let there be the light collection

let there be light

Nel 2004 con la mostra In Dust We Trust Industreal ha

esplorato le potenzialità espressive della prototipazione

rapida. Con Model Ideas nel 2005 ha indagato l’archetipo

dell’idea del modello. Dream ha analizzato nel 2006 la

potenza espressiva del sogno in ogni azione progettuale.

First Cut, nel 2007, ha suggerito al designer l’uso di

forbici potentissime che permettono di tagliare, incidere,

e disegnare ogni tipo di superficie.

Quest’anno, per il Salone del Mobile 2008, Industreal

propone i concetti e i progetti di luce elaborati dagli

studenti della SAIC (School of the Art Institute of

Chicago).

La mostra Let there be light vuole essere una riflessione

non accademica sulle forme dei corpi illuminanti e

dell’illuminazione come metafora del conoscere.

Collaborando al processo creativo dei lavori svolti dagli

studenti, Industreal ha messo in campo e condiviso la

propria idea di ricerca intesa come studio e processo

creativo capace di coniugare funzione e innovazione.

Let there be light

For the In Dust We Trust exhibition in 2004, Industreal

explored the creative possibilities of rapid prototyping.

With Model Ideas in 2005, it investigated the archetype

of the idea with models. With Dream it analysed in

2006, the expressive potential of dreams on every

creative act. First Cut in 2007 gave designers a pair

of extraordinarily powerful scissors with which to cut,

engrave and draw on any kind of surface.

This year, for the Salone del Mobile 2008, Industreal

proposes concepts and projects for lighting, developed

by students at SAIC (School of the Art Institute of

Chicago).

The exhibition, is a reflection on illuminating shapes

and lighting as a metaphor of knowledge.

By working with the students on the development of

their projects, Industreal has opened up and shared its

thoughts on research, intended as a study and creative

process that can combine function with innovation.

3

Search of light

La luce è fatta della materia di cui sono fatte le idee e

non è un caso che il lampo di genio viene solitamente

rappresentato da una lampadina che si accende sopra

la testa.

Concepire e progettare luce significa dunque pensare

nei termini stessi della creatività originaria, riecheggiata

nel passo del Genesi in cui il Creatore a!da al suono

della voce l’ordine “Luce sia! E la luce fu”. La luce ruba

le cose al buio portandole nel mondo dei corpi illuminati

che esistono ai nostri occhi proprio in virtù della luce.

Proponendo un saggio di idee, intorno al concetto di

luce, abbiamo voluto riflettere (ecco un altro termine

luminoso) sulle potenzialità sia della luce diretta sia di

quella riflessa.

La luce non è necessariamente energia elettrica, anzi

la luce è fuoco e fiamma, raggio e specchio, cristallo e

finestra, gemma e feritoia, diaframma e scintilla.

Disegnare la luce significa dunque concentrarsi su

un concetto semplice e potentissimo, un significante

illuminante che apprezza i voli della fantasia e i gesti

poetici.

L’immaginazione vola, veloce come la luce, abolendo

spazio e tempo.

Il tema è come il gesto che porta alla luce le cose,

nominandole. Sì perché ogni parola, ogni segno è la

promessa di una cosa prima immaginata, poi progettata

e infine, dopo molto pensare e provare, finalmente

prodotta.

In fondo nel nostro mondo non mancano le cose, ma la

luce delle idee

Giuliano Corti

Light is made of the same material from which ideas are

made and maybe it is not a coincidence that a flash of

genius is often represented in drawings by a light bulb

above a head.

However, to conceive and design light means thinking

modestly in the same terms as in the original of all

creativity, echoed in the phrase from Genesis ‘Let there

be light and there was light, light was good and light was

separated from darkness’. Light steals things from the

darkness taking them into the world of illuminated things

which then exist in our eyes due to the virtue of the light

itself.

By introducing students to a project of ideas based on

the concept of light, we should reflect (another luminous

terminology) on the potential both of direct light and

reflected light.

Light is not necessarily electric, light is fire or flame, ray

or mirror, crystal or window, jewel or opening, lens or

spark.

However, designing light signifies that we must

concentrate on a simple and powerful concept, one which

acknowledges flights of fantasy and poetic gestures.

Imagination flies high, at the speed of light, abolishing

space and time.

The theme is like a caress that brings things to light, (!)

naming them.

That is why every word, every mark is the promise of

something that was previously only imagined, which

when studied and developed in the end, after much

thought and testing, finally becomes a product.

After all, in our world there is no shortage of actual things,

just of the light from ideas.

5

Nell’aprile 2007 durante il Salone del mobile Caren

Yusem, (Director of Communications) della The School of

the Art Institute of Chicago visita la mostra First Cut, dove

alcuni studenti dell’università, selezionati da Industreal,

espongono i loro progetti.

In quell’occasione Caren dimostra grande interesse per

la ricerca sul design e le nuove tecnologie, avviata da

Industreal fin dal 2004 con le mostre In dust we trust,

Model ideas, Dream e First cut.

In vista di una possibile collaborazione fra due realtà

che considerano il processo di ricerca una missione, si

decide che all’inizio dell’estate ci sarà un nuovo incontro

per valutare la possibilità di una collaborazione per il

Salone del Mobile 2008.

In un caldo giorno di luglio Caren e Helen Maria Nugent

(Associate Professor, Coordinator, Designed Objects

Programs) sono a Milano per presentare a Industreal il

tema intorno al quale, durante l’autunno, avrebbe lavorato

una Master class del SAIC .

La classe fa parte del GFRY Design Studio– una realtà

trans-disciplinare che propone una stretta collaborazione

fra la scuola e l’industria per o"rire agli studenti la

possibilità di esplorare e sperimentare come le nuove

tecnologie, le forme sociali e i materiali si possono

integrare per creare prodotti innovativi.

Durante il lunch sotto il grande platano, nel giardino

di Industreal, matura nei discorsi e nei gesti conviviali

dell’incontro l’idea di una ricerca sul rapporto fra

la tecnologia delle sorgenti di luce e le tecniche di

lavorazione del vetro, inteso come di"usore e medium

dell’illuminazione.

Gli sudenti SAIC sono invitati ad approfondire, attraverso

idee, oggetti, eventi ed esperienze il tema della relazione

fra la “luce” e l’ ”illuminazione”, intesa come metafora della

conoscenza. Per la realizzazione dei prototipi, Il processo

creativo dei diversi gruppi di lavoro si può avvalere delle

risorse e delle attrezzature messe a disposizione da SAIC

e dall’industria del vetro, dei LED e delle tecnologie CNC

a controllo numerico.

