THE FLAM BECOMES A FLOWER, THE FUEL BECOMES WATER. THE TRANSFORMATION OF A KEROSENE LAMP.
The Experimenta vase explores and reinterprets the classic kerosene lamp. Experimenta is composed of a cylindrical container for the water, glass collected from old lamps, a ring and a series of adapters to fix the glass to the vase and make it more stable.
煤油灯的使用已经有几百年的历史；十八世纪末到十九世纪下半叶，人们开始采用天然燃油作为燃料，极富时代特征的煤油灯经历了重大的科技变革。在此期间，科技的进步及石油和煤油等新能源的出现激发了煤油灯设计师们的新灵感，出现了新的专利，如Pigeon(Charles Pigeon, 1884年6月)的一款灯具创新地运用简洁的典型圆柱体线条，并提高了安全性能。美观的外形和安全使用性加上当时的高效宣传让这款煤油灯的销量高达几百万。领先潮流的设计外观、结构线型和尺寸一度成为当时的设计标杆。
With a history hundreds of years long and initially fuelled by natural combustibles in the period between the late eighteenth century and the second half of the nineteenth century, this type of lamp has seen profound technological innovation. The scientific progress made during those years, together with the introduction of new fuels such as oil and kerosene, allowed designers to experiment with new solutions. New patents were born, including the one for Pigeon lamps (Charles Pigeon, June 1884), innovative in the simplicity of their typically cylindrical shape but especially for their great attention to safety, a feature that allowed the sale of millions of these items thanks to the clever use of a very effective advertising campaign for its era. The shapes and dimensions of the components were standardized with an outlook on design that was ahead of its time.
The structure of an oil lamp can be simplified as: “the chimney” glass in various shapes (Kosmos, Matador, Pigeon, Rochester, Bombé viennoise, Globe etc.), “the wick” the fuse which dips into the fuel, “the burner” the nozzle from which the flame emerges, “the collar” the ring for fastening the glass and “the fount” the container for the fuel.
The shape of the burner and the chimney are important as they affect the efficiency of the lamp. During the era in which the first oil lamps were conceived, the design was aimed at adapting to the emerging industry, oriented as much as possible toward the mass market and creating an increasingly sharp distinction between industrial production and craftmanship. Today, on the other hand, we find ourselves in a different socio-cultural context and the aim is increasingly to create micro-markets to accommodate the need for uniqueness and the niches of new consumers. The rediscovery of craftmanship as an example of work of high quality and high artistic value, and the emerging “maker”spirit fuelled by the rapid evolution of 3D printing technology require that current design evolves continually both in terms of design and content.
With a ready-made operation, old glass from fuel lamps thus acquires a second life, putting the“standard” at the service of the unique piece where the flame turns into a flower, the fuel into water and the metal into nylon.
YEAR / 2014
MATERIALS/ Mockup made with PA220, Elasto Plastic,Glass
MODELS AND SIZE / Kosmos model 37,7 x 8,3 cm, Matador model 38,4 x 8,3 cm, Pigeon Model 20,2 x 8,3 cm, Rochester model 30,4 x 8,3 cm, Bombé Viennoise 28,8 x8,3 cm, Globe model 21,5 x 8,3 cm
MORE: Giuseppe Bessero Belti