tag archives: lighting

of the four case museo di milano (milan house museums), the casa museo boschi di stefano and the villa necchi campiglio are the most exceptional.

the casa museo boschi di stefano has the best salon style art installations that i have ever seen.

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salon style installation of works from the spazialisti (spatialist) and nucleari (nuclear) art movements

casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

architecture

both the necchi campiglio villa and the boschi di stefano apartment building were designed by architect piero portaluppi (1888-1967) during the 1930’s.

click here to read my previous post about the villa necchi campiglio.

portaluppi designed the apartment building in 1929-1931 for property developer, francesco di stefano.  at the time, di stefano was building a new development of apartment buildings in the neighborhood surrounding corso buenos aires.  as part of the development, di stefano built a five-story apartment building for his family.  the building included a one floor apartment for each of his five children.  his daughter, marieda di stefano (1901-1968), and her husband, antonio boschi (1896-1988), lived in the apartment on the second floor.

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piero portaluppi (1888-1967) | staircase in the di stefano family’s apartment building | via giorgio jan, 15 | milan, italy

photo credit lisa walsh | innerspace

furniture

most of the furniture was purchased by the fondazione boschi di stefano, and is not original to the apartment.  consequently, most of the rooms are no longer furnished according to their original function.  instead, they are furnished with pieces from the same time period as the architecture and the art collection.

the foundation considers the credenza, dining table, and six chairs, designed by italian artist mario sironi (1885-1961) for the 1936 triennale di milano exhibition, as their most important acquisition.  other notable purchases include an art deco desk, bookcase, table, and bar (circa 1930), designed by sicilian architect ernesto basile (1857-1932), and six chairs (circa 1930), designed by portaluppi.

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mario sironi (1885-1961) | credenza, dining table, and six chairs | walnut, bronze, parchment, and ebony | designed for the 1936 triennale di milano exhibition

room 5 | sironi room | originally a study | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

lighting

 the light fixtures acquired by the foundation for the apartment include the ‘who’s who’ of the italian glass industry.  most are classic murano glass light fixtures from 1925-1940 by barovier, giacomo cappelin (1887-1968), venini, or napoleone martinuzzi (1892-1977) for venini.  some are more modern, but from the same time period, such as the ceiling light in the sironi room by piero chiesa (1892-1948) for fontana arte.

art collection

boschi and di stefano collected over 2000 works of twentieth century italian art, which they donated to the city of milan in 1974 and 1988.  part of the boschi di stefano collection is on exhibit at the museo del novecento, a contemporary art museum established by the city of milan in 2010.

about 300 works of art from the boschi di stefano collection are chronologically displayed in their apartment, according to art movement.  there are entire rooms filled with works by novecento (1900’s) movement co-founder mario sironi (1885-1961) and spazialisti (spatialist) movement co-founder lucio fontana (1899-1968).

fontana white

fontana grey

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lucio fontana (1899-1968) | concetto spaziale, attese | 1958-1960

lucio fontana (1899-1968) | concetto spaziale, attese | 1958-1960

lucio fontana (1899-1968) | concetto spaziale | 1956

lucio fontana (1899-1968) | concetto spaziale, crocifissione | 1956

photo credits massi_most via instagram, massi_most via instagram, lisa walsh | innerspace, and lisa walsh | innerspace

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salviati | 14 light chandelier | glass | 20th century

piero portaluppi (1888-1967) | six chairs | walnut | 1930

room 9 | fontana room | originally antonio boschi’s study | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

the boschi di stefano collection includes works by other well known artists, such as giorgio morandi (1890-1964) and giorgio de chirico (1888-1978).

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giorgio de chirico (1888-1978) | la scuola dei gladiatori: il combattimento | 1928

giorgio de chirico (1888-1978) | facitori di trofei | 1925-1928

photo credits sauvage27.blogspot.com via arte.it and lisa walsh | innerspace

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napoleone martinuzzi (1892-1977) for venini | 11 light chandelier | pagliesco (mercury) glass | 1925-1930

barovier | pair of floor lamps | pulegoso (bubbled) glass | 1935-1940

modern suite of upholstered furniture based on a design by piero portaluppi (1888-1967)

room 7 | paris school room | originally the living room | casa museo boschi di stefano | milan, italy

photo credit lisa walsh | innerspace

plus, works from the gruppo di corrente (current group), the scuola di parigi (paris school), and the chiaristi (clear), nucleari (nuclear), and informale (informal) art movements.