In April 2007 during the Salone del Mobile, Caren Yusem,

Director of Communications at the The School of the Art

Institute of Chicago saw the First Cut exhibition which

included projects by some of the university students

On that occasion Caren showed great interest in the new

technologies and design research that Industreal had

been involved in since 2004 with the exhibitions In Dust

We Trust, Model Ideas, Dream and First Cut.

With the idea of a possible collaboration between the

two organisations and considering their shared belief

in the process of research as mission, they decided to

meet again during the summer months to evaluate the

possibility of collaborating for the Salone del Mobile

2008.

On a hot July day Caren e Helen Maria Nugent (Associate

Professor, Coordinator, Designed Objects Programs)

were in Milan to illustrate to Industreal the theme they

intended to work on with a class of SAIC Master students,

during the forthcoming autumn term

The class is part of the GFRY Design Studio - an

interdisciplinary course that focuses on the close

collaboration between school and industry in order

to o!er students the possibility of exploring and

experimenting with new technologies and illustrating

how these can merge with social forms and materials to

create innovative products.

Conversation over lunch, under the large plane tree in the

garden connected to the workshop of Industreal, brought

about the idea of researching the relationship between

the technology of light sources and the techniques of

glass intended as a medium for di!using light.

The students were asked to study the relationship

between “light” and “lighting” intended as a metaphor

of knowledge, through ideas, objects, events and

experiences. To make their prototypes, each work group

had the possibility of using resources and equipment

provided by SAIC and the glass industry, as well as LED

and CNC numerically controlled technologies to assist

with their creative process.

The idea of light

6

tree picture

8

Jesse Li - Alicia Kuri Alamillo - Douglas Pancoast - Greta Stepp - Michael Riha - Blair Schmidt - Eric Rosenbaum

Caren Yusem - So Jung Lee - Helen Maria Nugent - Zachary Weiss - Lisa Smith - So Yun Shim - Caroline Linder

Shireen Bishop - Robyn Carter

Il 15 ottobre arrivano ad Industreal le prime idee elaborate

dagli studenti SAIC .

Quando le idee, in vista della loro realizzazione,

cominciano a prendere forma è uno dei momenti più belli

della ricerca.

I concetti che guidano il processo di ricerca proposto da

SAIC sono: mimetismo, evidenza, flusso, dispersione,

innesto, limite, traccia, erosione, fossilizzazione, memoria,

respiro.

Le direzioni di ricerca stabilite sono quattro:

Line Plane Volume: si ispira alla dispersione e alla

di!usione della luce e intende esplorare il rapporto fra il

colore della luce e il vetro. Line, Plane, Volume.

Windows: stabiliscono il confine del nostro spazio

personale interiore attraverso le nozioni di privacy e di

sorveglianza che ci colpiscono quando passiamo davanti

ad una finestra illuminata. Pane, Allegory, Scroll.

Trace the Evidence and Flow: nell’interazione fra la

luce e la fisica dell’oggetto illuminato si influenzano

reciprocamente sia l’oggetto sia la luce di!usa. Drawn

Shades, Explosion, Building Light, re:morph, Meta-Loops.

Flexible Light: progettata proprio per adattarsi agli spazi

dei vari ambienti: Fits – IN, Rigging Lighting System,

Heap, Untitled.

La ricerca è molto estesa ed approfondita ed è stata

condotta utilizzando manuali di illuminazione e brochure

di led, testi di fisica e concetti di lighting design.

Ad una prima analisi tuttavia i progetti appaiono molto

impegnativi da realizzare anche come prototipi.

Si invitano quindi gli studenti della classe GFRY Studio

project a presentare il processo che ha portato alle

singole proposte nel corso di un nuovo incontro fissato

per il 9 Novembre a Chicago.

On the 15th of October, Industreal received the initial

concept ideas developed by the SAIC students

One of the best moments in research is when ideas start

to take shape with the prospect of actually becoming

objects.

The guideline concepts for the SAIC research project

were the following: camouflage, evidence, flow, di!usion,

grafts, limits, tracks, erosion, fossilization, memory,

breath.

Four areas of research were defined:

Line Plane Volume inspired by the di!usion and

dispersion of light and the exploration of the relationship

between the colour of light and glass.

Windows define the borders of our inner personal space

through the notions of privacy and of being watched that

occur when we pass in front of a lit up window. Pane,

Allegory, Scroll.

Trace the Evidence and Flow of the interaction between

light and the physics of the illuminated object; both

the object itself and the di!used light are reciprocally

influenced by each other. Drawn Shades, Explosion,

Building Light, re:morph, Meta-Loops.

Flexible Light designed to adapt itself to di!erent

environments. Fits – IN, Rigging Lighting System, Heap,

Untitled.

In-depth research was undertaken with the help of

lighting manuals and LED brochures, physics texts and

studies of lighting design concepts.

The projects initially seemed highly complex to make

even just as prototypes.

During the next meeting, arranged in Chicago on the 9th

November, students involved in the GFRY Studio project

were asked to illustrate the development process which

led them to the definition of their proposals.

Concepts of light

10

We intend on creating a lighting object that exhibits

elements of trace, evidence and flux through interac-

tion with the physicality of the object, altering both the

appearance of the object and the transmission of the

light. We came to the idea of using the reaction of iron

filings to magnets, when separated through a transpar-

ent medium, because of its infinite formal potential and

exhibition of natural phenomenon.

Iron filings and magnets allow for a dynamic interaction with the

object, one based on the sensibility of drawing and the playful

attitude of a child’s toy. The magnetic trails, silhouettes, and gradi-

ents found through this interaction create a poetic visual and

tactile experience for the user. As the iron filings are dragged

through the object by the user, they are temporarily held in the

groves of the etched glass as evidence of the with the object,

revealing surface patterns and unexpected forms.

Ultimately, a new experience is discovered, one that is as

elegant as the blown glass form and iron filings that create it,

yet as simple and playful as the childhood toys we left behind.

Lights are rarely meant to be touched. Glass objects too,

except for drink-ware, are usually not considered to be

interactive. With glass, our immediate concern is fragility, that

is to say, dropping the object. With lights, heat is a typical

concern, but so is the preciousness of certain types of �xtures.

Our proposed system intends on getting around these issues

in a couple of ways, in order to create a fun but elegant

lighting object.

