Wintergarden
tecture, but the progressive multifunctionality also seems to have a higher mental impact on its users, probably because it is compatible with nature and human behaviour. A room and its transformable lighting are able to interact in an almost organic way with the changing surrounding conditions and the various needs of its users. These factors, together with the properties of the shape changing system, determine the transformation process. We call this extra-dimensional functionalism: metamorphism. Within this process, flexible versus rigid materials and actuating devices play a key role. For example, the Santiago lamp slowly transforms from a closed and rectilinear light into an open, curved spotlight.
We have been showing our transformable lamps at exhibitions around the world since 2008. We seem to touch a new and universal aesthetic. From New York to Italy, Shanghai and Paris, spectators felt intuitively connected. They had spontaneous feelings of awakening, living, breathing. Deeply rooted in our mental perception, light, warmth, and colour seem naturally related to curved and open forms. Darkness, the colour black, and cold seem related to straight and closed forms. However these seemingly opposite categories can become complementary and innate properties of one. We created a new kinetic aesthetic by combining these properties. It is not the form, nor the movement itself, but the ability to 04 /1 2
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