Practitioners & Companies

A list of the top 100 designers & design companies-now thats a list I want to look at...


ACHILLE CASTIGLIONI

"In fact, the final shape is the result of a precise intervention: rotating the structure during spraying so that the fibre is thicker in the protruding parts of the structure than in other areas."

ARCO - Floor lamp - 1962 Design: Achille and Pier Giacomo Castiglioni
Cocoon lamps - 1960 Design: Achille and Pier Giacomo Castiglioni

For me the question triggered is 'at what point does art become design' or 'design become art'.
Thousands of these lamps were sold in Italy and abroad, and it suffered a drastic amount of illegal copying which the company could take to court only in the cases of downright copying or misuse of the name Arco. In 2007 the Supreme Court recognized that design objects, like works of art could be copyrighted.

For me, what Castiglioni created in the 60's has become timeless. they could seamlessly sit within a mondern day home.

Honest 3D collage.

what then makes design time less?


DAVID TRUBRIDGE

"I would like to find a way to bring cultural nourishment into people's lives without using up precious resources and energy. We have far too much 'stuff' in our homes, which is little more than junk food designed to leave us only craving more. How can we create real and lasting nourishment without the clutter of useless objects that waste precious resources and damage the environment?! Design that does not address this issue is, I believe, both irresponsible and irrelevant."

nourishment through design. lasting nourishment. without creating useless objects.

"our lights are unique. They create an ambient, rich atmosphere, evoking intimacy and warmth within a space".

Trubridge displays his lighting range alongside images of the natural sources of inspiration, by means of a mirror. his range of organic forms sell an 'experience' as the lights quite literally grow from the box, the customer interacts and builds.
Upon creation and instalation these organic, natural forms continue to decorate the space with shadows and patterns that reflect on the surrounding surfaces.
the shadows for Trubridge, are as much a part of the design as the form, a USP perhaps? there is a section on his webiste called 'lighting direction' with tips and ideas on which shade to buy depending on the space and surrounding walls..

the inadvertant yet some how deliberate decoration of surface. takes the light from an fuctional object to a creator of ambient, intimate and atmoshperic warmth.

it seams we are having a relationship with Trubridge's lights. through building an object it becomes somthing you are related to. during 'object and context' we considered how we transact with some objects for a prise or reward, by mending, making or marking an object you deepen you relationship, you give the object personality throught human intervention.

How do you design objects to be kept?


Formafantasma

Formafantasma are concerned with materiality, the use of materials to convey ideas, communicate with the user on a very intimate level. they formalise design with materials in a very expressive way.

thier interest in new antiques and new classics, the paradox of 'new - now' and antiques - in the past' creates a fantastic design ethic - "looking back to actually look forward." their consideration of craft techniques & product heritage give thier objects context and relatability in a contemporary manner.

"Craftica is a series of work exploring leather craft in conversationwith other hand-worked, natural materials. Leather as a material hasthe ability to evoke almost ancestral memories of hunting nature toobtain food, tools and protection for the body." http://www.cibone.com/contents/exhibition03.html