Duala

Year: 1985

Production: Ycami Collection

 

As in all my designs, here returns the need to design the form as a representation story of its genesis. At the base of this design choice is the convinction that the design must explain itself, must be explicit and not mysterious nor esoteric, must be not-finished., not closed in its forms but open to a further completion, at times real and at times imaginary, of the form. Against authoritativeness, the arrogance of the perfect form, I prefer the incomplete, the not-finished, even extended to a broken form. I thrust a sheet of metal folded in "s" into a cast iron base that shatters because of the violence of this incest and the base breaks up into its pieces (one of which may be removed, for the electrical system) as also highlighted by the color. In the hollows of the tall part of the "s" shaped sheet, I put either two lamps shaded by sinous slabs of decorated glass or on one side a vertical pole that bends into arms and supports a diachronic lamp drowned in a triangle that could extend as an arm at three different distances from the upright to permit illuminating tables of different dimensions below. The functional aspect is a consequence of a will for total form. If with AeO you could change the covering like a shirt, if here the arm and the triange that support the diachronic lamp can be positioned differently, if in the case of the "Artifici" tables, the decoration is composed and made by customer, it is because I hope that the user will exert control over my forms; the power to change these indefinite forms is my seeking a dialogue with the user.  

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