Living - - English Text -

GIAN­FRAN­CO MA­RA­BE­SE ‒ The evo­lu­tion of lighting has co­me a long way. Fir­st the­re was the long pe­riod of in­can­de­scent bulbs, and then ca­me ha­lo­gen lighting. LEDs ma­de the light mo­re ac­cen­tua­ted, and even brought a re­vo­lu­tion. They ma­de mi­nia­tu­ri­sa­tion pos­si­ble and ga­ve de­si­gners the op­por­tu­ni­ty to de­si­gn the lighting whil­st kee­ping the sour­ce, that’s to say the phy­si­cal ob­ject, hid­den from sight. But the mo­st im­por­tant evo­lu­tion ca­me via the abi­li­ty to ‘con­trol’ light: to point it whe­re­ver it was nee­ded, per­so­na­li­se it, and – abo­ve all – not wa­ste it. 2‒ So, we’re cer­tain­ly not at the be­gin­ning, but we ha­ve a big spa­ce ahead of us: the evo­lu­tion of LEDs is ma­king it pos­si­ble to im­pro­ve lighting even mo­re, in terms of its qua­li­ties and per­for­man­ce, whil­st kee­ping an eye on con­sump­tion and su­stai­na­bi­li­ty. Whi­ch is all the mo­re evi­dent, pe­rhaps, in out­door lighting, whe­re it has to be mo­re ef­fi­cient, wi­th bet­ter vi­sual com­fort and less light pol­lu­tion. To sum it up: we mu­st re­spect the dar­k­ness. 3‒ My Ar­chet­to Spa­ce light fit­ting by An­to­nan­ge­li ca­me from a de­si­re to gi­ve de­si­gners a ‘pen­cil of light’: the abi­li­ty to stret­ch out ex­tre­me­ly light­weight struc­tu­res in spa­ce, ap­ply hi­gh-per­for­man­ce lu­mi­nous seg­men­ts of dif­fe­rent leng­ths, and mo­ve them so as to chan­ge how the light is di­stri­bu­ted, de­pen­ding on the re­qui­re­men­ts and the lay­out. It ena­bles us to open up new sce­na­rios and in­fi­ni­te crea­ti­ve op­por­tu­ni­ties not on­ly for tho­se who de­si­gn, but al­so for users. 4‒ How should you ‘choo­se light’? I would sug­ge­st that the pu­blic should opt for wha­te­ver they li­ke the mo­st. The plea­su­re of light pas­ses th­rou­gh ma­ny dif­fe­rent fac­tors. But the fir­st thing to think about is whe­re to put the lighting poin­ts. And then, sin­ce the­re are ab­so­lu­te­ly no ru­les, you should use wha­te­ver af­fec­ts you emo­tio­nal­ly be­cau­se light is a ‘sen­so­ry’ thing, and is al­so ab­so­lu­te­ly in­di­vi­dual. Apart from one or two ru­les that should be re­spec­ted (being ca­re­ful about how ma­ny lu­mens, for exam­ple), you should be ama­zed by your lighting, eve­ry day.

FE­DE­RI­CO PE­RI ‒ From fla­ming tor­ches to oil lan­terns, lighting up the dark is a pri­ma­ry hu­man need. Edi­son’s light bulb crea­ted in­can­de­scen­ce: pu­re function. Then ca­me the de­si­re for de­co­ra­tion, fol­lo­wed by lighting de­si­gn as a tech­ni­que, whi­ch ca­me hal­fway th­rou­gh the 20th cen­tu­ry. The ar­ri­val of the mi­cro­sco­pic LED li­be­ra­ted the form of light fit­tings, crea­ting a mi­ni­ma­li­st school and a mo­re or­na­men­tal ten­den­cy, whi­ch is the one to whi­ch I be­long. To­mor­row, things will be going in the di­rec­tion of re­spon­si­ve lighting that mo­du­la­tes wi­th the chan­ging ti­mes of day. 2‒ Whil­st I was wai­ting for in­te­rac­ti­ve lighting to co­me along, I re­tur­ned to the idea of the oil lamp for my Ga­le­rie ran­ge by FontanaArte. The glass dif­fu­ser is coa­ted wi­th two layers of am­ber and whi­te, whi­ch re­crea­te the fla­me ef­fect. The hand­le be­ca­me a tai­lo­red ac­ces­so­ry ma­de from lea­ther. In my li­mi­ted edi­tion han­ging lamps for Ni­lu­far, I fo­cus­sed on hand-blo­wn trans­pa­ren­cies: the Char­lot­te mo­del di­splays gra­dua­ted nuan­ces, whil­st the Sha­pes con­si­st of opa­li­ne glo­bes and brass struc­tu­res. Pre­cious ma­te­rials that ma­ke emo­tio­nal lamps co­me to li­fe. 3‒ Be­fo­re I think about the sha­pe of a lamp, I de­fi­ne the ty­po­lo­gy and the light out­put, wi­th vi­sual com­fort as the ob­jec­ti­ve. To ma­ke peo­ple feel good, I use de­si­gn and tech­no­lo­gy (al­thou­gh I bend them to suit the dé­cor). I choo­se the light sour­ces that are mo­st sui­ta­ble for that mo­del, and I al­so pre­fer to de­si­gn a dim­mer for re­gu­la­ting the bright­ness - be­cau­se our per­cep­tion is not the sa­me from mor­ning to eve­ning - whil­st I’m al­so thin­king about ma­te­rials, lamp­sha­des, in­cli­na­tions, and er­go­no­mics. It’s on­ly then that I look for the ma­gic, let­ting my­self suc­cumb to ae­sthe­tic and crea­ti­ve plea­su­re. 4‒ Be ca­re­ful about your lighting. Blue or whi­te light is cold and in­ten­se, and sti­mu­la­tes the eye; it should be used in work­spa­ces or tran­sit areas li­ke stu­dios, en­tran­ces, and cor­ri­dors. But if the gra­da­tion of the LED is ice-cold, you’ll be ri­sking the aqua­rium ef­fect. Gi­ve pre­fe­ren­ce to warm, soft, rest­ful lighting. Va­ry the sour­ces in ea­ch room bet­ween di­rect (day) and in­di­rect (eve­ning). And in­te­gra­te the clas­sic cei­ling light at the cen­tre of the room wi­th floor lamps and ta­ble­top mo­dels, whi­ch if you turn them on at sun­do­wn, will crea­te a re­la­xing at­mo­sphe­re.

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