Bonne Nuit Table Lamp
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Design by Michele De Lucchi and Alberto Nason,2009.
Made in Italy, by Produzione Privata.
Bonne Nuit is intended to put a lid on light. The light is served at the table in the glass, a fine goblet of the elegant sort, and then covered with a sandblasted glass cupola to diffuse it. Housed in the top of the cupola is a small transparent glass chimney, with which the lid is lifted and the light revealed.
Material(s): Borosilicate Glass
Dimensions: 6.7"D X 13.8"H
Lamp Type: INCANDESCENT
Bulbs: 1 X 60W max 120V E12 (candelabra base) incandescent lamp (not included)
Born in Ferrara, Michele de Lucchi studied in Padua and in Florence, Italy, where he graduated in architecture in 1975. After completing his studies architecture, his friendship with Ettore Sottsass and Alessandro Mendini took him to Milan at the end of the Seventies, where he became one of the main activists in the provocative designer group Memphis. His approach to the creation of new styles in design helped to play an important role in the Memphis movement, but by the late 1980's, de Lucchi had moved on to more traditional designs. After working with Artemide to develop some of their lasting bestsellers, de Lucchi created his Produzione Privata label, which creates small series of his designs featuring exquisite craftsmanship.See other lights/products from Michele de Lucchi
Alberto Nason was born in Venice, 1972, and following experience at the "Option One" design studio in London, he studied at the European Design Institute in Milan and graduated in industrial design in 1996. After a year in Germany, where he worked at Eckart and Barski design studio developing his technical and creative skills. In 1997 he started working with architect Michele De Lucchi.See other lights/products from Alberto Nason
After the criticisms and confirmations, the exaltation of design and the conclusion of Memphis, Michele De Lucchi founded Produzione Privata, taking up the urge for change that was in the air at the turn of the 90's.
Aware of the gap that had been created between design and production, he set out to rediscover the role of the architect as an intellectual who conceives and fulfills his projects with a more responsible approach to the quality and beauty of things.
What had started as a small-scale craft-oriented production of experimental projects traced by his pencil very soon proved to be an opportunity to make objects using technologies on the margins of industrial production, but treated within the logic of series.
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