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salon style installation of works from the spazialisti (spatialist) and nucleari (nuclear) art movements

giacomo cappelin (1887-1968) | six light chandelier | glass | 1925-1930

room 10 | spatialist and nuclear room | originally marieda di stefano’s studio | casa museo boschi di stefano | milan, italy

photo credits lisa walsh | innerspace

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salon style installation of works from the informale (informal) art movement

gino levi montalcini (1902-1974) | table | oak with ceramic top | 1950

room 11 | informal room | originally the master bedroom | casa museo boschi di stefano | milan, italy

photo credits lisa walsh | innerspace

aren’t the salon style art walls exceptional?

during our recent venetian vacation, i took a few detours to research chandeliers for one of my current interior design projects.

my client and i are considering a juxtaposition of old and new.  like the combination of art and architecture at the punta della dogana, the former 17th century customs house that is now a françois pinault foundation contemporary art museum.

punta della dogana 1

punta della dogana 2punta della dogana 3

slip of the tongue | punta della dogana | 2015 venice art biennale-collateral event | 12 april 2015-10 january 2016 | venice, italy

photo credits lisa walsh | innerspace

we could also consider a vintage chandelier in the right size.

us 1us 2

joan jonas | they come to us without a word | united states pavilion | 2015 venice art biennale-giardini | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

probably nothing too industrial.

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arsenale 1arsenale 2

qiu zhijie | jingling chronicle theater project, 2010-2015 | 2015 venice art biennale-arsenale | 9 may-22 november 2015 | venice, italy

photo credits christian sinibaldi/the guardian, lisa walsh | innerspace, and lisa walsh | innerspace

since this is a renovation project, we have some size constraints. so, a custom contemporary chandelier might be the best solution.

one day, my husband, bob, and i took the vaporetto to murano for private tours of the barovier & toso glass museum and the seguso* factory.  after visiting the factory, i had the pleasure of working in the showroom with gianandrea seguso.  so now, my client and i are considering collaborating with him on a custom chandelier.

seguso|ballerina

seguso|ballerina|detail

seguso | ballerina chandelier | cold tone with LED lights | PS2/7.39

photo credits seguso

we also had the honor of meeting his father, poet and glass artist giampaolo seguso, in his studio.

my page is glass

my beech

giampaolo seguso | my page is glass

giampaolo seguso | my beech | poem engraved on murano glass

photos credits my page is glass by giampaolo seguso

my beech

‘my beech is becoming

even bigger;

showing off his bark

so rich with etchings, markings, tones

and shadings;

he becomes the desired backdrop

for thoughts, songs

and emotions.

further on, in time,

when stately grown

all at once the bark

will break

unable to contain

all that light

has told,

season upon season.

so the perfume of the soul

will emerge, mild and

vigorous, pure

on the carpet of leaves

and these,

blown by the wind,

broken by feet,

rotting at the roots

will sing to the world

the song of light.’

-giampaolo seguso

*if you are an interior designer, you may already know that seguso produces lighting and accessories for the donghia showrooms.

the best surprise during my recent visit to paris was an unexpected invitation from michael wagner, the president and owner of charles paris, a french lighting and furniture atelier that has been in business for over 100 years.

michael invited me to tour the charles paris workshop, located at the former christofle silver factory in saint-denis, a northern suburb of paris.

charles paris | vintage ‘corail’ table lamp | designed by jacques charles | circa 1960

price upon request | offered on 1stdibs.com by lebreton gallery | san francisco, CA

charles paris | ‘corail’ table lamp | designed by jacques charles | model 2107

photo credits 1stdibs.com and charles paris

michael’s invitation also included an introduction to dominique kerguenne, the daughter of french sculptor, felix agostini (1910-1980).  and, a visit to abat-jour, her custom lampshade shop, located in the 16th arrondissement of paris, near the trocadero.  during our visit, michael hoped that madame kerguenne would show a portion of the agostini archives.

felix agostini is one of my favorite french 20th century designers.  agostini, who designed bronze lighting, furniture, and decorative objects during the 1950’s, 1960’s, and 1970’s, is renowned for his ‘walking man’ sculptures.

‘his feet glued to the floor by an openwork ring,
this man stands straight as a stork on his lean bronze legs.
his head is high as he strides forward,
a cylindrical shade on his head.’

