Livio Castigioni and Gianfranco Frattini – The Boalum Lamp

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“Scopri Lampada Da Tavolo Masters’ Pieces – Boalum -/ LED – 1970, Bianco Di Artemide.” Madeindesign.it. N.p., n.d. Web. 21 May 2017. <https://www.madeindesign.it/prod-lampada-da-tavolo-masters-pieces-boalum-led-1970-di-artemide-ref27010a.html&gt;.

Livio Castigioni and Gianfranco Frattini created a long flexible tube light made of thermoplastics, PVC and metal. This lamp (The Boalum lamp) has won the many prizes for its design. We shall see how this devices is constructed and the possible inspirations Livio Castigioni and Gianfranco Frattini had creating this piece.

Castiglioni, Livio, and Gianfranco Frattini. Electric Lighting Apparatus, Particularly for Decorative Uses. Gianfranco Frattini, Livio Castiglioni, assignee. Patent US 3633023 A. 4 Jan. 1972. Print.

The lamp is made from as stated before Thermoplastics, PVC, metal as well as Glass for the bulbs[1]. There is a metal skeleton within the lamp to provide stability and protections for the bulbs and like a skeleton it is made out of many parts and joints to ensure the most manipulation of the device as manipulation is a key feature of the Boalum lamp.  A spiral plastic casing surrounds the lamp providing the structure of the piece. This lamps purpose was to be an unusual form of Diffusing light. This lamp is built with extendibility in mind this is shown with the addition of modular end pieces as this light can be connected to another, four of these can be connected in sequence creating an eight meter long snaking lamp.

The lamps patent was filled 18/3/1970 in Italy. A poster of the Boalum lamp advertised it as being used on tables, floors and walls as well as being worn and tied it to  knots [2] . This lamp was intended to be a modern and unique tool for illumination of an area as well as being as piece of art in its own right. The Originals of this design can be purchased for around $2050 nzd and  recent versions can be bought for $811.36 nzd.

Livio is no stranger to lighting as he has designed 3 other, lights Scintilla Suspension lamp Scintilla Wall lamp and Scintilla Floor lamp[3]. The Boalum is the most unusual thing he has designed but shares some visual characteristics to the two mounted lamps as they are both semi tubular, produce low light and contain a strong internal skeleton to protect the bulbs. These are the more practical designs unlike the Boalum lamp. Livio also dabbled with cutlery design and managed to create a table spoon, table fork, table knife, tea spoon, dessert fork, dessert knife, a ladle, a serving spoon and a serving fork.

Gianfranco Frattini is also familiar with furniture and lighting design.  Gianfranco has been recognised for his extensive furniture design skills and given many awards. The large amount of experience and connections allowed for the creations of such an unusual lamp

scintilla-suspension-h-2

“SCINTILLA SUSPENSION LAMP – General Lighting from FontanaArte | Architonic.” Products We Keep You Informed with Our News. N.p., n.d. Web. 20 May 2017. <https://www.architonic.com/en/product/fontanaarte-scintilla-suspension-lamp/1182162&gt;.

scintilla-wall-h-2

“SCINTILLA WALL LAMP – General Lighting from FontanaArte | Architonic.” Products We Keep You Informed with Our News. N.p., n.d. Web. 20 May 2017. <https://www.architonic.com/en/product/fontanaarte-scintilla-wall-lamp/1182153&gt;.

scintilla-floor-h-2

“SCINTILLA FLOOR LAMP – General Lighting from FontanaArte | Architonic.” Products We Keep You Informed with Our News. N.p., n.d. Web. 20 May 2017. <https://www.architonic.com/en/product/fontanaarte-scintilla-floor-lamp/1009172&gt;.

Initially I didn’t like the Boalum lamp, I thought it was overpriced and impractical but that was before I understood that this lamp is meant to highlight the object around it with its unusual shape as well as provide ambiance lighting in the foreground of the audience instead of hiding the lighting away like many people do. Livio Castigioni and Gianfranco Frattini created a wonderful piece that still holds up today whilst still being an effective spot light.

 

Bibliography:

[1]”Boalum.” Artemide. N.p., n.d. Web. 21 May 2017. <http://www.artemide.com/prodotti/scheda-prodotto.action?idProdotto=31890&gt;.

[2]Kevin404. “OBJECT PLASTIC.” Boalum Lamp | Gianfranco Frattini and Livio Castiglioni | Artemide, Italy | 1970. N.p., 23 June 2012. Web. 21 May 2017. <http://www.objectplastic.com/2012/06/boalum-lamp-gianfranco-frattini-and.html&gt;.

[3]“Livio Castiglioni.” Products We Keep You Informed with Our News. N.p., n.d. Web. 21 May 2017. <https://www.architonic.com/en/microsite/livio-castiglioni/8100138&gt;.

Cassina.com. “Gianfranco Frattini.” Cassina. N.p., n.d. Web. 21 May 2017. <http://www.cassina.com/en/designer/gianfranco-frattini&gt;

“Livio Castiglioni Biography – Infos – Art Market.” Livio Castiglioni Biography – Infos – Art Market. N.p., n.d. Web. 21 May 2017. <http://www.livio-castiglioni.com/&gt;.

