändern einer Form, die bereits da war; denn er hat recht, nicht die

von Enzo Catellani sagen. Bestimmungsort: Licht. Ein Ziel, das ohne

Form ist das Ziel. Das Ziel ist das Licht. Die Lampen von Catellani, besser

Komplikationen erreicht wurde. Es gibt Worte wie: „Licht, beleuchten“, die

seine Lichter („La Luce d’Oro“, „Das goldene Licht“) entsprechen dem

in allen Sprachen vorhanden sind, die nicht Ausdruck einer Idee, sondern

Zauber der Augen, der Wärme des Feuers, der Kostbarkeit eines reinen

Ausdruck der Anstrengungen sind, diese Idee zu erreichen.Das Licht, „das

Goldklumpens inmitten von tausend wertlosen Steinen. Wie die Sonne, wie

Licht und Schluss“, wie Catellani zu sagen liebt, ist nicht das Reduzieren

das Feuer, wie das Licht, haben (oder wollen?) diese Lichter keine Form,

der Form auf null, sondern etwas anderes, ein „anderswo“ im Vergleich

die sie einengen würde. Sie sind keine formellen Zwangsübungen, sondern

zur Form. So sucht Catellani mit seinen Lampen, „seine“ Wahrnehmung,

leben ein eigenes Leben. Sie leuchten aus sich selbst. Diese Gegenstände

die bevorzugte Wahrnehmung des Lichtes, mit den anderen, das heißt

hinterlassen einen bleibenden Eindruck, sie faszinieren, weil jede Lampe

mit uns zu teilen. Eine Wahrnehmung, die eine Verbindung zwischen der

wirklich einmalig ist. Ihr Licht wird fast zur Stimme, zur Melodie, zur Emotion

materiellen Welt und der geistigen Welt herstellt: eine Welt der Gedanken,

und sicher zum Wohlgefühl. Wenn die Schönheit eines Gegenstandes darin

aber auch eine Welt der Gefühle und der Empfindungen; eine fast magische

liegt, dass es dem Schöpfer gelungen ist, seinem Zweck voll zu entsprechen,

Einfachheit. Er sagt: „Denn was wirklich zählt in einer Lampe, ist das Licht“.

sind die „Luci d’Oro“ von Catellani nicht nur schön, sondern wunderschön.

Wie sie Licht macht. Statt einer ehrlichen Arroganz oder einer heuchlerischen

Sie vermitteln einen harmonischen Eindruck, schenken ein instinktives

Bescheidenheit hat Catellani vielleicht den lateinischen Satz gewählt, den wir

Glücksgefühl„. Es ist eine Freude, ihr Licht zu genießen, zu sehen wie sie

oft auf den Sonnenuhren finden: „Sine lumine, pereo“. Ohne Licht existiere

ihren goldenen Schein zurücksenden uns zum Träumen verleiten.“

ich nicht. Das Resultat sind seine Lampen, das Gold, die einfache Geste

E. P.

Sogni d’Oro | bed | 1995

Luci d’Oro workshop Villa di Serio (Bergamo) | Italy

Francesca | wall lamp | Private home | 2004

F - “Voyage expérimental involontaire”, phrase que Ferdinando Pessoa

De simplicité parfaite, presque magique. Il dit: «Car ce qui compte vraiment,

lumières n’ont pas (ou ne veulent pas avoir?) une forme qui les enchaîne.

pourrait prononcer à propos d’Enzo Catellani. Destination du voyage: la

dans une lampe, c’est la lumière». La façon dont elle éclaire. A mi-chemin

Ce ne sont pas des exercices formels forcés, mais des lumières qui ont une

lumière. Destination atteinte sans complications. Il y a des mots comme

entre l’arrogance honnête et la fausse humilité, Catellani a probablement

vie propre. Qui brillent d’une lumière propre. Ce sont des objets qui laissent

«lumière, illuminer» qui existent dans toutes les langues; or ils ne sont pas

choisi cette phrase latine que nous trouvons souvent sur les cadrans

une empreinte dans l’âme et qui fascinent par leur unicité. Leur lumière

les expressions d’une idée, mais les expressions d’un effort vers cette idée.

