Carlotta de Bevilacqua talks about Vine Light by Artemide, the adjustable arm lamp in the wake of a tradition that begins with the Tizio by Sapper and passes through the Tolomeo by De Lucchi and Fassina.

Almost half a century has passed since the day when Richard Sapper designed Tizio, the desk lamp with an adjustable arm that developed the intuition of Ernesto Gismondi to link the name of Artemide to a universal creation, which "Tizio, Caio and Sempronio".

Fifteen years later, Tolomeo by Michele De Lucchi and Giancarlo Fassina marked, again for Artemide, an evolution in that type of lamp also destined 'it to make the history of design. Lastly, Vine Light by Studio Big is the most recent stage in a story that, as happens with the best design, is not just a matter of technology and aesthetics, but an opportunity to observe against the light how man's needs change at home and at work.

We talked about it with Carlotta de Bevilacqua, at the helm of Artemide, the company that has been interpreting these needs since at least 1972.

"In part, the principle of Vine Light is the same as that of Tizio and Tolomeo, illuminating the table without occupying its work surface and with the flexibility of moving the light where it is needed. So with a base that gives stability and arms that bring the light and allow its movement.

For Tizio it was a game of weights and balances where the cable disappeared, replaced by the tracks that lead the negative and positive poles to the first very low voltage halogen. Tolomeo also added the possibility to rotate the head which accommodates the evolution of light technology, from the traditional incandescent E27 to the LED. And now Vine Light, which interprets the new technological challenges and the transversality in living spaces that is now part of our daily life. He does it by reducing everything to a minimum.

Compared to Tolomeo it eliminates a joint leaving maximum freedom of movement . The shape of its head invites spontaneous gestures in orienting the light and in its profile it also integrates a touch dimmer to adjust the intensity. It is a new generation of task light, it translates the principles of the other iconic table lamps into innovative solutions such as the patented optics and the electromechanical joints that disappear by integrating seamlessly into the constant section of only 16 mm in diameter that constitutes the entire profile of Vine Light".

What was the brief assigned to Studio Big?

The challenge was, in fact, to design a perfect table lamp for increasingly transversal living and working spaces, designed to develop into a family with different applications and measured according to sustainability principles that are the basis of our values. Like Alphabet of Light, Vine Light shows Big's ability to synthesize at a minimum, to arrive at a form so elementary as to be universal. To achieve this goal, there was a very intense and open dialogue, a deep collaboration thanks to which the company know-how, research and technological innovation have been translated into a surprising result: a simplicity that invites relationship and returns great quality and functionality.

So why is Vine Light a relevant product and what does it add to the history of table lamps?

It removes a pivot point, takes away weight, complexity and materials, reduces everything to the essential and, by doing this, adds freedom, sustainability, quality to a space of personal light that it can be transversal and interpretable.

Much of the evolution of table lamps passes right through the history of Artemide: is it inevitable to feel this responsibility every time you design a model of this kind?

In every project, the responsibility is to think of a better alternative to what already exists. The icons that have made the history of light design show us how the project is not a formal question, but a convergence of research and culture, of technological limits and opportunities that express a vision and values: is a flash up in which beauty is the final result, not the starting point. The responsibility we have when we face a new project is to interpret the future in the present and produce products capable of lasting over time.

Cover photo:
Carlotta de Bevilacqua photographed by Pierpaolo Ferrari (fotografia orizzontale)
Carlotta de Bevilacqua photographed by Lea Anouchinsky (fotografia verticale)