By using LEDS as our light source, we are greatly reducing the

amount of heat that will be generated, thus removing the danger of

touching the object. By tethering the objects to a �xture above we

are eliminating the potential for an accidental drop. With this in

mind we have considered the use of magnets as a method of

joining together glass objects that allows for easy

assembly/disassembly, requires no complicated handy work and

allows for both imperfection and interpretation. .

The system itself consists of a series of objects that

can congregate to create a singular solid form,

separate entirely to make a series of smaller objects,

or be entirely rearranged by the user to create a

light/object sculpture of their own design.

A simple gesture, such as pulling on a cord, can dramatically

change the e�ect of the light from directional spot lighting to

ambient area lighting. Altering the form of the chandelier and

thus the spread of the light. As a central light for a large

space, this would provide a range of lighting for di�erent

circumstances; from working at a table to a cocktail party.

The re�ned triangular shape of the glass allows the chande-

lier to come together in a unique but rhythmic form. Adding

to the form of the glass is the aesthetic of the rope and string

mechanism that allows the individual lamps to cluster

together. The use of LEDs is signi�cant, as their directional

nature will increase the e�ciency and quality of the light.

Trace the evidence of flow

1212

Suction Cup

paneCaroline Linder / Sonia Shim and Eric Rosenbaum

Windows mediate the boundary of our interior personal space and the exterior public realm.

Notions of privacy and surveillance come to mind as we walk past the lit window at night.

Interior light activates the lens of the window, granting us access to the private spaces within.

With the introduction of blown glass, the illuminated windowpane forms the primary dialogue

with the passerby while obscuring the personal space within.

The plane of the window and the lit obect join together to

create a new !eld of light. Stems can be positioned in a cluster

or bent across the window pane to !ll the space.

Glass & LED nodes

Flexible Stem

scrollSonia Shim / Eric Rosenbaum and Caroline Linder






Just as a candle in a window sends forth a

warm welcome or signi!es a special occasion,

other window decorations carry messages of

their own. These glass scrolls are a celebration

of light and are just as alluring as a love note,

an announcement or even a lucky fortune.

allegoryEric Rosenbaum / Caroline Linder and Sonia Shim






LED light and

lamp frlamp flamp f amerr

texee turedr

glass shade

ront (inside) viewside view

outside of

window

inside of

window

LED light and

lamp frlamp flamp f amerr

texee turedrr

glass shade

lattice, pixels, weaving

The visual allusion creates a barrier that acts as camou!age,

distorting the truth on either side of the window. Privacy

is obtained by using light rather than darkness.

allegory – a story, poem or picture that can

be interpreted to reveal hidden meaning

Windows

13

Line, Plane, Volume

Line, Plane, Volume

Shireen Bishop and Greta Stepp

Line, Plane, Volume is inspired by the leaking or bleeding of light and is intended to explore the mixing of colors of light, glass.

It is composed of several fixtures created by an initial singular Line fixture; the Line is composed of many blown glass elements with

LED lighting inside. This fixture can be ceiling mounted, raised or lowered to provide pooling effect on a table or along the floor creating

a single line of light throughout a space.

Line

Blown glass to

diffuse light.

LED’s inside each

of the glass objects.

Cables to support

weight of glass.

Line, Plane, Volume


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


The Volume fixture incorporates a structural component that wraps the Line around and attaches the glass and LED components into a

circular ceiling mounted light fixture. It can easily be raised or lowered and glass elements can be allowed to hang from the structure or

be totally connected. Depending on the color and composition of glass components on each Line, the Volume fixture will appear different

each time it is installed.

Volume

Original “Line” component arranged

to create a volume of light

Structural element attached to

glass blown pieces.

14

GLASS(EMITS LIGHT)

(WEIGHT + FRICTION)

(PADDING + FILL)

RUBBER

DIFFERENT ASSEMBLAGES OF OBJECTS

FELT

is a collection of ob-

jects that fit together

in a multitude of ways

to produce different

formal and phenomeno-

logical effects.

The ‘heap’ is formed of

3 different types of

objects. Each type has

different properties,

all of which contribute

to the heap in a differ-

ent but essential way.

Each object can also

stand alone based on

their unique properties.

For example. the felt

objects can function as

a pillow, and the glass

objects can stand alone

as individual lights to

be moved from room to

room.

These objects are in-

spired by the fragility

and monumentality of

cairns and the sugges-

tiveness (but lack of

prescriptiveness) of

rock-climbing handholds.

HEAPlee, riha, schmidt, smith

objects can stand

alone. the rubber

weight can act as a

paperweight or a

doorstop.

the glass objects carry light

via a small LED that is

plugged into an aperture in

the glass

objects balance

each other,

resulting in a

unique assemblage

mold positive

imprint

object

corner mold

handle slot

multiple imprints

increase versatility

changeable light aperature

Blair Schmidt, Lisa Smith, Michael Riha, SJ Lee.

Fits - IN

Rigging Lighting System

Blair Schmidt, Lisa Smith, Michael Riha, SJ Lee

A light that is completely dependent upon a secondary extraneous strap. The strap is designed to be the primary holder for the light.

In conjunction with this strap the light can adapt to various environments.

The refinement of the glass form contrasts with the makeshift placement.

Page 2/2

Flexible light

15

Maurizio Meroni e Monica Favara visitano il Department

of Architecture, Interior Architecture + Designed Objects

(AIADO) del SAIC che ha la propria sede in un edificio di

L.H. Sullivan a Chicago.

Li colpisce la vivacità dell’ambiente, l’organizzazione della

didattica, ma anche le procedure legate alla security.

Ogni studente è provvisto di un badge di riconoscimento

e tutti i visitatori che ne sono sprovvisti devono essere

accompagnati e farsi scansire la retina prima di accedere

alle aule.

SAIC è una scuola privata che nella retta comprende

un uso della struttura molto ampio. Gli spazi sono

a disposizione degli studenti 24 ore su 24: aule di

informatica, laboratori di prototipazione e sale video

comprese.

Ogni studente ha in dotazione un Mac equipaggiato con

i software di progettazione.

Nel giorno fissato per la selezione dei progetti gli studenti

hanno allestito l’aula del master con tutti i prototipi, e a

gruppi illustrano la propria idea e le fasi di realizzazione

dei primi prototipi funzionanti costruiti nei laboratori

SIAC.

Agli studenti vengono fornite alcune informazioni di

massima sulle tecniche di lavorazione del vetro.

4 dei 14 progetti vengono selezionati per essere

presentati al Salone del Mobile 2008 di Milano, come

prototipi funzionanti.