solaires: «Sine lumine, pereo». Sans lumière je n’existe pas. Et c’est ainsi

est plus proche s’une voix, d’un son, d’une émotion, d’une sensation de

La lumière; «la lumière et c’est tout», comme dit Catellani, n’est pas une

qu’on trouve ses lampes, l’or, les geste extrêmement simple accompli

bonheur. Si la beauté d’un objet réside dans le fait que son créateur a plus

réduction à zéro de la forme, mais quelque chose d’autre, une sorte

pour modifier une forme qui existait déjà; parce qu’il a raison, ce n’est

ou moins touché la cœur du besoin auquel répond l’objet, alors les «Luci

«d’ailleurs» par rapport à la forme. Et c’est précisément ce que Catellani

pas la forme, la destination. La destination c’est la lumière. Les lampes de

d’Oro» de Catellani sont belles, plus encore, très belles. Elles suscitent des

tente de faire avec ses lampes: partager, avec les autres, c'est-à-dire avec

Catellani, ou mieux ses lumières, («La Luce d’Oro») sont un ravissement

sensations d’harmonie, elles procurent un bonheur instinctif. C'est si beau

nous, «sa» perception de la lumière, celle qu’il aime. Une perception qui

pur le regard, elles répondent à la chaleur du feu, à la préciosité de l’or pur,

de les allumer et de les laisser allumées. De voir comment elles renvoient

n’est autre que le lien entre le monde matériel et le monde intellectuel:

tout comme lorsqu’on trouve une douce pépite au milieu de mille petits

leurs lueurs dorées, et comment elles te rapprochent des rêves.

une monde fait de pensées mais également de sensations, d’émotions.

cailloux sans valeur. Comme le soleil, comme le feu, comme la lumière, ces

E. P.

Colonna | standing lamp

Luci d’Oro | Installation Docks Gallery, Tribeca | New York | USA | 2000

E - “ Viaje experimental hecho involuntariamente” diría Fernando Pessoa,

Dice: “Porque lo que de verdad cuenta en una lámpara, es la luz”. Cómo

les encadene. No son forzados ejercicios formales, tienen vida propia. Brillan

de Enzo Catellani. Destino: la luz. Meta alcanzada sin complicaciones. Hay

da luz. Entre una honesta arrogancia y una hipócrita humildad, Catellani

con luz propia. Son objetos que dejan una huella en el alma, que fascinan

palabras como “luz, iluminación”, que existen en todas las lenguas; no son

probablemente ha elegido esa frase latina que a menudo encontramos: “Sine

porque no son nunca uno igual a otro. Su luz está más cerca de una voz,

expresiones de una idea, sino expresiones de un esfuerzo hacia esa idea.

lumine, pereo”. Sin luz, no existo. Y así encuentras en sus lámparas, el oro, el

de un sonido, de una emoción, de una sensación de bienestar. Si la belleza

La luz, “la luz y basta” como dice Catellani, no es una reducción a cero de la

gesto sencillísimo de modificar una forma que existía ya; porque, tiene razón

de un objeto está en el hecho de que quién lo ha creado ha centrado más o

forma, sino algo diferente, un “otro lugar” respecto a la forma. De este modo,

él, no es la forma, es el destino. La meta es la luz. Las lámparas de Catellani,

menos la necesidad al cual el objeto responde, las “Luci d’Oro” de Catellani

Catellani intenta con las lámparas dividir, con otros, es decir, no nosotros, “su”

es decir, sus luces (“La Luce d’Oro”) responden al encanto de los ojos, al

son bellas, es más, bellíssimas. Suscitan impresiones armoniosas, dan una

percepción de la luz, la que prefiere. Una percepción que es la unión entre el

calor del fuego, a la preciosidad de la suave pepita del oro puro, justo cuando

felicidad instintiva. Es bello encenderlas, tenerlas encendidas. Ver como te

mundo material y el mundo intelectual: un mundo hecho de pensamientos, y

es encontrada en mitad de mil piedrecitas sin valor. Como el sol, como el

envían su resplandor dorado, como te acercan a los sueños.

también de sensaciones, de emociones. De sencillez perfecta, casi mágica.

fuego, como la luz, estas luces no tienen (¿no quieren tener?) una forma que

E. P.

Sistema Macchina della Luce | pendant lamp New York | USA

Luna Piena Gigante gold 18 Kt. Prototypes workshop | Villa di Serio (Bergamo) | Italy | 2008

Oggetti senza tempo 1989

I - "Carlo Catellani nasce a Parma il 27.3.1960. Nel ’73 ottiene il diploma

Le loro menti anticonformiste scelgono una strada di tranquillità quasi

di terza media e dopo due anni di scuola professionale inizia la carriera di

contadina, tipica di chi ha vissuto fuori da stress manageriali e pressioni di

fabbro facendo il “piccolo” in un’officina di Fornovo.

fatturato, una strada che evoca lontananze preindustriali e ci riporta ad un

Logan Smith nasce a Notting Hill (London) il 12.6.1931. Si laurea in

lavoro fatto di mani e cervello".

architettura a Cambridge il 19.9.1954. Innamorato del mondo equestre, si specializza nel restauro di ippodromi e circoli ippici, realizzando nel 1981 il

Questa nota biografica stampata nel primo catalogo è stata ripresa in

progetto capolavoro del “Tambouring Bluefran Horses Club” nel Kentucky.

tutto il mondo e la storia ha avuto successo perché dichiaratamente

Si tiene costantemente alla larga dal design.

immaginaria. A partire dal nome: Catellani si chiama Enzo, Carlo è suo

I due si incontrano a Minorca (Baleari) nell’estate dell’85 per l’“International

padre. Logan Smith non è un architetto, ma il suo cavallo da corsa.

