GLASLOVE [Charity Auction Catalogue]

GLASLOVE: REDESIGNING THE COURSE OF CANCER Cancer touches almost every family. It can destroy, yet it can lead to a fresh perspective of gratitude. Cancer tests the strength, resilience, and character of patients and families.

visionaries, and we are humbled that they, along with luminaries from related fields of fashion and architecture, have consistently joined our cause.

We know this personally, as Nargis has successfully waged battle in five incidences of cancer over thirty years.

Her victories inspired our desire to take a stand against this devastating disease. Our mission: to raise funds for cancer research. Our weapon: the power of design.

This year, we turn our LOVE to glass, a material characterized by the duality of its strong yet fragile nature.

Poetically and metaphorically, glass reflects the fierce spirit of those battling cancer.

We started with PuppyLove in 2006, inviting designers to adorn Eero Aarnio’s iconic plastic puppies. The amazing creations were auctioned, generating a donation of $450,000 for the Sylvester Comprehensive Cancer Center at the University of Miami Miller School of Medicine. We wanted to support a cutting-edge research institute in Miami, our hometown and the community that has embraced Luminaire for over forty years.

For our 2008 fundraiser, PaperLove, we invited designers to employ paper to create one-of-a-kind works. In 2011, DesignLove was an exuberant exhibition and auction emanating from our friendship with Intramuros magazine, which donated more than ninety original works in DuPont Corian by contemporary designers.

Thus far we have raised almost one million dollars for cancer research. We are fortunate to have long-standing relationships with many creative

Joining with us for GlasLove are distinguished international designers and manufacturers. We are grateful for their generosity, especially Glas Italia, which produced, sponsored, and donated more than thirty prototype pieces by Nendo (Oki Sato). Phillips, the international auction house, is partnering to sponsor and conduct the online and live, juried auctions to benefit the Braman Family Breast Cancer Institute at the Sylvester Comprehensive Cancer Center.

Enormous thanks to the Luminaire family of donors, supporters, designers, and producers who generously gave LOVE, time, and talent. Our incredible community has reinforced our belief in LOVE and reminded us of the essential and transformational role of design.

Together we can help redesign the course of cancer and shape a more beautiful future.

With love, Nargis and Nasir Kassamali

ANDO TIME

BY TADAO ANDO “The real importance of architecture is its ability to move people’s hearts deeply. I am always trying to establish spaces where people can gather and interact with one another.”

Architecture is defined through space and time. Perhaps, metaphorically, an hourglass can denote architecture. “Ando Time,” a unique piece designed by prolific Japanese architect Tadao Ando for Venini, is formed of two pieces: a revolved glass prism with a triangular base (external) and a glass cylinder comprising two parts in different colors (internal). The sculptural object’s parts are connected by a titanium component that lets the sand pass through. Appearing simple in design, the precise form features sharp edges and planes curved in torsion. This work contains the sense of passing time but also of interchangeability between top and bottom, as the hourglass works by being turned upside down again and again.

Unique piece “Ando Time,” 2015 Murano glass, sand.

21¼ x 5⅜ in. (54 x 13.7 cm) Produced and donated by Venini (Murano).

BOCCI 73.19

BY OMER ARBEL “It is easy to fall into a subconscious acceptance of the patterns of working and making. Instead, in all our projects, we try to investigate process and break through predictable patterns of methodology. By focusing on the process rather than on an end result, we often stumble upon great discoveries, and often these discoveries become the foundation around which we build a project.”

Blurring the fields of industrial design, architecture, manufacturing, and materials research, Omer Arbel is renowned for his creative approach to product design. The creative director and cofounder of manufacturing house Bocci, the designer seeks inspiration in the intrinsic qualities of materials, fascinated by physical, chemical, and mechanical processes and the opportunities he finds to manipulate them. In that vein, he has designed “73.19,” part of the “73 Series,” a chandelier comprising ethereal forms created by blowing liquid glass into a folded and highly heat-resistant ceramic fabric vessel. The resulting shape has a formal and textural expression intuitively associated with fabric, which becomes permanent and rigid as it cools. A flat LED is positioned to fill the resulting volume with diffuse light, accentuating the volumetric perception of the piece.