-description of the ‘compas’ lamp from the felix agostini by charles paris catalog

felix agostini | vintage pair of ‘compas’ table lamps | circa 1970

sold for US$29,800 | christie’s new york | 26 march 2008 | sale 1979 | lot 299

felix agostini by charles paris | ‘compas’ table lamp | designed in 1969 | ref A-007

photo credits christie’s and michael von aulock | felix agostini by charles paris

dominique kerguenne, in collaboration with charles paris, began re-releasing agostini lighting, furniture, and decorative objects in 2013, as a posthumous tribute to her father.

the felix agostini by charles paris collection is now represented by the donghia showrooms.  merci beaucoup to christine at the donghia showroom in paris for asking michael to contact me!  in america, the donghia showroom at the pacific design center in los angeles, CA will have the entire collection.

phase one of the felix agostini by charles paris collection includes nineteen designs, inspired by agostini’s love of art, architecture, literature, music, science…  and, people.

felix agostini by charles paris | ‘erato’ wall sconce | designed in 1955 | ref A-015

a man, holding a lyre in his hands

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | pair of ‘ariel’ wall sconces | designed in 1950 | ref A-014

angels, holding torches in their fingertips

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘sapajou’ table | designed in 1964 | ref A-003

a capuchin monkey

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘ispahan’ floor lamp | designed in 1976 | ref A-005

a standing horse

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘ispahan cheval’ sculpture | designed in 1960 | ref A-002

a persian horse

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘espadon’ wall sconce | designed in 1970 | ref A-018

a swordfish

photo credit michael von aulock | felix agostini by charles paris


felix agostini by charles paris | ‘amour tojours’ wall sconce | designed in 1957 | ref A-019

lovebirds

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘cocotte’ table lamp | designed in 1960 | ref A-008

a hen

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘tripode’ table lamp | designed  in 1950 | ref A-010

a three-toed bird’s foot

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘oiseau piege’ wall sconce | designed in 1969 | ref A-012

a bird in flight

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘fusil’ floor lamp | designed  in 1955 | ref A-006

a rifle

 photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘chimene’ wall sconce | designed  in 1961 | ref A-016

swords

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘esmeralda’ table lamp | designed in 1969 | ref A-009

the gothic architecture of notre dame cathedral

 photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘quasar’ wall sconce | designed in 1970 | ref A-017

astronomy

photo credit michael von aulock | felix agostini by charles paris

felix agostini by charles paris | ‘phoebe’ table | designed  in 1966 | ref A-004

greek mythology

each piece is made to order, signed, stamped, numbered, and accompanied by a charles paris certificate of authenticity.

 abat-jour is making all of the shades for the lighting in the felix agostini by charles paris collection.  even the double shield lampshades, which felix agostini invented, can be customized.

felix agostini by charles paris | ‘socle’ table lamp with a double shield lampshade | designed in 1961 | ref A-011

felix agostini by charles paris | ‘socle’ lamp base with agostini signature, charles stamp, and number

many thanks to michael for sending a car to l’hotel to drive my husband, bob, and i to saint-denis.

michael started his career at hermes, where his appreciation of artistry, craftsmanship, and quality began.  he acquired charles paris in 2001.

 charles paris | 112, rue ambroise croizat | 93206 saint-denis, france

michael wagner | president and owner | charles paris

photo credits lisa walsh | innerspace

the artistry and expertise of charles paris’ master craftsmen is most impressive.  they produce about 500 pieces per year, still using the tools and processes that charles paris has used since it was founded in 1908.

‘the company is renowned for the unparalleled quality of its bronzes.’

-dominique kerguenne

the archives contain rows of boxes filled with master templates from nearly 1500 designs.  charles paris uses the master templates to produce their classic, mid-century, and contemporary lighting, furniture, and decorative objects.  charles paris can also customize their designs, or produce bespoke furnishings.

rows of boxes filled with master templates

master templates for the ‘nil’ table lamp

charles paris | ‘nil’ table lamp | designed by chrystiane charles | model 9022

photo credits lisa walsh | innerspace and charles paris

 charles paris works with three foundries, who cast proofs from molds of the master templates using the sand casting or lost wax casting processes.

the workshop contains four production areas, where ten specialists re-work the proofs to re-capture the details that are lost during the casting process.

the setter (le monteur) builds and assembles pieces by hot or cold working the metal.

the setter (le monteur)

part of a ‘meter’ lamp swing arm

charles paris | ‘meter’ floor lamp | designed by philippe parent | model 2203

the ‘meter’ floor lamp, table lamp or wall sconce is a best selling design
the swing arm is engineered to eliminate deflection

photo credits lisa walsh | innerspace and charles paris

the chaser (le ciseleur) trims, polishes, and bleaches the metal before engraving details into the surface with an awl, riffle, file, chisel, or another tool.  he makes many of his tools himself.  he is so artistic, that it seems like he is drawing on metal!