Meeting Gin Votaries” ed è nella straordinaria euforia di quelle serate che

L’idea di stampare una biografia immaginaria è una provocazione, che

nasce l’idea di iniziare la progettazione e produzione artigianale di lampade

descrive perfettamente l’atteggiamento ironico di Enzo Catellani nei

da arredamento e oggetti d’uso.

confronti del mondo autoreferenziale di un certo design.

Turciù soffitto 72 | pendant lamp

GB - "Carlo Catellani was born in Parma on 27.3.1960. In 1973 he graduated

tranquility that is almost bucolic and is typical of those who have lived far

from Junior High School and after 2 years of professional school he started

away from managerial stress and turnover pressures. This path evokes a

his career as a blacksmith by working as an apprentice in a workshop in

pre-industrial past and takes us back to products crafted with the hands

Fornovo. Logan Smith was born in Notting Hill (London) on 12.6.1931.

and the mind".

He graduated in Architecture from Cambridge on 19.9.1954. He loved the world of horses and specialized in the renovation of race tracks

This biographical note printed in the first catalogue was used throughout

and horse clubs. In 1981 he produced his greatest project, the “Tambourine

the world and the story was successful because it is plainly fictitious.

Bluefran Horses Club” in Kentucky. He always steered clear of design.

Starting from the name: Catellani’s name is Enzo, Carlo is his father. Logan

Then the two met at Minorca (Baleari Islands) in the Summer of 1985 for

Smith is not an architect but Enzo Catellani’s race horse. The idea of printing

the “Gin Votaries International Meeting” and the extraordinary euphoria of

a fictitious biography is a provocation that perfectly describes the ironic

those evenings gave rise to the idea of designing and producing decorative

attitude of Enzo Catellani towards the self-referential world of a certain kind

lamps and everyday objects. Their non-conformist minds choose a path of

of design.

Oggetti senza tempo workshop Villa di Serio (Bergamo) | Italy Logan Smith, thoroughbred, son of Ercolano (USA) and Lydia Esteban (F) shoring Italian Champion 1988-89

Wooden packaging by Catellani & Smith

Albero della Luce | standing lamp

D - "Carlo Catellani wurde am 27.3.1960 in Parma geboren. Im 1973

Ideen getreten, wählen sie einen ruhigen, fast an bäuerliche Rhythmen

schließt er das achte Schuljahr ab und nach 2 Jahren Berufsschule beginnt

erinnernden Weg, wie es typisch ist für jene, die seit jeher weit weg von

er seine Berufstätigkeit als Schlosserlehrling in einer Werkstatt in Fornovo.

Managerstress und Umsatzdruck gelebt haben; einen Weg, der nunmehr

Logan Smith wurde am 12.6.1931 in Notting Hill geboren. Am 19.9.1954

ferne Erinnerungen an vorindustrielle Zeiten ahnen lässt und wieder die

erwirbt er in Cambridge seinen Hochschulabschluss in Architektur.

Arbeit von Händen und Verstand in den Vordergrund rückt".

Als leidenschaftlicher Reitsportbegeisterter spezialisiert er sich in der Restauration von Pferderennbahnen und Reitsportklubs und vollendet

Diese im ersten Katalog abgedruckte Kurzbiographie wurde rund um die

im 1981 sein Meisterwerk, den „Tambouring Bluefran Horses Club“ in

Welt aufgegriffen und die Geschichte hatte eben deshalb Erfolg, weil sie

Kentucky. Er hat bislang nichts mit Design zu tun.

erklärtermaßen imaginär war. Mit Beginn vom Namen: Catellani heißt Enzo,

Die beiden begegnet sich im Sommer 1985 in Minorca (Balearen) anlässlich

Carlo ist sein Vater. Logan Smith ist kein Architekt, sondern das Rennpferd

des „International Meeting Gin Votaries“ und in der ungewöhnlichen

von Enzo Catellani.

Euphorie dieser Abende entsteht die Idee, mit der Projektierung und der

Die Idee, eine imaginäre Biographie zu drucken, ist eine Provokation, die die

handwerklichen Herstellung von Lampen für Wohnungsausstattungen

ironische Haltung von Enzo Catellani gegenüber der selbstbezogenen Welt

sowie Gebrauchsgegenständen zu beginnen. Ihren nonkonformistischen

eines gewissen Designs perfekt darstellt.