This installation, comprising nineteen pendants, was created specifically for GlasLove.

Unique “BOCCI 73.19,” 2016 Fiber cast glass.

29½ in. (74.9 cm) drop x 7¾ in.

(20 cm) wide Image is a detail view; piece includes 19 pendants, each is 17 lbs.

Produced and donated by Bocci (Vancouver).

METEORA

BY IVAN BAJ “A meteor falling into the sea, transmitting life from far worlds.”

Like a meteor falling to earth, Ivan Baj’s “Meteora” finds its amorphous form from manipulation of glass under extreme heat. Specifically produced for GlasLove, this mouthblown Murano vessel references the captivating blue color of the water surrounding Sardinia while building upon the Italian designer’s passion for glass expression. Thanks to advanced glass-blowing artistic techniques, this object soars beyond the static nature and typical rigidity of glass to showcase the possibility of conveying movement and spirit through the material.

Unique “Meteora,” 2016 Murano mouth-blown glass.

12 in. (30.5 cm) diameter Produced and donated by Arcade.

BORN BROKEN

BY JAKUB BERDYCH “I wanted to break my glass away from the boring everyday process of glass making, when one can tell easily how the final product will look…

I wanted to experiment, to make something new and different. I wanted my glass art to surprise me.”

In “Born Broken,” Jakub Berdych employs an error as a design concept.

Inspired by the craft itself, this prototype reminds us of the otherwise unseen aspect of glass production— its errors. What would normally be considered an irreparable mistake caused by a clumsy glassblower purposefully becomes the center of attention and a technical challenge.

Each hand-blown shape is broken into several segments, and their edges are additionally hammered to create a pattern visually akin to cutting. The individual pieces are reheated and joined into one unit, creating a safe and compact surface but retaining their intriguing random patterns.

Prototype “Born Broken,” 2016 Hand-blown glass.

13 x 2⅜ in. (33 x 6 cm) Produced and donated by Lasvit (Czech Republic).

BLOSSOM

BY TORD BOONTJE “Looking at crystal I recognize the floral shapes within the material. I like the idea of bringing more emotional qualities to the crystal. I thought of blossom branches for my chandelier design, and the crystal evokes these very well.”

Tord Boontje is renowned for taking inspiration from handicrafts and folk traditions and combining them with technology. "Blossom," designed by Boontje for Swarovski Crystal Palace, is a delicate chandelier of twisted, bejewelled blossom branches, a unique and captivating interpretation of nature. Working with his distinctive signature of fluid forms, Boontje presents a piece inspired by frozen cherry blossom, which fizzes with luminescent flowers, petals, buds, and starbursts. Swarovski Crystal Palace began in 2002 as a mission to recreate the chandelier for the twenty-first century, and the exquisite “Blossom” was part of the inaugural collection. It was later produced in several variations, including this version, restored in 2016, which is designed to be spot-lit.

“Blossom,” originally designed in 2002, produced 2008–10 Powder coated steel, clear crystal, crystal AB coating.

39⅜ x 31⅜ x 13 in. (100 x 79.7 x 33 cm) Produced by Swarovski. Donated

by Nadja Swarovski.

ANNULAR

BY TODD BRACHER “There is little visual variance between glass and water when both are static and controlled. For me, glass is a skin and water a volume. The 1.7L represents the seventeen million years since the discovery of human cancer.”

For American designer Todd Bracher, the truth and honesty of an object are best revealed only in its most elemental form. It is appropriate then that “Annular,” specifically made for GlasLove, is edited to its essential elements. As the word “annular” means ring-shaped, the resulting “Annular” pitcher features an over-scaled circular handle. The object, with its 1.7 liter volume, symbolically references the designer's representation of aspects of the history of cancer. The delicacy of “Annular” precludes it being used to hold liquid; it is intended as an art piece. Employing the technical knowhow of the Yale University Scientific Glassblowing Laboratory, Bracher has refined the industrial process to achieve a harmonious object that is grounded in strong geometric forms.

Unique “Annular,” 2016 Borosilicate glass.

8⅝ x 4 in. (21.9 x 10.2 cm) Produced by Yale University Scientific Glassblowing Laboratory (New Haven, Conn.).

