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Slamp illuminates mariano di vaio’s new offices |
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Chromatica – Introducing Vibia’s World of Colour and Materiality |
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Tom Dixon's Beat Lighting |
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Olafur Eliasson X Louis Poulsen |
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Tom Dixon Wins the 2019 London Design Medal |
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Lighting and Jewelry |
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Dining & Design: Vibia Elevates Eating Spaces |
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Lee Broom Wins Elle Deco International Design Award In Milan |
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Life in Vogue |
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The Manzoni Restaurant |
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La Plus Belle est Philippe Starck |
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An interview with Christophe Mathieu |
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Trend Watch: Wood Lighting Fixtures |
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Make a Splash |
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Type 75 Giant grows to titanic proportions for American Express |
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From Steel Jeeg to memories of his grandmother |
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Foscarini dresses the Visitor's Lounge of Documenta 14 in Kassel, Germany |
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Introducing the all-new 90 Mini Mini |
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Nemo & The Masters - Fondation Le Corbusier |
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Nemo & The Masters - Archives Charlotte Perriand |
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Restaurant Lighting Ideas: Create the Perfect Atmosphere |
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A conversation with Piero Lissoni |
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Vibia's Summer Reading List: The Best Design Books |
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The Bicoca and Jaima win the Design Plus Award |
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New York Loft Style Living |
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Greene St, NYC |
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Designer Collaborations: Pantone |
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The Bare Minimum |
"The Light Bulb Series" is a designer art-house collection – consisting of a limited and numbered edition of pieces – based on a reflection of the light bulb as an archetype, with its typical bulb-like shape, produced in a series of surprising provocations. James Wines translates this reflection with explorations that revolve around the principal themes that have always guided his architectural research. These are inversion, dissolution, nature, all those statuses of "architectural flaw" which make it possible to rethink reality, giving it shape and then at the same time breaking down its boundaries.
Wines's light bulbs are in turn melted, broken, inverted, turned black, and invaded by nature. A propensity towards experimentation, doing better but also doing differently, which has always animated Foscarini as well.
The "Reverse Room" installation is designed by the very same James Wines together with his daughter Suzan Wines, and it is devised to emphasise the surreal quality of these experimentations: in a dark-walled room, upside down and slanted, with monochrome tables and chairs, the table lamps blink down from the ceiling, whereas the suspension lamps peep out from the floor.
It is an invitation to think of a world, of design and therefore of what is possible, where it is always imaginable to shed light differently.