Maurizio Meroni and Monica Favara travelled to Chicago

to visit the SAIC Department of Architecture, Interior

Architecture + Designed Objects (AIADO) which is located

in a building designed by L.H. Sullivan

They were struck by the liveliness of the environment

and the academic organisation, but also by the security

procedures. Every student had an ID badge and any

visitor without a badge had to be taken for a retina scan

before being allowed to access the classrooms.

SAIC is a private school and the fees include constant

access to the premises. All spaces are available to

students 24 hours a day; IT areas, prototyping workshops

and video rooms are no exception.

Every student is allocated personal MAC complete with

3D software.

On the day set for the presentation of projects, the

students had organised the classroom in such a way that

all the prototypes are on display and took it in turns to

illustrate their research concept and the various stages

of construction of the first working prototypes, which

were built in the SIAC workshops.

Students were given some basic information on the

di�erent techniques of glass working.

4 out of the 14 projects are chosen to be presented during

the Salone del Mobile 2008 as working prototypes.

Four visions of light

16

Scroll - LEDs & acrylic Allegory - illuminated window pane

Drawn Shades - iron filings & magnets Study of light - paper

Drawn Shades - iron filings & magnets

Line, Plane, Volume - paper model Building Light - iron filings & magnets

Chandalier - metal beeds

Il 24 gennaio 2008 il corriere consegna a Industreal i 4

scatoloni con i prototipi provenienti da Chicago.

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

I corpi illuminanti sono composti da LED e parti in alluminio

fresate.

Gli studenti hanno realizzato i prototipi perfettamente

funzionanti adattabili sia al voltaggio europeo sia a

quello americano.

Flex: un fascio di sei luci che pendono liberamente ma si

muovono insieme e al variare dell’angolo di oscillazione

cambiano la forma dell’illuminazione.

Fizz: una lampada che si ispira al gesto infantile di fare le

bolle e si può usare come elemento singolo o in gruppo.

Impromptu: un sistema di illuminazione che si adatta

all’ambiente e alla situazione. Può pendere dal so"tto, si

può tenere in mano oppure attaccare alla libreria.

Line: un sentiero immaginario viene tracciato muovendo

un punto illuminato nello spazio.

Inizia così il lavoro di interpretazione delle parti in vetro

da parte di Industreal per dare alla luce la forma delle

trasparenze di luce.

On the 24th January a courier service delivered 4 boxes

containing the prototypes from Chicago.

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

The lighting objects are made of LEDs and some parts

milled from aluminium

The students had made perfectly functioning prototypes

suitable for both American and European voltage

Flex: A bundle of six freely-hanging lights that move

together and modify the shape of the lighting according

to the angle of oscillation.

Fizz: a lamp inspired by the children’s game of bubble

blowing. Can be used as a single element or combined

to form a group.

Impromptu: a lighting system that adapts to the

environment and to the situation. It can be hung form the

ceiling, can be hand-held or be fixed to a book shelf.

Line: an imaginary path is traced by moving an illuminated

point in space

Industreal now takes on its job of interpreting the glass

parts in order to give a transparent shape to the source

of light.

And there was light

22

LINEShireen Bishop and Greta Stepp

LED Block Specifications

Set Screw

Screw Style: Standard Socket

Material Type: Stainless Steel

Finish: Plain

Stainless Steel Type: 18-8 Stainless Steel

Point: Cone

Inch Thread Size: 4-40

Hex Key Size: 1.27mm

Length: 6.35mm

McMaster-Carr Part

#92785A116

Aluminum Squre Bar

Material: Aluminum Square Bar (Alloy 2024)

Finish/Coating: Unpolished (Mill)

Thickness: 15.88mm

Length: 91.44cmMcMaster-Carr Part

#86895K4835.79mm

2.10mm

2.74mm

10.16mm

3.86mm diameter

2.44mm

13.97mm

2.41mm diameter

hole tapped for 4-40 screw

24mm

13.97mm

McMaster-Carr Part

#94812A113

Nylon Hex Nut

Material Type: Nylon 6/6 plastic

Color: Off-white


Width: 7.93mm

Height: 3.175mm

McMaster-Carr Part

#94609A153

Nylon Machine Screw

Head Style: Round

Material Type: Nylon 6/6 plastic

Color: Off-white


Length: 25.4mm

Head Diameter: 6.60mm

Head Height: 2.62mm

Nylon Washer

Material: Nylon 6/6 Plastic

Color: White

Inside Diameter: 4.3mm

Outside Diameter: 9m

Thickness: .67mm-.93mm

McMaster-Carr Part

#95610A150

LED

Osram Flex Top

Color Temperature: 4700KSylvania

Caroline Linder�zz

components

a) thread pipe

3.175 mm diameter; 762 mm length

b) aluminum hollow hemisphere

127 mm diameter; 63.5 mm height;

3.175 mm wall thickness

c) aluminum clamp-on shaft collar

28.575 mm diameter; 12.7 mm bore;

10.32 mm width

d) aluminum tubing

12.7 mm diameter; 76.2 mm length;

10.92 mm inside diameter;