Donated by Todd Bracher.

SPHERE CHANDELIER, CANDY COLLECTION

BY FERNANDO AND HUMBERTO CAMPANA “We are happy to be part of the Kassamalis’ Love series again, as we are very enthusiastic about being part of enterprises that aim at helping people when we have the possibility. It has become a political statement of the studio and also ours as designers.”

Building on the colorful universe of the Campana Brothers’ “Sushi” series, “Sphere Chandelier” was inspired by the multi-hued candies found in Brazilian markets. Made using traditional glass-blowing techniques at Lasvit’s production facility in Lindava, streaks of color are formed within the milky white translucent shades, which are gathered into a dramatic spherical chandelier. The flair, color, and sheer inventiveness of Brazilian design is embodied in the work of the Campana Brothers, whose designs are imbued with a zest for life.

Prototype “Sphere Chandelier, Candy Collection,” 2016 Hand-blown glass, polished brass.

42½ in. (108 cm) diameter Produced and donated by Lasvit (Czech Republic).

VASE 2, CANDY COLLECTION

BY FERNANDO AND HUMBERTO CAMPANA “Brazilian multiculturalism nourishes our creations. Translating Brazilian identity into design is one of our most important challenges but we actually find inspiration everywhere we go. Mainly in life’s magnitude, in nature and in craft traditions that are disappearing.”

The Campana Brothers have further developed their iconic “Sushi” series with this surreal glass object. The prototype “Vase 2” was launched during Salone del Mobile 2016 and is part of the “Candy Collection” produced by Czech glass-house Lasvit. As with their “Sphere Chandelier,” the brothers’ inspiration for “Vase 2” was the colorful candies of the Brazilian marketplace, reflected in the vase’s multi-colored streaks against the white background.

Prototype “Vase 2, Candy Collection,” 2016 Hand-blown clear and opal glass with color strings.

14⅛ x 5⅛ in. (35.9 x 13 cm) Produced and donated by Lasvit (Czech Republic).

BENT GLASS BENCH

BY NAOTO FUKASAWA “[Design] means being aware of our living nature, a simple element in the larger environment. I like when a project doesn’t sell my name or my characteristic, when it is just an object that happens to be there…no, not anonymous, just natural.”

Conveying a sense of lightness and purity of form, Naoto Fukasawa’s “Bent Glass Bench” is a prototype created during the lengthy research and development process that led to the final production version by Glas Italia. Made of transparent glass, the curved material features indentations for the seat that are not found in the final production version. Utilizing a particular curve and a special tempering process, the bench is extremely resistant to weight. “Bent Glass Bench” is an especially lyrical work that transforms glass into a fluid, breaking wave.

Prototype “Bent Glass Bench,” 2012 Glass.

18½ x 78¼ x 20½ in. (47 x 198.8 x 52.1 cm) Produced and donated by Glas Italia (Milan).

MIRROR BELL TABLE

BY SEBASTIAN HERKNER “There is a sensitivity and identity to my work that emphasizes the function, the material and the detail. I transport and interpret characteristics from various contexts of society and culture and implement them in new artifacts. This character infuses the most everyday objects with respect and personality. In this manner, seemingly contrary things can experience esteem.”

While seeming to almost disappear in plain sight, this unique piece was produced specifically for GlasLove. A mirror-finished version of Sebastian Herkner’s iconic “Bell Table,” this piece has a striking presence. The combination of the bell-shaped glass base and glass top metalized in real silver with the high-gloss polished aluminum funnel creates an elegant design with unparalleled craft. For the producer, ClassiCon, it is very important to cooperate with traditional craftspeople in Germany who retain production capabilities rarely found elsewhere. The glass body of this surreal table was created by a glass blower in the Bavarian Forest, a region with a tradition of glass production that dates back to the sixteenth century. Playful while difficult to produce, innovative yet complying with the highest craftsmanship standards, “Mirror Bell Table” is an intriguing design in a harmonious form that recalls the elegant curving of a bell.

Unique “Mirror Bell Table,” 2016 Silver-coated mirror glass base, polished aluminum, and clear mirror.

20¾ x 19¾ in. (52.7 x 50.2 cm) Produced and donated by ClassiCon (München).