Castiglioni, Livio, and Gianfranco Frattini. Electric Lighting Apparatus, Particularly for Decorative Uses. Gianfranco Frattini, Livio Castiglioni, assignee. Patent US 3633023 A. 4 Jan. 1972. Print.
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Olafur Eliasson – Riverbed

Olafur Eliasson built a Riverbed in a museum! Olafur Eliasson created a work of art call Riverbed that is an imitation of an almost dried up riverbed with a small stream that moves through five rooms (that vary in size and shape) within the Louisiana Museum of Modern Art in Humlebæk, Denmark [1]. But that leads us to the question of What is its purpose?, How and what was it made from? And how do people react/portray this unusual installation?

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Plansofarchitecture. “Plansofarchitecture.” PLANS OF ARCHITECTURE. N.p., 03 Mar. 2015. Web. 19 May 2017. <http://plansofarchitecture.tumblr.com/post/112581933483/olafur-eliasson-riverbed-louisiana-museum-of&gt;.

Olafur’s composition is a major part of this work. The walk way into the first room has no windows this is to separate this place from the rest of the world[2]. The first room you enter is where the stream ends and therefore you walk upstream. The placement of the passages to each room has been created to give emphasis to the stream as well as allow people to pass through.  Theses passages for the stream however are uncomfortably low, which adds to the ongoing them of un-comfortably within this piece.

“Riverbed • Artwork • Studio Olafur Eliasson.” Studio Olafur Eliasson. N.p., 2014. Web. 19 May 2017. <http://olafureliasson.net/archive/artwork/WEK108986/riverbed&gt;.

 

Olafur Eliasson plays with this concept that the Riverbed is fake/un-natural, He knows it’s fake and is trying to make you say it as well rather than deny it for the sake of art[3]. He achieves this with the use of wooden planks at the start of the installation to give the audience an insight into how it is constructed as well as an emphasis on the fact that this is a façade and not a real naturally accruing riverbed. This doesn’t mean his material are fake however as the stones he used are basalt. Water is also used as it appear out of the ground seemingly from nowhere which a matter of fact is actually being pumped up from the bottom of the stream where it returns to the ground. Olafur Elasson then extends this idea into our lives and say “We should not take for granted That what we see as being “real” is necessarily real” as it’s a social and cultural construction[3]. He then explains that because of this while within his installation people start to feel uncomfortable and as they traverse an unknown area they will eventually drop their social and cultural conformities that make them struggle with an unknown landscape and start to use their sense to travel through the five rooms.

“Riverbed • Artwork • Studio Olafur Eliasson.” Studio Olafur Eliasson. N.p., 2014. Web. 19 May 2017. <http://olafureliasson.net/archive/artwork/WEK108986/riverbed&gt;.

Olafur continues this commentary on our culture and society by try to make people individuals again. This is achieved through the rough landscape making people choose their own path and furthermore their own opinion on his and other peoples work instead of agreeing with the majority. But at the same time acknowledges the loners and people who have been already alienated by either themselves, they don’t feel worthy, or the art, they can’t identify or reflect with it. This situation is escalated further with the light stress and uncomfortability of his work. This work encourages the individual and many different points of view without exclusion or alienation.

Riverbed has been used to comment on the social and cultural constructions we’ve placed on ourselves as well as cultivate individuals with differing opinions without exclusion or alienation which would normally occur within a group setting.

Bibliography:

[1] Eliasson, Olafur. “Riverbed • Exhibition • Studio Olafur Eliasson.” Studio Olafur Eliasson. N.p., 2014. Web. 19 May 2017. <http://olafureliasson.net/archive/exhibition/EXH102282/riverbed&gt;.

[2] Jeppesen, Travis. “Olafur Eliasson: Louisiana Museum of Modern Art.” Artforum International, vol. 53, no. 5, 2015, p. 230+. Academic OneFile, libproxy.unitec.ac.nz:2048/login?url=http://go.galegroup.com.libproxy.unitec.ac.nz/ps/i.do?p=AONE&sw=w&u=per_unit&v=2.1&it=r&id=GALE%7CA397251871&asid=e065470944e3e02277d7f393972e13e2. Accessed 19 May 2017.

[3] Olafur Eliasson: A Riverbed Inside the Museum. Prod. Marc-Christoph Wagner. Perf. Olafur Eliasson. Louisiana.dk. Nordea-fonden, 26 Nov. 2014. Web. 10 May 2017. <http://channel.louisiana.dk/video/olafur-eliasson-riverbed-inside-museum&gt;.

Jeppesen, Travis. “Olafur Eliasson: Louisiana Museum of Modern Art.” Artforum International, vol. 53, no. 5, 2015, p. 230+. Academic OneFile, libproxy.unitec.ac.nz:2048/login?url=http://go.galegroup.com/ps/i.do?p=AONE&sw=w&u=per_unit&v=2.1&id=GALE%7CA397251871&it=r&asid=e065470944e3e02277d7f393972e13e2. Accessed 7 May 2017.

“Olafur Eliasson.” Art in America, vol. 103, no. 7, Aug. 2015, p. 33. EBSCOhost, libproxy.unitec.ac.nz:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=vth&AN=108915778&site=ehost-live&scope=site.

Eliasson, Olafur. “Expanding Environments.” Aesthetica, no. 61, Oct/Nov 2014, pp. 32-37. EBSCOhost, libproxy.unitec.ac.nz:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=vth&AN=98776512&site=ehost-live&scope=site.

Herbert, Martin. “Athenian Panopticon.” ArtReview. N.p., n.d. Web. 19 May 2017. <https://artreview.com/features/december_2014_feature_olafur_eliasson/&gt;.