.89 mm wall thickness

e) aluminum collar

76.2 mm diameter; 53.98 mm width

f) thumb screws

4.76 mm diameter; 9.53 mm length

g1) copper LED plate with one LED

g2) copper LED plate with three LEDs

h) acrylic defuser

55.37 mm diameter; 3.18 mm thick

i1) small glass globe

9.25 mm diameter

i2) large glass globe

161.29 mm diameter

b

d

c

f

e

g1

g2 h

he

i1

i2

a

A

B

C

D

E

F

G

H

I

J

K

K

L

g

gg

g

d

d d

d

d

M

A. Main pendant:

Top opening diameter: 76.2 mm

Middle dia.: 152.4 mm

Bottom opening dia.:101.6 mm

Height: 127 mm

Wall thickness: 6.35 mm

B. Center pendant:

Top opening dia: 82.55 mm

Middle dia: 130.81 mm

Bottom opening dia: 101.6 mm

Height: 127 mm

Wall thickness: 6.35 mm

C. Acrylic Di!user:

Dia. 69.85 mm

Thickness: 3.175 mm

Holes: 3.175 mm

D. Screws:

Dia: 3.175 mm

E. LED Circuit Board:

Dia: 69.85 mm

Outer Holes: 3.175 mm

Center Hole: 8.38 mm

F. Heat Sink:

Dia: 69.85 mm

Height: 19.05 mm

Outer Holes: 3.175 mm

Center Hole: 8.38 mm

G. Cord Grabber:

Height(max): 25 mm

Width(max): 13 mm

H. Collar:

Outer Dia: 12.7 mm

Inner Dia: 6 mm

Height: 8 mm

I. Hemi-Spherical Cover:

Dia: 76.2 mm

Height: 38.1 mm

J. O-Ring:

Inner dia: 69.85 mm

Thickness: 3.175 mm

K. Rayon Sheatherd Cable:

Length: 1270 mm

Width: 6.35 mm

Thickness: 3.175 mm

L. Sliding Collar:

Width: 31.75 mm

Height: 63.75 mm

Hole dia: 6.35 mm

M. Ceiling Cover:

Width(Max): 354.8 mm

Height: 9.525 mm

"ex

Nella divisione dei compiti Industreal ha scelto di

contribuire al progetto Let there be light con una ricerca

sui vetri disegnati dagli studenti SAIC. Ricercare in

questo caso significa applicare tecniche innovative a

questa antichissima materia di design: il vetro; il medium

illuminante per eccellenza, la materia che con le sue

trasparenze e cromatismi disegna la forma stessa della

luce.

In una prima ipotesi pensiamo Murano come luogo

d’eccellenza di quest’arte antica. Nell’ottobre 2007

organizziamo una visita a una fornace per conoscere da

vicino la produzione del vetro so!ato.

Così veniamo in contatto con una serie di artigiani

chiamati con il nome della mansione a cui sono addetti. Il

serventino che preleva dalla fornace la quantità di vetro

necessaria per la lavorazione. Il servente che so!a i vari

elementi e il maestro che compone il prodotto.

Tutti i ruoli sono necessari, e la precisione o la bellezza

di un pezzo è il risultato di un gioco di squadra a regola

d’arte.

Nella fornace fa caldo, e osservare i movimenti delle

squadre è come osservare un balletto di movimenti

coordinati intorno a porzioni di vetro incandescente che

sotto i nostri occhi si trasforma in un oggetto trasparente

e multicolore.

L’abilità umana e non la tecnologia è la protagonista

assoluta di una scena di aria e fuoco immutata da tempo

immemorabile.

Una seconda visita a una fornace di Colle di Val d’Elsa,

nel febbraio 2008 permette di mettere a confronto

le tecniche di produzione che qui hanno una valenza

industriale anche se i modi artigianali non cambiano.

Constatiamo che ci sono molti limiti nelle geometrie

possibili del vetro so!ato.

Ci vorrà del tempo per capire come introdurre il digitale

in questa produzione.

Vengono comunque realizzati con l’ausilio del controllo

numerico i prototipi fisici che servono a fare gli stampi

per la so!atura.

Ma non siamo però del tutto soddisfatti, vogliamo

interpretare al meglio i progetti SAIC e così decidiamo

in marzo di far visita ad un maestro vetraio Matteo Gonet

che lavora vicino a Berna in Svizzera.

L’invenzione e l’interpretazione trovano in questa fase

un’accelerazione entusiasmante. Il processo sta per

giungere alla sua conclusione e comincia a mostrarsi.

Il vetro si fa luce.

When sharing out the various tasks Industreal chose to

contribute to the Let there be Light projects by researching

the manufacturing possibilities of the glass components

designed by SAIC students. Researching in this case

implied finding a way of applying innovative techniques

to this ancient material: glass; the lighting medium par

excellence that with its transparencies and colour hues

creates the shape of light.

The initial focus was on blown glass technique, and

obviously on Murano as a place of excellence for

this ancient technique. A visit to a glass furnace was

organised in October 2007 in order to better understand

the production of blown glass.

We thus came into contact with several artisans with

specific names according to the role they hold in the

glass blowing production. The serventino removes the

required amount of glass from the furnace. The servente

blows the various elements and the maestro composes

the piece. All these roles are necessary and the precision,

or beauty, of a finished piece is the result of masterful

team work.

It is very hot in the furnace, and observing the movements

of the various team members is like watching a ballet

choreographed around portions of incandescent glass

that are turned into multicoloured transparent objects

under our watchful gaze.

We witness a scene of fire and air, unchanged since

bygone times, in which human ability and not technology

is the only protagonist.

A visit to a second furnace in Colle Val d’Elsa in February

2008 provided the opportunity for comparing production

methods which in this case had a higher industrial quality

about them although the actual craft methods were the

same.

There are many limitations on the geometric possibilities

of blown glass. It will take time before the digital world

can in some way be applied to this craft. CNC technology

is used to prepare the prototypes required for creating

the moulds for the glass blown pieces.

We were still not completely satisfied and wanted to

interpret the SAIC projects in the best possible way. We

decided visit a master glass craftsman Matteo Gonet

who works near Bern in Switzerland.

Invention and interpretation at this stage move forward

at a very exciting pace. The process is about to reach

a conclusion and begins to take shape. Glass becomes

light.

Transparencies of light

26

Matteo Gonet

Born Lugano, Switzerland 1979.

Studied design, Gerrit Rietveld Academy, Amsterdam 1998 to 2001

Glass Technician, Cirva, Marseille – France 2000 to 2004

Artist in residence Sidney Collage of Arts, for six months - 2004

Since 2004 freelance glassmaker in Switzerland.

Teaching posts – since 2004 ECAL, Lausanne and CERFAV, Nancy

The glassmaker

Fizz

Fizz is a hanging lamp that is inspired by the childhood act of blowing

bubbles, behaving as a single element or in clusters.

Designed by CAROLINE LINDER

Glass becomes Light

Line

“An imaginary path traced by a moving point.” This luminaire is inspired by

that concept.

Designed by GRETA STEPP & SHIREEN BISHOP

Glass becomes Light

ImpromptU

IMPROMPTU is a lighting system that is adaptable to your environment by

allowing the user to install the light the best possible way for the situation.

It can be hung from the ceiling, held in the hand, or even attached to a

bookshelf. “IMPROMPTU” fuses the refined craftsmanship of glass with the

newer technology of LED lights creating a beautiful and versatile lighting

object.

Designed by MICHAEL RIHA

Glass becomes Light

Flex

Flex is an array of six pendants that hang freely, but move together. As their

angle is altered, the character of the collective light and form changes.

Designed by ZACH WEISS

Glass becomes Light

IndustrealWe do not agree with Philippe Starck

Non è passato molto tempo da quando un gruppo di persone innamorate del

proprio lavoro decisero di unire le forze per partecipare al Salone del Mobile 2004

organizzando una mostra di idee, non di prodotti. Quella mostra diventò il retroterra

di Industreal.