ASHANGHAI

BY MAX INGRAND “There is a sensitivity and identity to my work that emphasizes the function, the material and the detail. I transport and interpret characteristics from various contexts of society and culture and implement them in new artifacts. This character infuses the most everyday objects with respect and personality. In this manner, seemingly contrary things can experience esteem.”

A design classic from French maestro Max Ingrand, “Ashanghai” was originally designed in 1955 when Ingrand was artistic director of FontanaArte. Exploring the possibilities by which glass could be exploited to create unique forms, the lamp features five clear borosilicate glass tubes joined by chromed brass fastenings. The tubes form an intersecting structure that looks as if it should work: the freefloating supports are acrobatically balanced into triangles reminiscent of the chance compositions of the familiar pick-up-sticks game that in Italy is called the Shanghai game, sheltered under a white, acid-etched, blown-glass diffuser. To celebrate FontanaArte’s eightieth birthday in 2012, the company launched an initiative to reissue the classic design as a limited edition of three hundred pieces.

Prototype of limited edition of 300 “Ashanghai,” 2015 Glass, metal.

30¼ x 18½ in. (76.8 x 47 cm) Produced and donated by FontanaArte (Milan).

NENDO “I’m trying to think about things that are in between things. It’s like when you’re looking at the stars, everybody is looking at the stars, and they think: ‘That’s so beautiful.’ But what I’m trying to see is the darkness, the sky that is making the stars look nice, so I’m trying to design the sky itself, the darkness. And then by looking into what is in between, I’m able to find something that is slightly different; new ideas, very small ideas, but something very interesting. I have been working with Glas Italia for the past three years, and it was about experimenting using sheet glass. I noticed that the company had a lot of interesting techniques, and we started mixing those different techniques and trying to experiment with what I could do through sheet glass. So I ended up with nine different collections for Nendo Works 2014–2015.”—Oki Sato

The following objects, some grouped in collections, were designed by Nendo, Oki Sato’s design studio.

These works were produced and donated to GlasLove by Glas Italia.

The objects were exhibited in Nendo Works 2014–2015, the Japanese design studio’s 2015 retrospective at the Museo della Permanente in Milan.

All are prototypes, and because they were designed for an art installation and not for standard use as furniture, they must be handled with care.

Nendo was established in 2002 out of the desire to experiment without constraint with new techniques and forms. The studio has received international acclaim for its compelling work in architecture, interiors, furniture, products, events, and graphics.

SOFT

BY NENDO With blurred surfaces, Nendo’s “Soft” collection of low tables features brightly colored outlines that dissolve, lending a soft abstraction to a precise geometric form. The mysterious and minimal pieces are the result of a complex process wherein glass cross sections, cut at forty-five-degree angles, are printed with vibrant color and bonded together. By also employing the extremely difficult technique of printing a gradient pattern on the inner face of the glass, the sublime muteness of the object is magnified by gradually diffusing the coloration. Through exploration of Glas Italia’s robust technical capabilities, Nendo has produced a collection of surreal pieces that expresses a delicate blurriness that contradicts the conventional image of glass as rigid and sharp.

Prototype “Soft A 2/2 Low Table,” 2015 Frosted glass.

17¾ x 15¾ x 15¾ in. (45.1 x 40 x 40 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “Soft B 2/2 Low Table,” 2015 Frosted glass.

13¾ x 28¼ x 28¼ in. (34.9 x 71.8 x 71.8 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “Soft C 2/2 Low Table,” 2015 Frosted glass.

9⅞ x 47 x 25 in. (25.1 x 119.4 x 63.5 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

WINDOW 1/2 SIDE TABLE

BY NENDO

An expression of addition achieved through subtraction, Nendo’s “WINDOW 1/2 Side Table” explores the use of voids as a design element.

Layers of glass with holes are stacked to produce a form in which the holes appear to float within the table. While voids are typically understood in terms of non-existence, this table gives physicality to the emptiness and a sense of existence to each hole. Utilizing a precise grid, cutouts on each layer of glass are shifted sheet by sheet, creating a pattern that appears at regularity in accordance with the viewing angle of the table. Additionally, this series of voids provides a sense of fun when choosing which items to place on the table and how they will interact with the overlapping occurrence of holes.

