Artist: Archizoom AssociatiThe prototype of the Sanremo floor lamp was Dario Bartolini's engagement gift to Lucia Morozzi, presented at Villa Roccamare, designed by Ernesto Nathan Rogers. Sanremo, designed in 1968, consists of a thin metal stem and a crown, resembling that of a stylized palm tree...
Artist: Archizoom Associati
The prototype of the Sanremo floor lamp was Dario Bartolini's engagement gift to Lucia Morozzi, presented at Villa Roccamare, designed by Ernesto Nathan Rogers.
Sanremo, designed in 1968, consists of a thin metal stem and a crown, resembling that of a stylized palm tree colored green, pink, or blue.
The crown is formed of lanceolate leaves of transparent methacrylate that radiate light. The Sanremo lamp is a luminous, ironic, and delicate installation.
At the time of its creation, the prototype included a sound, similar to that of a cricket, which was subsequently eliminated in mass production.
The base and the trunk are made of enameled metal, marble, and acrylic. The leaves are made of laser-cut, lacquered, pearlescent, and beaded Perspex®.
Poltronova helped change the history of design and was propelled to the international stage as one of the companies manufacturing the most avant-garde furniture of 20th-century Italy.
In 2000, with the help of Ettore Sottsass, Roberta Meloni became the owner of the brand and decided to rediscover the original essence of Poltronova, which she felt had been lost in the 1980s with a new team more focused on industrial shifts and profits.
In 2005, Roberta Meloni delved back into the archives and founded the Centro Studio Poltronova: a research center for students and historians, but also a center for exhibitions and publications, and began producing the iconic objects of its highly eclectic catalog once again.
According to Roberta Meloni, “What is Poltronova if not a collection of extremely visionary objects, ahead of their time, aggressively nonconformist, full of sensuality? They were born far from the desire to be creative, opposed to the idea of designing something practical. For example, the Superonda sofa, I Mobili Grigi (including the Ultrafragola mirror), and the Safari sofa were not accepted at the time they were designed, and for many years, only a few rare examples were produced.
Today, in a world where the need to have one’s personal space is more pressing than ever, the intensity and meaning of these pieces are finally being appreciated. The freedom to exist without inhibition is, after all, a timeless and widespread concept”.