the chaser (le ciseleur)

before and after chasing

photo credits lisa walsh | innerspace

the workshop supervisor (le chef d’atelier), who is also the turner (le tourneur), was on holiday the day of our visit.  the turner bleaches the metal before imprinting designs onto the surface with a cutting wheel.  the combined rotation of the lathe and the cutting wheel imprints a continuous design onto the surface, without overlapping.  amazing!  the workshop supervisor has not only worked at charles paris since 1978, but has also designed several lamp models, including the ‘jaipur’ table lamp.

the workshop of the turner (le tourner)

a cutting wheel

before and after turning

charles paris | ‘jaipur’ table lamp | designed by jean manuel freitas | model 7215

photo credits lisa walsh | innerspace and charles paris

 the finishers de-cap the metal in acid before gilding, polishing, de-greasing, and matting the surface.  then, they treat the finished surface with acid, and sometimes varnish it for protection.

the exceptional quality of the fabrication and the finishing are signatures of charles paris products.


the finishers

felix agostini by charles paris | ‘cheval’ console table | designed in 1969 | ref A-001

photo credits lisa walsh | innerspace and michael von aulock | felix agostini by charles paris

after completing our tour, we drove back into paris with michael to meet dominique kerguenne at abat-jour.  madame kerguenne is dedicated to maintaining the artistic heritage of her father.  her expertise at authenticating vintage agostini pieces is highly valued by dealers, auctioneers, and collectors.  she and michael talked for a year and a half before she agreed to re-release her father’s designs in collaboration with charles paris.

it took us nearly a year and a half to sign an agreement.  the best relationships develop over time.  it takes time to get to know and trust each other.’

-michael wagner

michael’s relationship with madame kerguenne is not only based on friendship and trust, but also on their mutual respect and admiration of her father’s work.  with michael translating, i expressed my admiration of felix agostini’s work, and asked madame kerguenne to sign the copy of the felix agostini by maison charles catalog that michael had given to me.

photo credit lisa walsh | innerspace

‘delighted to have you and flattered at the interest you have shown in the work of my father.’

D Kerguenne Ag | 25 september 2014

soon, the photo albums began to appear.  albums, filled with documentary photographs of agostini sculptures, lighting, and furniture.  some of the albums, michael had never seen before.  then, madame kerguenne went to the safe, and began showing us some of the original plaster models of her father’s sculptures.

‘after the paper sketch and the wire framework, he would use a knife or a small spoon to sculpt in plaster, never making alterations.  he was an instinctive genius…’

-dominique kerguenne 



felix agostini | sketch for the ‘caryatide’ wall sconce with two arms | 1957

felix agostini | vintage ‘grande cariatide’ wall sconce with two arms | 1957

sold for US$17805 | christie’s paris | 17 may 2006 | sale 5321 | lot 59

felix agostini by charles paris | ‘caryatide’ wall sconce with three arms | designed in 1955 | ref A-013

photo credits felix agostini by charles paris catalog, christie’s and michael von aulock | felix agostini by charles paris

it was fascinating to compare some of the original plaster models to the original bronze sculptures.  surprisingly, the models are larger than the sculptures because bronze shrinks approximately 5% during the casting process.  agostini instinctively compensated for the shrinkage by increasing the scale when carving the models.  sadly, some models, or pieces of models, have been lost or broken.  so, those designs can’t be re-released.  but, there are complete models for about 80 designs.  including, some designs that have never been produced.

i wonder which designs will appear in future phases of the felix agostini by charles paris collection?

michael wagner and dominique kerguenne with alexandre hallot of abat-jour

photocredit lisa walsh | innerspace

merci beaucoup to michael wagner and dominique kerguenne for an inspiring afternoon.  it was a pleasure, and an honor, to meet you!

alison berger has been described as:

‘an artist whose medium is light and whose material is glass.’

she is an artist.  and, a craftsman.  she studied glassblowing at the rhode island school of design (RISD), where she apprenticed with dale chihuly.  chihuly’s work in blown glass is considered fine art.

dale chihuly | dusky sky chandelier

chihuly | halcyon gallery | 5 dec 2011-21 apr 2012 | london, united kingdom

photo credit halcyon gallery

click here to read my previous post about dale chihuly.