Prototype “WINDOW 1/2 Side Table,” 2015 Glass.

12¾ x 33⅞ x 33⅞ in. (32.4 x 86 x 86 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

CLEAR SHADOW 1/2 DINING TABLE

BY NENDO

Inspired by the delicate shadows of soap bubbles in the sink, Nendo’s “Clear Shadow 1/2 Dining Table” explores the ability to create substance through transparency, light, and shadow. Two layers of glass form the table’s top; the lower layer is white to enable the casting of shadow while the top layer is printed with a transparent pattern. The prototype is pure in form and humble in inspiration, yet utilizes advanced technology to create a whimsical effect. First, while nearly invisible, the pattern on the top layer produces shadows on the white surface below through the interplay of light due to the difference in the refractive index of the glass and printed area. The subtle shadow is enhanced by harnessing the production technology of Glas Italia; a laminate technique is employed with the lower white panel in which a layer of black glass is bonded to the underside so no light is transmitted and shadows passed through the top layer are visible.

Prototype “Clear Shadow 1/2 Dining Table,” 2015 Glass.

28¾ x 78¾ x 35⅜ in. (73 x 200 x 89.9 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “Pair Low Shelf 1/2 STEP 1A,” 2015 Glass.

32⅝ x 33⅜ x 13¾ in. (82.9 x 84.8 x 34.9 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Low Shelf 1/2 STEP 1B”)

PAIR

BY NENDO

A dynamic study of intersecting and overlapping, Nendo’s “Pair” collection of shelves, chairs, and tables features two translucent, smoked-glass forms gradually overlapping to become one. Rather than express the resulting layering as a darker portion of the form as expected, Nendo instead exploits and highlights the void by realizing it in clear glass. Harnessing Glas Italia’s outstanding technological manipulation of cut and adhesion, the joinery between the smoked and clear glass is only adhered at the edges for the appearance of a single pane of glass. Each shelf, chair, and table in the collection features a chronological designation that references the specific step in the combination of two separate pairs joining to become one. “Pair” is

part of a larger concept presented by the design studio in its exhibition Nendo Works 2014–2015. This collection explores the nature of voids and the tendency to want to fill voids rather than highlight the availability of an opening.

Prototype “Pair Low Shelf 1/2 STEP 1B,” 2015 Glass.

37⅜ x 47¼ x 13¾ in. (94.9 x 120 x 34.9 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Low Shelf 1/2 STEP 1A”) Prototype “Pair Low Shelf 1/2 STEP 2,” 2015 Glass.

34⅜ x 76 x 13⅜ in. (87.3 x 193 x 34.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Low Shelf 1/2 STEP 3,” 2015 Glass.

37 x 70⅜ x 13¾ in. (94 x 178.8 x 34.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Low Shelf 1/2 STEP 4,” 2015 Glass.

37⅜ x 59 x 13¾ in. (94.9 x 149.9 x 34.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Chair 1/2 STEP 1A,” 2015 Glass.

16½ x 15¾ x 34¼ in. (41.9 x 40 x 87 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Chair 1/2 STEP 1B”) Prototype “Pair Chair 1/2 STEP 1B,” 2015 Glass.

20 x 14 x 31 in. (50.8 x 35.6 x 78.7 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Chair 1/2 STEP 1A”) Prototype “Pair Chair 1/2 STEP 2,” 2015 Glass.

20 x 28 x 35 in. (50.8 x 71.1 x 88.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Chair 1/2 STEP 3,” 2015 Glass.

20 x 26 x 34⅝ in. (50.8 x 66 x 87.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Chair 1/2 STEP 4,” 2015 Glass.

20 x 24 x 34 in. (50.8 x 61 x 86.4 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Chair 1/2 STEP 5,” 2015 Glass.

20 x 22 x 34⅝ in. (50.8 x 55.9 x 87.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Low Table A 1/2 STEP 1A,” 2015 Glass.

13 x 35¾ x 20¾ in. (33 x 90.8 x 52.7 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Low Table 1/2 STEP 1B”) Prototype, “Pair Low Table A 1/2 STEP 1B,” 2015 Glass.

