Let’s talk about table lamps again. Few days ago I wrote a post about table lamps as a gift to make our desk more welcoming and make the back-to- office less sad after summer break.
Table lamps began to be designed and produced around the 1920s, especially by Bauhaus designers such as Christian Dell, Marianne Brandt, Karl J.Jucker, Wilhelm Wagenfeld and other contemporaries such as Edouard Wilfrid Buquet and Ferdinand Kramer.
Before then, I like to remember the historic table lamp made in 1903 by Mariano Fortuny , in lacquered metal. I find in this lamp lines, shapes and proportions that will characterize many of the table lamps designed later, as if it were a kind of starting matrix.
Those years have seen the creation of table lamps that are still today furnishing desks, consoles and bedside tables. I’m thinking to the Luxo model, the result of the genius of a designer who was unfortunately anonymous, that inspired, many years later, in 1972 the designer Richard Sapper for his famous Tizio table lamp.
There are also some lamps that have fallen into oblivion, but that continue to be a piece of the history of design. I think ro the WG24 model, later called Glaslampe, designed in 1924 by Karl J. Jucker and W. Wagenfeld, consisting of a semicircular opal glass lampshade with a circular crystal base from which starts a transparent stem, leaving visible the nickel plated tube with inside the cable.
There is also the much less famous Iskra lamp designed by Jeannot Cerutti for a Venetian company, made of opal glass diffuser with silver and copper base, which deserves to be remembered for its outstanding creativity.
By making a leap forward the time I decided to stop in 1988, when Philippe Starck created for Flos Arà, a genial table lamp, named as a cute goblin populating medieval sagas. A very unique, sculptural object that seems to have come out of a painter’s brush or from a sculptor’s studio rather than from an industrial designer’s table. It is 29 years old, but if we recall the design that in 1988 has been proper of appliances or the cars we were driving, we appreciate even more its “futuristic” spirit.
In the middle, over a century of history, there are ALL the larger ones who, drawing after drawing, have made the history of light as part of the furniture as we all know