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Design by Michele De Lucchi and Alberto Nason,2009.
This is a bottle, a dish-cover, a circus tent, a jar, a fireplace, a Mongol hut, it is... certainly strange to see it fly. The Bonne Nuit has a cupola in borosilicate glass, partly sandblasted and partly transparent. It looks like an object made to be placed on a table, whereas actually it is hung by a single wire that passes through the cupola chimney.
Blown borosilicate glass has a clear top with sandblasted sides to diffuse the light.
Available in two sizes. Provides diffuse and direct illumination.
Material(s): borosilicate glass
Lamp Type: incandescent
Models: ML-BNS16 ML-BNS26
Michele de Lucchi
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.
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.
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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