at RISD, she also apprenticed with chihuly protigee, james carpenter.  now, carpenter develops glass and material technologies to explore light as an architectural medium.

 james carpenter design associates (jcda) | podium light wall | 7 world trade center | new york, NY

photo credit jcda

alison berger is also an architect.  she earned a BFA in architecture from RISD.  and, an MFA in architecture from columbia university.  she practiced architecture with bausman-gill in new york.  and then, with frank o. gehry in los angeles.

frank o. gehry | preliminary sketches | panama puente de vida museo | panama city, panama

frank o. gehry | panama puente de vida museo | panama city, panama | opening 22 may 2014

photo credits (c) frank o. gehry and victoria murillo

she is also a designer.  she designs lighting,

 

alison berger | pistil pendant light

alison berger | crystal sphere pendant light

photo credits holly hunt and plug lighting

and objects.

alison berger for hermes | the balance line tabletop collection

photo credit alison berger

site specific installations or commissions,

 
 

alison berger | installation | crystal vessels in large glass cages | comme des garcons store | tokyo, japan

alison berger | commission | rain chandelier | dining room | actor jennifer aniston’s home | beverly hills, CA

photo credits alison berger and alison berger

and now, furniture.

alison berger | tables of the trade | sculptor’s pedestal table

photo credit alison berger

i had the pleasure of attending spirits in glass, a private reception and presentation by alison berger, hosted by the kneedler|fauchere showroom during design san francisco 2014.  her presentation was energetic and funny.  she grew up in dallas, studied and worked in new york, and lives in los angeles.  no wonder:

‘her manner combines the expansive friendliness of a native texan,

the energy and intellectual intensity of an erstwhile new yorker,

and the mellow openness of [an] angeleno…’

 -joyce lovelace | american craft magazine | february/march 2009

her style is simple and refined, just like her work.  as an architect, she considered every building as a vessel for light.  as an artist, she considers the structure of every vessel.  her defined creative process is curatorial, artistic, and architectural.  she researches.  she sketches, draws, and paints.  she makes collages.

 

alison berger | form study 2

alison berger | bell tower chandelier

photo credits holly hunt | alison berger book-volume 2 and alison berger

she drafts plans, sections, and elevations.  and, she builds models.

 

 

alison berger | section | lantern pendant light

alison berger | lantern pendant light

photo credits david lauridsen

i start with a planned section and an elevation.  but, soon the molten glass takes over…’

-alison berger

berger began working full time as a glass artist in 1995.  she works from her design studio in west hollywood, CA.

alison berger in her light filled design studio | west hollywood, CA

photo credit dave lauridsen

and, from her workshop in compton, CA.

alison berger in her workshop with master gaffer, jesus garcia | compton CA

photo credit holly hunt | alison berger book-volume 1

each piece of glass is hand blown, annealed, and then hand finished by berger’s production team, using hand tools and traditional glass blowing techniques.  the process is time consuming, and physical.  each piece is blown from 12-15 pounds of unleaded crystal, which is finer than glass because it contains fewer chemical impurities.  manipulating the copper/sand/silver ratio in the crystal adds a yellow glow, which adds depth, reflective, and timeless qualities.

‘i love it when people don’t know whether my pieces are old or new.’

-alison berger

many of her pieces contain veiled historical references.  her pieces can be inspired by art, antiquities, scientific documents and instruments, or even, flea market finds.

curiosity cabinet | alison berger’s studio | west hollywood, CA

photo credit joshua white

during the creative process, she alters the scale and removes the decoration, which reduces an inspirational object to it’s essence.

‘i like my forms to be so simple they knock people off their feet.’

-alison berger

and then, she reinterprets the object in glass, a material that contains fire and light.

‘glass captures the process of remembering.  and, as the light fades, forgetting.

light is the medium, glass is the material and memory,

elusive as it is, [that] is my theme.’

-alison berger

crystal water bottles.  inspired by alchemy and baroque still life paintings.

willem claesz | still life with a gilt cup | 1635 | rijksmuseum | amsterdam, netherlands

alison berger for blackman cruz | crystal water bottles

photo credits rijksmuseum and david lauridsen

the roman ring floor lamp.  inspired by a roman cup.

inscribed cup | mold blown glass | roman | ad 1-50 | the getty villa | malibu, CA

alison berger | roman ring floor lamp

photo credits the j. paul getty museum and holly hunt

the word pendant light.  inspired by leonardo da vinci’s scientific and theoretical texts.

