Unconventional, poetic, original. Karman lamps are recognized at first glance, for that mixture of technological and aesthetic research. A different kind of alchemy every time, as the company invents new light sculptures, theatrical presences between art and design to personalize and reinvent spaces. The new developments play with geometric shapes, circles, cones, straight lines, weights and counter-weights, gravity-defying balances.
Like Stant, designed by Edmondo Testaguzza, a system of ceiling and suspension lamps whose name comes from the very stare, to stay, in the sense of static, linear, straight forms and circumferences, where all the parts are clearly visible, assembled with exposed joints, allowing for the free insertion of new parts to give rise to micro-architectures without additional power cables.
Matteo Ugolini, art director of Karman, interprets the complex, essential geometric form of the cone in various configurations and collections, such as Filomena, a family of suspension lamps that starts with a full aluminium cone to climb on ceilings and walls with suspension lamps at different heights, thanks to a long, slender cable that permits sophisticated games of balance.
The cone returns in Stralunata, together with another geometric form, the suspended circle like a full moon, a flat disk in white aluminium on which the halo of light from the overturned cone is reflected, in a game of weights and counter-weights.
Finally, in MoonBloom, also by Matteo Ugolini, the cone is featured with a light source aimed upward, to spread light on the ceiling and illuminate an elaborate ceiling attachment in white plaster; the lamp can also be turned over, to brighten the surrounding space or the surface of a table. Sequences of cones can be oriented in different directions, pursuing each other in an apparently infinite like of light.