Albero della Vita | Installation | Dresden | Germany | 1994

F - "Carlo Catellani est né à Parme le 27.3.1960. En 1973 il obtient

en réalisant en 1981 le projet chef-d’oeuvre du «Tambouring Bluefran

Leurs esprits anticonformistes choisissent une voie tranquille, presque

reprise dans le monde entier et l’histoire a eu du succès parce qu’elle est

le BEPC et après 2 ans d’école professionnelle, il commence une

Horses Club» en Kentucky. Il reste toujours au large du design. Ces deux

paysanne, typique de ceux qui vivent loin du stress de la gestion et de la

ouvertement imaginaire. En commençant par le nom: Catellani s’appelle

activité de forgeron en faisant l’apprenti dans un atelier de Fornovo.

personnages se rencontrent à Minorque (Baléares) pendant l’été 1985

pression du chiffre d’affaire, une voie qui évoque un passée préindustriel

Enzo, Carlo est son père. Logan Smith n’est pas un architecte mais le cheval

Logan Smith est né à Notting Hill (Londres) le 12.6.1931. Il se diplôme

lors de l’ «International Meeting Gin Votaries» et c’est dans l’extraordinaire

lointain et qui nous ramène à un travail fait avec les mains et le cerveau".

de course d’Enzo Catellani. L’idée d’imprimer une biographie imaginaire est

en architecture à Cambridge le 19.9.1954. Passionné de chevaux il se

euphorie de ces soirées que naît l’idée de lancer le projet et la production

spécialise dans la restauration d’hippodromes et de cercles hippiques,

artisanale de lampes d’ameublement et d’objets d’usage quotidien.

une provocation qui décrit parfaitement le comportement ironique d’Enzo Cette note biographique imprimée dans le premier catalogue a été

Catellani envers le monde auto-référentiel d’un certain type de design.

Turciù soffitto 16 | pendant lamp Villa Malagola | Ravenna | Italy | 1990

E - "Carlo Catellani nació en Parma el 27.3.1960. En el „73 obtiene el

Sus mentes anticonformistas eligen un camino de tranquilidad casi

diploma de grado medio y después de dos años de escuela profesional

campesina, típico de quien ha vivido fuera del estrés de las empresas y

inicia la carrera de herrero haciendo de aprendiz en un taller de Fornovo.

presiones de productividad, un camino que evoca lejanías preindustriales y

Logan Smith nació en Notting Hill (Londres) el 12.6.1931. Se licencia en

nos lleva a un trabajo hecho de manos y cerebro".

Turciù soffitto 36 | pendant lamp Palais Wilson | Genève | Switzerland

arquitectura en Cambridge el 19.9.1954. Enamorado del mundo ecuestre, se especializa en la restauración de hipódromos y círculos hípicos,

Esta nota biográfica publicada en el primer catálogo se ha reutilizado

realizando en el 1981 la obra maestra del “Tambouring Bluefran Horses

en todo el mundo y la historia ha tenido éxito, porque se ha declarado

Club” en Kentucky. Se mantiene constantemente alejado del “design”.

imaginaria. A partir del nombre: Catellani se llama Enzo, Carlo es su

Los dos se encuentran en Menorca (Baleares) en el verano del 1985 con

padre. Logan Smith no es un arquitecto sino el caballo de carrera de Enzo

motivo de la ”International Meeting Gin Votaries” y es en la extraordinaria

Catellani. La idea de publicar una biografía imaginaria es una provocación

euforia de estas noches cuando nace la idea de iniciar un proyecto de

que describe perfectamente la actitud irónica de Enzo Catellani hacia el

producción artesanal de lámparas de decoración y objetos de uso.

mundo autoreferencial de cierto diseño.

La macchina che fabbrica le lampadine piccole Oggetti senza tempo workshop Villa di Serio (Bergamo) | Italy

Turci첫 soffitto 36 | pendant lamp

Oggetti senza tempo workshop Villa di Serio (Bergamo) | Italy

Catellani & Smith Show-room Bergamo | Italy

Luci dâ&#x20AC;&#x2122;Oro workshop Villa di Serio (Bergamo) | Italy

PostKrisi workshop Villa di Serio (Bergamo) | Italy

Fil de Fer workshop Scanzorosciate (Bergamo) | Italy

Offices Villa di Serio (Bergamo) | Italy

designer:

photographic credits:

Enzo Catellani

Alessandro Zambianchi Gaelle Le Boulicaut Hugo Thomassen Landerberg.com Logan Smith Marco Cavalmoretti Sharon Adler ÂŠV&A Images

engineering: Guido Parenzan graphic project: Enzo Catellani Roberta Mazzoleni printed by: Modulimpianti (Capriate San Gervasio, BG) Italy 2011

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