 

leonardo da vinci | study of the effect of light on a profile head | galleria degli uffuzi | florence, italy

alison berger | word pendant

photo credits leonardoda-vinci.org and holly hunt

the lens sconce and lens chandelier.  inspired by a 19th century earring, found at a flea market.

19th century earring, found at a flea market

alison berger | lens sconce

alison berger | lens chandelier

photo credits alison berger, holly hunt, and holly hunt

she recently launched a furniture collection called tables of the trade.  the collection currently includes a carpenter’s bench, a jeweler’s table, a writer’s console, a sculptor’s table, and a painter’s table.  the design for the painter’s table was inspired by a photograph of the studio of italian still life artist, giorgio morandi (1890-1964).  the drafting table in morandi’s studio is covered with butcher paper.  berger abstracted the circular tracing patterns, worn into the paper, and then carved the abstract patterns into the top of the painter’s table.

 

giorgio morandi’s art studio | casa di morandi | bologna, italy

detail | butcher paper on the drafting table in giorgio morandi’s art studio | casa di morandi | bologna, italy

alison berger | painter’s table

photo credits artstudioshare.blogspot.com, holly hunt|tables of the trade brochure, and holly hunt|tables of the trade brochure

the next piece in the tables of the trade collection will be an astronomer’s table.  the bronze table will have a map of the constellations carved into the top.  but, instead of referencing historical documents, the map is imaginary.

other new products, planned to launch during 2014, include:

the cage pendant light.  inspired by an antique surveyor’s cage.  with an open weave basket form.

the time chandelier.  inspired by the passage of time and clock mechanisms.  with gears, weights, and counter weights, candles, and electrified pendants.

the bow chandelier.  based on a bowstring.  with flattened pendants, suspended from an expandable system of interlocking arcs.

the moon pendant light.  inspired by the phases of the moon.  with moon flask shaped pendants, which look full from the front and back, but thin from the sides.

‘the power of lighting is staggering.’

-alison berger

lighting is the jewelry of a room.  and, aquarium, a mobile commissioned by the fondation cartier pour l’art contemporain, designed by brazilian artist beatriz milhazes, and crafted by cartier, was the jewel of art basel miami beach 2011.

the fondation cartier exhibited aquarium in the miami design district during art basel.

beatriz milhazes | aquarium | fondation cartier pour l’art contemporain | art basel miami beach 2011

photo credit lisa walsh | innerspace

cartier crafted the mobile from almost 15,000 carats of pearls, precious gems, and semi-precious stones, set in brass and gold vermeil.  the gems include over:

3200 carats of rubies

3200 carats of sapphires

1800 carats of turquoise

900 carats of coral

150 carats of emeralds

20 carats of diamonds

beatriz milhazes | aquarium | fondation cartier pour l’art contemporain | art basel miami beach 2011

photo credit lisa walsh | innerspace

would you describe aquarium as jewelry?  as, sculpture?  or, as decorative art?

artist beatriz milhazes

photo credit art | basel | miami beach

fortunately, decorative lighting doesn’t need to be crafted from precious materials to resemble diamonds…

dining room | donghia furniture showroom | new york, NY | interior design by anita csordas

photo credit architectural digest 

cascade grand luminaire | crystal and aluminum | designed by todd rugee | boyd lighting

photo credit boyd lighting
 

diamants legers de cartier earrings | diamonds and white gold | cartier

photo credit cartier
or, pearls…

dining room | november 2011 catalog | design within reach (dwr)

photo credit dwr

fun 11 pendant light | mother of pearl and steel | designed by verner panton | design within reach (dwr)

photo by dwr

south sea pearl and diamond necklace | gump’s

photo credit gump’s
rubies, sapphires, or emeralds…

dining room | private residence | southern, CA | architecture and interior design by newman mendro andrulaitus

 photo credit california homes

cellula chandelier | swarovski (r) crystals and aluminum | designed by nunzia carbone and tiziano vudafieri | anthologie quartett

swarovski (r) crystals available in crystal, red, blue, or green

photo credits anthologiequartett

ruby, diamond and 18k white gold line bracelet | asprey

sapphire, diamond and 18k white gold line bracelet | asprey

emerald, diamond and platinum line bracelet | asprey

photos credits asprey
or, semi-precious stones.

dining room | september 2011 catalog | design within reach (dwr)

photo credit dwr

stamen pendant lights | amber, sapphire, or plum glass | designed by jeremy piles | niche modern

photo credits dwr

m’ama non m’ama rings | semi-precious stones and rose gold | pomellato

photo credit pomellato
you can never have too many jewels…