Atlantica - 01.11.2000, Blaðsíða 52

50 A T L A N T I C A
must not spill, but leave hands and tablecloth clean.
The spout was designed to pour as well as to be the lid
itself, leaving one hand free – essential in food prepa-
ration. Finally, the beautiful colours of the oil and vine-
gar were to be enhanced by the transparency of the
glass, to take part in the interplay of colours in the
overall setting.
An unusual feeling for light and shade is manifested
in the Coderch dining room light (1957) by the archi-
tect Juan Antoni Coderch de Sentmenat. It consists of
thin plates of wood or white perspex which are each
put under tension to form an arch and alternately open
and close over the source of light. Intriguingly, the
lamp contains no screws or fastenings; all the units are
simply snapped together. The resulting illumination is
highly unconventional, the sort of light associated with
a flickering fire or fitful moonlight. The table lamp
Cesta (1964), by Miguel Milá, is also reminiscent of a
light shining through the dusk, like the small lantern
used on the veranda or the beach in days gone by to
light the way home. But just as important as the light
itself is its symbolic value. Thus the light bulb is
“dressed up” to take part in the overall décor of the
home, only performing its role as a source of light for
a short period during the day. The floor lamp TMM
(1961), also by Miguel Milá, is based on a primitive
concept of what is required to make up a lamp. That is:
a light bulb with a shade to reduce the glow, an upright
stand which fans out its feet for stability and a wire,
also containing the electric switch. As a final touch, the
shade is simply clipped to the stand, making the lamp
easy to move. A simple but effective recipe.
All these objects interpret tradition in such a way
that they can fit into very different homes. This is
because although the Spanish have their own unique
culture, the designs are based on principles which
appeal to the shared experience of mankind; principles
which respond to such basic habits as eating, and
people’s sensitivity towards light.
COMBINING DISPARATE MATERIALS
Modern Western societies are characterised by a
variety of layers. Many architects and designers have
attempted to interpret the complex pattern of society
in the high-tech world of telecommunications and
media, by trying to reconnect people with their envi-
ronment. Houses, interior space and furniture must
take account of new technology and environmental
considerations, redefined use of space and changed
ideas of comfort. The last few years have seen, for
instance, furniture and objects associated with work
and the office finding a place in the home, where
sewing machines and computers have already been
assimilated among the functional domestic objects.
Materials have also been transformed by new technol-
ogy and ingenuity, as can be seen in the chair Rothko
(1994) by the architect Alberto Liévore, which is made
from “artificial wood” (Maderon), or crushed almond
shells. This use of almond shells marks a turning point
in the future of the chair. Spain is among the biggest
almond producers in the world, which means it has a
large supply of raw material. In this environmentally
friendly class we also find the Toledo aluminium chair
(1988) by Jorge Pensi. As with the Rothko, it is the
Cesta table lamp
(1964)
by Miguel Milá.
Manufactured by
Santa & Cole
(Barcelona).
Coderch table light (1957)
by Juan Antoni Coderch de
Sentmenat. Manufactured by
M.L.B. Coderch (Barcelona).
TMM standard lamp (1961)
by Miguel Milá.
Manufactured by Santa & Cole
(Barcelona).
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