Come poi si è dimostrato, quella prima mostra – In Dust We Trust – indicò una via

possibile per presentare alcune idee di design puntando sulla ricerca e dimostrò

come si possa fare design con sentimento e in modo propositivo. Fu una mostra di

“pensieri intorno al design” che guardava al futuro attraverso lo sguardo radicale

dei giovani!

Noi non siamo d’accordo con Philippe Starck quando a#erma: “design has no use”

- una boutade che non è solo fuorviante, ma anche molto triste – sarebbe come

dire che la poesia non ha senso.

Il mondo del design è una meravigliosa avventura culturale, ha una coscienza, e

questa è la via che Industreal intende seguire. Naturalmente il design deve essere

evocativo per definizione; si adatta ai mutamenti e alle trasformazioni della società,

dell’industria e degli ideali del proprio tempo. In definitiva esso è un’attività capace,

come l’arte e la musica, di dare un’identità alle cose che facciamo, senza le quali la

società non è nulla, esattamente come un gioco senza regole non è un gioco.

Not very much time has passed since a group of enthusiastic people decided to

join forces and take part in the Salone del Mobile 2004; they agreed to organise

an exhibition about ideas and not about products. The exhibition became the

background to the founding of Industreal.

As it turned out, that first presentation – In Dust We Trust – was a signpost which

showed a way to present design ideas, talk about research, and suggested how we

might contribute sentiments or make statements with design. It was an exhibition

about ‘design thought’ - but it also looked into the future with the radical eyes of

young people!

We do not agree with Philippe Starck when he claims ‘design has no use’ – it is like

saying, poetry has no sense - he misses the point and it is a very sad, misleading

thing to say.

Design is a wonderful cultural adventure, it does have a conscience, and this is

the way that Industreal intends it to be. Of course, design will always be allusive to

definition; it will change and modify itself along with the changes that take place in

society, in industry and in the transformation of ideals. But it will remain one of those

activities, like art and music, which give structure and a sense of identity to the

things we do, without which society is nothing, in the same way that a game without

rules is not a game.

35

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De Lucchi, Mendini, Sottsass e Sowden: variazioni d’autore sul tema della

porcellana.

Industreal interpreta la creatività come il risultato di una ricerca che investe non

solo le scelte formali ed espressive dei singoli designer, ma anche le tecniche

produttive, i materiali e le innovazioni tecnologiche che modificano senza sosta il

panorama del design.

Molti dei progetti che hanno dato vita alle mostre In Dust We Trust 2004, Model Ideas

2005 e Dream 2006 sono diventati oggi prodotti: oggetti capaci di comunicare,

ognuno col proprio linguaggio, la passione per la ricerca che anima il “fare design”

di Industreal.

Opere, di quattro autori, entrano nel catalogo 2007 di Industreal per sottolineare

come la creatività sia un’attività poetica che gioca con le forme e i materiali e come

i maestri siano tali perché in loro lo spirito della ricerca convive con la curiosità, la

gioia della forma e la voglia di dar un senso estetico alle cose e agli oggetti che ci

circondano.

Industreal vuole essere non solo un segno o un nome, ma anche un laboratorio di

idee, dove creatività e ricerca si incontrano per realizzare cose che parlano di noi

e del nostro tempo.

Industreal ha invitato i quattro designer ad interpretare ciascuno con la propria

sensibilità, il tema dell’arte sublime della porcellana, un archetipo narrativo che dà

un contenuto formale ai contenitori per antonomasia: il vaso, la ciotola, il cratere, la

coppa.

De Lucchi, Mendini, Sottsass and Sowden have created variations on the theme of

porcelain.

Industreal interprets creativity as the result of research which not only considers the

personal expression and direction of individual designers, but also the production

techniques, materials and technological innovations that are continuously changing

the design spectrum.

Many of the projects that inspired the exhibitions In Dust We Trust 2004, Model

Ideas 2005 and Dream 2006 have since become actual products: objects that

communicate, each in their own language, the passion for research and designing

that Industreal thrives on.

In 2007 objects by four designers were added to the Industreal catalogue to

emphasize how creativity is a poetical process which plays with shapes and

materials, and that designers are designers because their inspiration for research

interacts with curiosity, the love of shape and the desire to give an aesthetic context

to objects that surround us.

Industreal does not just want to be a symbol or a name, but also a workshop for

ideas, where creativity and research meet to create things which say something

about us and our time.

Industreal has asked these four designers, each using his own sensitivity, to create

variations on the theme of the sublime art of porcelain, a narrative archetype which

gives formal content to containers by antonomasia: a vase, a bowl, a platter, a

cup.

Giuliano Corti

Aprile 2007

Industreal Variations 2007

Michele De Lucchi

Alessandro Mendini

Ettore Sottsass

George J. Sowden

1. Tape temple, Jean-Charles Amey 2. Peace and tranquillity to earth, FX Ballèry 3. Bent, Enrico Bosa

& Isabella Lovero 4. Crashed, Enrico Bosa & Isabella Lovero 5. Gorgete Lampshade, Stefano Citi 6.

Doilies, Laura Coley & Jonathan Krawczuk 7. Cut the Light & the right cut for the right light, Isabel

Dada Ortiz 8. Light up the cut, Isabel Dada Ortiz 9. Body made bowler hat, Joie de Winter & Stephen

Reed 10. Andrena & Ariedo, Doodle 11. Medusa, Doodle 12. Pik, Monica Favara & Andrea Poggesi

13. Mako, Lisa Farmer 14. Freaks, Pierre Foulonneau 15. Lina K, Pierre Foulonneau 16. Ubik, Pierre

Foulonneau 17. Nouvel Empire, Emmanuel Gallina 18. Space Invaders are Back, Emmanuel Gallina 19.

Octopus Prensile, Nicolò Gazzola 20. SliceandCut, Jo Meesters & Willem Derks 21. Nina, Maurizio

Meroni 22. Stelle, Maurizio Meroni 23. Dina, Paolo Minola 24. Fracture, Kat Morrissette 25. First Blood

Letter Openers, Apostolos Porsanidis 26. Lamp Base, Apostolos Porsanidis 27. Animalabstraction,

r_are 28. Headlight, r_are 29. Agua Viva, Carlo Romagnolo 30. Jelly Fish, Carlo Romagnolo 31.

