Italian-made lamp with a cylindrical shade, dating from the 1970s. It consists of a structure of three flat metal elements joined at the base. Its vertical supports frame the ivory-toned fabric shade, which diffuses a warm and soft light.
Italian table lamp from the 1980s, made from a single piece of blown Murano glass, without seams or molds. It features a sculptural silhouette with fine vertical lines in shades of red and white.
Its design is inspired by iconic Venini pieces such as the “Fungo” lamp or the Tessuti Battuti vases by Carlo Scarpa.
Pair of table lamps designed by LA Studio. Made with an oak base and German ceramic pieces from the 1960s. Shades upholstered in orange cotton fabric. German made.
Tahiti (1981), a masterpiece designed by Ettore Sottsass, It is a table lamp with an ironic character and a distinctly zoomorphic shape. It was conceived with a clear inspiration from the classic forms of traditional toys, giving it a very playful character.
The base features a decorative black and white laminate with the iconic Bacterio pattern. It supports a yellow mast accentuated by a black foot, which acts as a visual and structural counterweight. Resting on this assembly is the distinctive pink spherical "head," topped with a red beak, from which the light is projected. The head is adjustable, allowing the light beam to be directed as needed.
Made of painted metal and decorative laminate, Tahiti is a prime example of Sottsass's postmodern approach. Color, form, and irony become essential design elements, transforming an everyday object into an iconic and highly recognizable piece.
Measurements: W 35, D 10, H 70 cm
Ettore Sottsass (1917–2007) was one of the most influential designers and architects of the 20th century. He studied architecture at the Polytechnic University of Turin, he developed an extensive career encompassing industrial design, furniture, architecture, and writing. He is best known for founding the Memphis Group in 1981, a group that revolutionized international design with a radical, colorful, and deliberately anti-classical style.
Throughout his career he collaborated with important companies such as Olivetti, Artemide, Alessi and Knoll.
His work is present in the permanent collections of institutions such as:
Museum of Modern Art (MoMA) in New York
Centre Pompidou in Paris
Triennale di Milano
His legacy remains fundamental to understanding the evolution of contemporary design and the emergence of postmodernism.
Bibliography
Domus, articles and monographs dedicated to Ettore Sottsass. Ettore Sottsass: Architect and Designer, Phaidon. Triennale Milano – archives and exhibitions on Ettore Sottsass. Museum of Modern Art (MoMA), New York – design collection. Memphis Milano – historical documentation of the Memphis Group
Ashoka (1981), designed by Ettore Sottsass Named after the emperor of the Mauryan Empire, it presents itself as a seemingly unstable composition of overlapping geometric forms, treated with a playful and expressive character. The whole suggests an almost improvised structure, in which the volumes appear to be stacked freely and unconventionally.
However, despite its seemingly unstructured appearance, the lamp is based on a carefully studied balance. All elements are organized in a perfectly symmetrical arrangement, resting on a solid grey rectangular base that ensures both visual and structural stability. This tension between apparent disorder and compositional order is one of the most representative features of Sottsass’s postmodern language.
The lamp is made of painted metal, with chrome elements, a combination of materials that reinforces its sculptural quality and highlights the designer’s intention to transform a functional object into a piece of strong formal and conceptual presence.
Measurements: W 74, H 85 cm
Ettore Sottsass (1917– 2007) was an architect and designer, and one of the most influential figures in 20th-century design. He studied Architecture at the Politecnico di Torino and developed an international career encompassing industrial design, furniture, lighting, and architecture.
In 1981 he founded the Memphis Group, a movement that revolutionized the design scene with a radical, colorful and openly anti-classical language.
Throughout his career he collaborated with companies such as:
Olivetti
Artemide Alessi
Knoll
Poltronova
His work is part of the permanent collections of institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris and the Triennale di Milano.
Bibliography
Domus, articles and monographic issues dedicated to Ettore Sottsass. Ettore Sottsass: Architect and Designer, Phaidon. Triennale Milano – archives and exhibitions on Ettore Sottsass. Museum of Modern Art (MoMA), New York – Design Collection. Memphis Milano – historical catalogs and documentation
Yellow table lamps, model LT 226, designed by Carlo Nason for Mazzega. Made of yellow glass. Composed of a central structure that serves as a vase. Italy, 1960s.
The Super lamp, designed by Martine Bedin, is an iconic piece that can be moved by dragging it like a toy car, showcasing its playful and experimental nature. Its curved silhouette and its bulbs, create a shape reminiscent of a stegosaurus, making it one of the best examples of the irreverent and provocative spirit of the Memphis Group.
It is made of structural polyurethane and metal. Its structure consists of a semicircular body of lacquered fiberglass that rests on four rubber wheels. The wheels allow an easier movement within the home. Along the arc are six colored cylinders that hold the light bulbs. The bulbs are visible and deliberately exposed. They are an essential part of the lamp's image and expressive language, reinforcing its sculptural character.
Measurements: W 45, H 30 cm
Martine Bedin, was born in 1957, she is a French designer that studied architecture in Paris. In the early 1980s, she was one of the most important figures of the Memphis Group, founded by Ettore Sottsass. She actively participated in its first exhibition in Milan in 1981. Her work is characterized by a poetic, colorful, and deliberately anti-rational approach to design, where objects acquire almost human characteristics.
The Super lamp quickly became one of Memphis's most recognizable symbols and one of the most iconic pieces of postmodern design. Bedin's work is part of important public and private collections, including museums and institutions dedicated to contemporary design.
Bibliography
Memphis: Research, Experiences, Results, Failures and Successes of New Design, Rizzoli. Domusarticles and documentation on the Memphis Group. Triennale Milano – archives and exhibitions on Memphis and Martine Bedin. Museum of Modern Art (MoMA), New York – postmodern design collection. Memphis Milano – historical documentation and original catalogs
Pair of lamps model LT 226 designed by Carlo Nason for Mazzega. Made of blue glass. Composed of a central structure that also serves as a vase. Italy, 1960s.
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