Designed by Vico Magistretti
For many years now, Atollo has no longer been a lamp, or rather, it has no longer been just a lamp. It has become a myth, an icon: one of the best know symbols of Italian design wordwide, one of the very few products which people recognise and call with its own name. Designed by Vico Magistretti in 1977, it was awarded the Compasso d’Oro in 1979 and became, since then, part of the permanent collections of the world’s major museum of design, as well as part of the furniture of many homes of those who love and are able to select the things surrounding them. Atollo’s secret probably lies in the geometrical construction of its shapes: the cone on the cylinder and the semisphere above all. A luminous sculpture from which nothing can be removed to which nothing can be added. And which nothing can copy.
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The sculptural shape is the result of a simple geometric configuration that combines productive and functional intelligence, perfectly capturing the characteristic traits of the design by Vico Magistretti.
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In 1946, Vico Magistretti conceived Claritas, his first lighting design, which conceptually aimed for clarity and brightness. In a context of reconstruction and reconversion of the war industry, for the first time Magistretti used bent metal tubes and a curved aluminium sheet as a reflector, which could be oriented and regulated, ensuring the desired lighting […]
For many years now, Atollo has no longer been a lamp, or rather, it has no longer been just a lamp. It has become a myth, an icon: one of the best know symbols of Italian design wordwide, one of the very few products which people recognise and call with its own name. Designed by […]
Its sinuous curves resulting from the shaping of a sheet of frosted methacrylate softly diffuse the light. It brings together ?simplicity and concept? which for Magistretti are at the heart of durable design.
Between 1951 and 1957, Le Corbusier designed the Sanskar Kendra Museum, a museum in the Indian city of Ahmedabad. The spiral shaped building contains all the fundamentals of his architecture. For this project, in 1954 Le Corbusier conceived a lighting system he named ?Projecteur?, installed in the structure to maximise the lighting effect
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The Bloom Table lights? super-elliptical form is inspired by the gentle dynamic flow of paper lanterns. Its glorious lit effect is the result of transparency and light. Two contrasting materials ? a finely perforated mesh core and frosted blown glass, combine to project a soft focus texture onto the inside of the shade.
The first wall lamp designed by Le Corbusier in 1925, originally thought to enlighten the large windows of Villa La Roche, a manifesto of purist architecture. Nemo edits La Roche enhancing its lightness and functionality: a matte metal frame and an opal glass diffuser for soft lighting.