13 x 35¾ x 21 in. (33 x 90.8 x 53.3 cm) Produced and donated by Glas Italia (Milan).

(To be sold with “Pair Low Table 1/2 STEP 1A”) Prototype “Pair Low Table A 1/2 STEP 2,” 2015 Glass.

13 x 67 x 27 in. (33 x 170.2 x 68.6 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Low Table A 1/2 STEP 3,” 2015 Glass.

13 x 55 x 33¾ in. (33 x 139.7 x 85.7 cm) Produced and donated by Glas Italia (Milan).

Prototype “Pair Low Table A 1/2 STEP 4,” 2015 Glass.

13 x 48 x 29¾ in. (33 x 121.9 x 75.6 cm) Produced and donated by Glas Italia (Milan).

SLIDE

BY NENDO

The “Slide” collection consists of black horizontal glass surfaces that appear to be slipping away from their containing form. The resulting shelves, consoles, and tables by Nendo comprise a dynamic study of balance and movement that highlights the design studio’s characteristic wit.

While visually striking, the process to make the pieces is technically challenging; the black protruding planes are bonded to transparent glass only at the thin glass edge.

The transparent glass creates the necessary support and extends the surface area for use. This intricate construction allows for the sublime gesture of movement and further explores the Japanese design studio’s interest in the void.

Prototype “Slide High Shelf 1/2,” 2015 Glass.

66 x 31¾ x 25½ in. (167.6 x 80.6 x 64.8 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “Slide Low Shelf 1/2,” 2015 Glass.

38 x 51 x 22 in. (96.5 x 129.5 x 55.9 cm) Produced and donated by Glas Italia (Milan).

Prototype “Slide Side Table A,” 2015 Glass.

17¼ x 16⅝ x 18 in. (43.8 x 42.2 x 45.7 cm) Produced and donated by Glas Italia (Milan).

Prototype “Slide Side Table B,” 2015 Glass.

14½ x 19 x 21 in. (36.8 x 48.3 x 53.3 cm) Produced and donated by Glas Italia (Milan).

Prototype “Slide Console 1/2,” 2015 Glass.

37 x 43 x 16⅝ in. (94 x 109.2 x 42.2 cm) Produced and donated by Glas Italia (Milan).

PATH

BY NENDO

Prototype “PATH Table A 1/5,” 2015 Glass.

17¾ x 31⅜ x 31⅜ in. (45.1 x 79.7 x 79.7 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “PATH Table A 2/5,” 2015 Prototype “PATH Table A 3/5,” 2015

Resembling a delicate wave frozen in time, Nendo’s “PATH” collection of low tables juxtaposes curved and linear elements. The base, a vertical curve rendered in glass, supports the linear form of the precise glass top.

Further highlighting the undulating nature of the tables, the top edges of the curved glass panels are printed black, resembling a path. When numerous tables are positioned sideby-side, the path extends indefinitely.

Prototype “PATH Table A 4/5,” 2015 Prototype “PATH Table A 5/5,” 2015 Prototype “PATH Table C 1/2,” 2015 Glass.

17¾ x 31⅜ x 31⅜ in. (45.1 x 79.7 x 79.7 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

LAYERS A-COLD COLORS AND LAYERS B-COLD COLORS

BY NENDO

“Layers A-Cold Colors” and “Layers B-Cold Colors” push the limits of technical manipulation of color, cut, and adhesion in glass. Featuring multiple hanging glass panels in the front, middle, and back, the layering of the translucent material produces a constantly changing chromatic experience. The technique to produce the panels consists of inserting colored film between two sheets of glass and applying heat to bond them together. While a wide range of hues can be expressed through layering several color films, the process involved much trial and error as the heat and sequence of layering changes the color tones.

Prototype “Layers A-Cold Colors,” 2015 Glass.

42½ x 63 x 19⅝ in. (108 x 160 x 49.8 cm) Produced and donated by Glas Italia (Milan).

Photo courtesy of Kenichi Sonehara.

Prototype “Layers B-Cold Colors,” 2015 Glass.

48½ x 55¼ x 19¾ in. (123.2 x 140.3 x 50.2 cm) Produced and donated by Glas Italia (Milan).