Cradle, Eric Rosenbaum 32. Framed up, Gian Maria Sforza with AAPA 33. Spring, Simone Simonelli

34. Flocked Rug, Lisa Smith 35. Leaf-It “Clothes Line”, Cameron Snelgar 36. Xtension, Irina Suteu &

Stefan Davidovici 37. Born Round, to22 38. Crescent Lamp, Cynthia Viale

Dopo aver esplorato le potenzialità espressive della prototipazione

rapida (In Dust We Trust 2004), dopo aver rivisitato un’idea di modello

(Model Ideas 2005), dopo aver analizzato la potenza espressiva del

sogno progettuale (Dream 2006), Industreal concentra la propria ricerca

sulle potenzialità che il taglio laser o"re, sia in termini di precisione, sia in

termini di flessibilità in rapporto alle idee.

Il designer dispone oggi di forbici potentissime che gli permettono di

tagliare, incidere, o semplicemente disegnare ogni tipo di superficie.

Having explored the expressive potential of rapid prototyping (In Dust

We Trust 2004), having revisited the idea of models (Model Ideas 2005),

having considered the expressive strength of a project dream (Dream

2006), Industreal has focused its research on the potential o�ered by

laser-cutting, both in terms of precision and in terms of adaptability to

ideas.

The designer now has a pair of powerful scissors with which to cut,

engrave or simply draw on any kind of surface.

First Cut2007

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1. Star, Samuel Accocéberry 2. Fruit Teller, Zoltan Almodo 3. A Moon Bowl, Frida Andersson & James

Steiner 4. Smokes Like A Chimney, Frida Andersson & James Steiner 5. Webster, Omid Ali Asghari 6.

Blend, Greg Ball 7. Wax Works, Barnaby Barford & Alexander Taylor & André Klauser 8. Night Bright,

Guntram Bechtold 9. Les Cas-Pots, Michael Bezou & Marine Jourdy 10. Les Tasses d’Irma, Michael

Bezou & Marine Jourdy 11. Chupa Chups, Nadia Biavaschi & Alessandro Camilli

Industreal, dopo aver esplorato le potenzialità della prototipazione rapida, nella mostra In Dust We Trust del 2004, e dopo aver dato forma alle creazioni di Model Ideas nel 2005, per l’edizione 2006 ha chiamato 60 designer ad una riflessione sul sogno.

La mostra Dream propone quest’anno un’idea di creatività, o se si vuole un assunto poetico, che dice: ogni cosa, prima di diventare oggetto d’uso,

vive un sogno chiamato progetto.

Industreal, after exploring the potential of rapid prototyping with the exhibition In Dust We Trust, 2004 and after giving form to thoughts in the exhibition Model Ideas, 2005, for 2006 they have called upon 60 designers to dream.

This year, during the Salone del Mob ile, the exhibition Dream, proposes an idea of creativity, or even a poetic assumption, which declares: all things, before becoming everyday objects, live in a dream called the

project.

2Dream2006

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12. Teodoro, Nadia Biavaschi & Alessandro Camilli 13. The Last One, Nadia Biavaschi &

Alessandro Camilli 14. Cloud, Tim Boyce & Angela Violino 15. Dream Boxes, Tim Boyce & Angela

Violino 16. Flying & Falling, Tim Boyce & Angela Violino 17. Monster Kit, Dario Buzzini &

Jacob Brauer 18. A Dream That You Need, Peter Chatersides 19. Rebecca, Clémentine Chambon

20. CERA 1 VOLTA, Pasquale Cirulli & Andrea Daelli & Chris Miller 21. The Little Alchemist Set,

Stefano Citi 22. Never Empty, Jed Crystal 23. Sueños En Vela, Isabel Dada Ortiz 24. Quattro

Stagioni, Jan Dobmaier 25. Points of View, Monica Favara 26. Déjà-vu, Pierre Foulonneau

27. Meligoth, Pierre Foulonneau 28. Candlestick-Shadow, Pierre Gilles Fourquié 29. Pedrito,

Cristiana Giopato & Christopher Coombes 30. Stardust, Cristiana Giopato & Christopher

Coombes 31. Shen, Jim Hannon-Tan 32. Ornament Soup, Peter Hils 33. Wadachi Doki, Natsuko

Kuma 34. Chac Candela, Mauricio Lara 35. Bicchiere Mezzo Pieno, Elsa Marchese

36. Valence, Giles Matthews 37. Danielle, Paolo Minola 38. Fruit & Flowers, Angelika Mörlein 39. Filo,

Pervisioni 40. Café Pelé, Julie Pfligersdor�er 41. En Case De Divorce, Julie Pfligersdor�er

42. Love Story, Julie Pfligersdor�er 43. Tous les Chemins Mènent à la Crise de Foie, Julie

Pfligersdor�er & Ionna Vautrin 44. A Shark in My Soup, Apostolos Porsanidis 45. Progress Pot,

Apostolos Porsanidis 46. Link, Giordano Redaelli 47. Memin, Ignazio Ruiz 48. Fingerbowl, Judith

Seng 49. Bird’s House, Simone Simonelli 50. Dreaming Light, Cameron Snelgar 51. Chocolate

Pipe, Luna Spina 52. Spin, Irina Suteu & Stefan Davidovici 53. The Cup The Dish and Everything

in Between, Irina Suteu & Stefan Davidovici 54. Second Skin, to22 55. Co�ee & Cigarettes, Carlo

Trevisani 56. Corona, Carlo Trevisani 57. Iceberg, Ionna Vautrin & Guillaume Delvigne

58. Réflexion Faite, Ionna Vautrin & Guillaume Delvigne 59. Chine, Cynthia Viale

Dream 2006

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1. Space Invaders, Samuel Accocéberry 2. Cortex 2, Samuel Accocéberry 3. Windbreath,

Guntram Bechtold 4. Alpha, Laurent Bloedt 5. Portafrutta, Tim Boyce 6. Mr Impossible,

David Lucca Caon 7. Bowler, Will Carey 8. Double Vision, Will Carey & Shunsuke Ishikawa

9. English Wedding, Chou Caillou 10. Carreaux Enchantés, Chou Caillou 11. Lost Soles, Stefano Citi

12. Ektexine, Stefano Citi 13. Servagon, Christopher Coombes 14. Wakowski, Christopher

Coombes 15. Les Bobos, Elle & Lui 16. Vase Clos, Pierre Foulonneau 17. Bentobox, Jim

Hannon-Tan 18. Nanobowl and Nanostick, Jim Hannon-Tan 19. Poetic in Urban Living, Shunsuke

Ishikawa 20. Heartbeats, Johannes Klein 21. Hidden Forest, Marie Leblanc 22. Compliments,

Alexander Löhr 23. Stormy Weather, Julia Meandler 24. Fiorisutra, Mária Elena Mártinez-Fáyo &

