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Crystal Palace Swarovski 0

The Swarovski Crystal Palace publication features such highlights as Tord Boontje’s poetic “Blossom” chandelier (2002) – which signalled a turning point for Swarovski and its commitment to progressive new thinking and practice. Ron Arad challenged convention with the spiral-shaped “Lolita” chandelier (2004) driven by computer-controlled LEDs to display text messages sent via SMS technology. Gaetano Pesce’s “Mediterraneo“chandelier (2006) has the appearance of a deep-sea creature, which moves as if breathing, emitting a sweet scent. Diller Scofidio + Renfro’s “Light Sock“ hanging mesh sacks are filled at the base with crystals in which a single halogen light bulb is buried (2007); while Paul Cocksedge’s “Veil“ (2008) is a crystal screen containing an image of the Mona Lisa that is only visible when the piece is viewed in a mirror. Arik Levy paid homage to the chaton-cut crystal with “Osmosis” (2009) – a series of abstract compositions that allude to crystals or rock formations but are in fact made from wood, resin, stainless steel, aluminium wire and LEDs. “Amplify“ by Yves Béhar (2010) is arguably the most egalitarian design in terms of price point; the paper lanterns are shaped like crystals and illuminated by LEDs, with the light refracted from a crystal inside, casting patterns across the lantern’s surface. We see the works on display in such venues as Salone del Mobile, Design Miami, MoMA and the Barbican. 2010, 216 Seiten/pages, Sprache/language: deutsch/english, 79,90 Euro

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