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COHERENCE AND CLARITY.
by Pascual Salvador.

(...) My efforts are mainly focused on the thorough study and elaboration of the projects at hand and on making them easily understandable to all. What I have in mind is neither to take advantage of the commissions I get to create objects meant to impress people, nor to endeavour to have my name listed in design encyclopedias or yearbooks. What I have in mind is to act with true professionalism, just as any other professional might act. To this effect, the relationship with the customer is a fundamental factor. In the present context, here and now, I think that the entrepreneurs should take over the responsibility for deciding which products they really need and which requirements these products should meet. And we designers should be essentially responsible for working out suitable solutions for projects thus commissioned within coherent and clear terms of reference. It is for this reason that, whenever a customer asks me to do "something" in the abstract, I refuse to take on the job. Nothing good can come out of such a lack of ideas and of the ignorance about one's options and needs. On the other hand, unfortunately, there are still very few business executives who understand the true usefulness of design and how they could apply it as a contributory factor to the modernization and reactivation of their enterprises. There are still many entrepreneurs who consider that such implicit aspects of industrial design are but minor factors compared to the technical, economic or commercial sides of the business. There are still many manufacturers who fail to understand how, with inferior material means, some of their competitors might achieve higher-quality products, and greater profit, simply because they have known how to adopt a positive orientation regarding the conceptual aspects of production. And, if and when light eventually dawns on them, it might regrettably be too late for their enterprises. In the meanwhile, our profession demands that we continue with our design work.

THE FINGER CEILING-LIGHT.
by Josep M. Fort

(...) In the field of furniture designing, there is no doubt that one of the elements that play a truly essential role in connecting objects with the surrounding space and bringing forth special closeness is light, more precisely in the shape of artificial lighting systems and elements. In large part, the fundamental questions and problems that arise at the stage of architectural conception are developed and worked out in terms of natural light. So, on principle, artificial lighting elements are objects intended to make up for the absence of natural light but, in truth, they constitute a new, different illumination system which appears when sunlight, a phenomenon characterized by a highly variable course and a rich range of nuances, disappears. Therefore, even though the comparison is not really stated explicitly, artificial lighting strives to measure up to the standards of natural lighting, given that it is meant to substitute for it. This is possibly the reason why, whenever industrial designers have to deal with lighting systems, they are faced with unexpected difficulties. They won't make do with the kind of light a simple lamp would provide; neither could they content themselves with a styleless arrangement of electric wires, a deficient distribution of light, a warped perception of space prompted by the inferior quality of artificial light in comparison with natural light, among other problems that may arise. That is why the designer often opts to develop a completely new system that is meant to be alternative rather than substitutive. In this context, the objective is not to succeed in creating the sensation that artificial lighting is just another phase in a sequential process determined by changing daylight, but rather to provide something that daylight precisely does not provide.
From this point of view, the Finger ceiling-light, designed to be hanged over a dining-room table, constitutes quite an adequate solution. Typologically speaking, it has many antecedents, some of which reasonably successful, but it is the first model to apply a system which makes it possible to alter the position of the light-projecting point with such ease that it has all the appearances of novelty. You only have to use the simplest hand movements to actuate a small device located under the lampshade that makes the other extremity of the horizontal arm move away from the ceiling, at the same time allowing it to rotate, thus altering the radius of the projected light circle. Given that the system is based on the law of gravity, a principle we may trust to keep on working reliably, at least for the time being, the Finger ceiling-light is a clever product that appears to have a sound future.