Tomás Ortiz Ferrer 25. Huellas, Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 26. Monopianta,

Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 27. 3D Sketch, Pervisioni 28. Manifesto,

Pervisioni 29. My Balls, Apostolos Porsanidis 30. Programmatotem, Céline Steelandt & Michael

Radix 31. “erba pulveris”, Giordano Redaelli 32. Traces, Maria Irina Suteu 33. A moth to a flame,

to22 34. Wow!!!, Carlo Trevisani 35. Alcatraz, Ionna Vautrin & Guillaume Delvigne 36. Allo?!,

Ionna Vautrin & Guillaume Delvigne 37. Panier Percé, Ionna Vautrin & Guillaume Delvigne

38. Instructions for use, Cynthia Viale 39. Neglected Figures, Cynthia Viale 40. 12 Cra[ie]yons, Cynthia

Viale 41. Lighthammer, Niko Xanthopoulos 7

Nella primavera 2005 Industreal produce la sua seconda mostra dal titolo “Model Ideas”. Utilizzando ancora le tecniche di prototipazione rapida, i 40 designer partecipanti dimostrano come i modelli possano essere utilizzati all’inizio del processo progettuale per rappresentare i loro primi pensieri e

diventino base di partenza per la creazione di nuovi prodotti.

In spring 2005, Industreal produces their second exhibition under the title “Model Ideas”. Once again using prototyping techniques, the 40 young designers taking part show how models can be used at the beginning of the design process to represent their first thoughts and from which they

start the shaping of new products.

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In Dust We Trust2004

Quando la tecnologia riduce al minimo i passaggi della catena produttiva. Quando fra l’idea e l’oggetto il passo si fa veramente breve. Quando la vena inventiva non deve sottomettersi alle perverse leggi del marketing delle grandi serie. Allora è un gran bel giorno per la creatività e il design.

Nella primavera del 2004 ONEOFF produce, con la collaborazione di 30 designer, la prima mostra dal titolo “In Dust We Trust” nella quale si dimostra come le tecniche di prototipazione rapida abbiano sviluppato una qualità talmente vicina alla produzione che il prototipo stesso è molto vicino ad essere un prodotto. Il metodo di prototipazione rapida utilizzato è il 3D Printing che utilizza una polvere similgesso per la realizzazione degli oggetti direttamente dal file 3D.

When technology reduces to a minimum the steps of the production process. When the distance between thought and object is whittled down. When creative inspiration need no longer be dependant on the perverse laws of large scale marketing. That will be a great day for creativity and design.

In spring 2004 ONEOFF produces their first exhibition under the title “In Dust We Trust”. The work of 30 designers was presented. It is an exhibition which demonstrates how prototyping techniques have developed a quality so close to manufactured objects that the prototype itself has come very close to being a product in its own right. The rapid prototyping method used is exclusively 3D Printing which uses plaster dust as basic material for constructing objects from 3D computer files.

1. Touch, Tim Boyce 2.O’s and X’s, Tim Boyce 3. Print, Will Carey 4. Reading lamp, Will Carey,

Natasha Chetiyawardana & Stijn Ossevoort 5. Chapeaux pour vase, Guillaume Delvigne 6. 72dpi,

144dpi, 300dpi, Guillaume Delvigne 7. Hula Hoop, Cristiana Giopato 8. NoPully, Cristiana

Giopato & Christopher Coombes 9. Antarctica, Jim Hannon-Tan 10. Moneybowl, Jim

Hannon-Tan 11. Wireless Speakers, Kyoko Inoda & Nils Sveje 12. MeccA, Zoran Jedrejcic

13. Working Cup 01, Johannes Klein 14. Working Cup 02, Johannes Klein 15. Superpiatto,

Johannes Klein 16. Globe, Alexander Löhr 17. Danielita, Maurizio Meroni 18. ‘Lord, blow the moon

out please’, Richard H. Mills 19. Detroit, Christopher Coombes 20. Diamond Democracy, Apostolos

Porsanidis 21. Stratum, Mária Elena Mártinez-Fáyo & Tomás Ortiz Ferrer 22. Doradilla, Jorge Najera

23. Jeannette, Ionna Vautrin 24. Jacquette, Ionna Vautrin 25. Pour ma retraite..., Ionna Vautrin 26.

Mikado Vaso, Cynthia Viale 27. Layer Lamp, Cynthia Viale 28. White Satellites, Dunya Weber 29.

2ma/-2ma, Giordano Radaelli 30. 4,9 Megabytes, Samuele Sannia 2

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In Dust We Tust 2004

Ettore Sottsass 2007

46

Thanks

Art Direction Let there be light

George J. Sowden

Costanza Calvetti

Giuliano Corti

Maurizio Meroni

Copy

Giuliano Corti

George J. Sowden

Layout

Stefano Citi

SowdeDesign

Photographers

Ilvio Gallo, www.ilviogallo.it

Matteo Gonet, Glasswork + Design

Danny Hsu, SAIC

Stefano Citi

Exhibition Design

GFRY Design Studio:

Helen Maria Nugent

Douglas Pancoast

Alicia Kuri Alamillo

Shireen Bishop

Robyn Carter

So Jung Lee

Jessie Li

Caroline Linder

Michael Riha

Eric Rosenbaum

Blair Schmidt

So Yun Shim

Lisa Smith

Greta Stepp

Zachary Weiss

Exhibition Press for the S.A.I.C.:

Caren Yusem

Zak Boerger

www.saic.edu

Glass

Matteo Gonet, Glasswork + Design

www.matteogonet.com

Industreal sta!

Costanza Calvetti

Monica Favara

Giulia Lorini

Alessandro Moro

Maira Necchi

www.industreal.it

ONEOFF sta!

Maurizio Meroni

Lara Alexandre da Silva

Giorgia Bellasio

Chiara Casati

Nicolò Gazzola

Tiziana Presciutti

Giordano Redaelli

Carlo Romagnolo

www.oneo".it

Website

Roomor, www.roomor.com

Giovanni Antico, www.alt123.com

www.industreal.com

industreal

Via Luigi Nono 7

20154 Milano

T +39 02 36 51 78 [email protected]

16 - 21 April 2008

H. 10:00 - 19:00

Industreal

Fabbrica del Vapore

Palazzina Liberty

Via Procaccini, 4

20154

Milano

Opening:

16 April 2008

H. 20:00

let there be the light collection

Documents

concetto di luce

luce signica

luce fuoco

luce diretta

the exhibition

lightfor the

lightla luce fatta

for the salone