MOMENTO

BY NAO TAMURA “Working with glass means I need to be a good listener. Glass is alive. As a material it has its own way of being. If I force glass to do certain things it doesn’t want to do, it doesn’t work. It’s kind of like having a difficult relationship. But if you let the material act in a natural way, it shows off its beauty Thus, ‘Momento’ is capturing the most beautiful ‘moment’ of glass. ‘Momento’ was inspired by the nature of glass, the form and the material itself.

I wanted to capture the ‘moment’ when a drop of water makes contact with the surface of water. I find this ‘moment’ so beautiful and strong. I was also inspired by the view of Venice, and how the surface of the water interacts with the environment, continuously giving a slight motion to the light.”

There is a moment when a clinging bead of water, in quiet orb-like suspension, becomes a droplet.

The droplet reflects its surroundings while gathering light within. There is a moment when molten glass transforms from liquid to solid.

Japanese designer Nao Tamura poetically captures this ephemeral moment and transforms it into functional piece of art in “Momento,” a suspended light. The elliptical shadow, folding over itself, captures the glassmaker’s spinning technique.

It is a gentle ripple of light, as when a droplet hits the surface of still water.

GlasLove includes two “Momento” ceiling lights.

“Momento” ceiling light, 1/2, 2016 Blown glass, anodized aluminum, LED. From an unlimited edition.

157½ in. (400 cm) adjustable drop x 19½ in. (49.5 cm) diameter Produced and donated by Wonderglass (London).

Photo courtesy of Nao Tamura.

“Momento” ceiling light, 2/2, 2016

PARTS HIGH

BY ANNA TORFS “This object was cut in numerous segments and then meticulously mounted back together in an ‘excentric’ manner. The structure of this object becomes so existent that we sense the structure and ornament becoming one (and the same).”

Taking an architectural approach to glass, Belgian-born designer Anna Torfs captures the material’s ability to reflect and absorb light. In “Parts High,” Torfs makes cuts through glass rings like an anatomist, revealing layer after layer to show how the object is built. These layers of perfectly round glass are stacked on each other in a spiraling manner, creating an undulating yet geometrically pure form. For the designer, color is critical and brings an emotional quality to objects. In keeping with that concept, the designer has produced a special, one-off version of “Parts High” in a captivating shade of green. Torf’s minimalist style is complemented by the grand tradition of European glassmaking, balancing tradition with innovation and subtle beauty.

Unique “Parts High,” 2015 Handmade, Bohemian glass.

18⅜ x 12 in. (46.7 x 30.5 cm) Produced and donated by Anna Torfs (Prague).

VASE

BY MARCEL WANDERS “It was a wonderful idea to create a technology for enhancing the surface of a simple glass or crystal vase in such an extraordinary way. After seeing the results, we decided to do another test, and another, and another.

Ultimately, and maybe a bit randomly…we chose to follow another path in agreement with the client. They say projects get killed this way. But I can assure you that if you listen to this vase, you will hear that she is not dead.

By listening with an imaginative spirit, you will feel a sensation that she is in her early pregnancy phase.”

An early prototype of a simple idea, Marcel Wanders’ vase with flowers in gold leaf captures the Dutch designer’s playful sense of storytelling through design. The genesis for this product was the goal of printing real silver or gold on glass. After multiple tests and development to create a technology for enhancing the surface of a simple glass or crystal vase with an extraordinary material, the project was abandoned. Characteristic of Wanders’ unique emphasis on the design process, the designer compared the results with other design proposals and ultimately chose to go in a different direction for the client. Although the vase was never realized in production, this highly collectable object gives a peek into the designer’s process and radiates a sense of imaginative spirit.

Unique “Vase,” year unknown Glass and gold leaf.

14 x 4¾ in. (35.6 x 12.1 cm) Donated by Marcel Wanders.

PRISM PARTITION 1 AND PRISM PARTITION 2

BY TOKUJIN YOSHIOKA “The architecture of the future will be founded in an ‘experience’ born out of heightened human sensation and time.”

Undulating vertical surfaces of hightransparency mirror glass refract light to create startling expressions and reflections in Tokujin Yoshioka’s “Prism Partition 1” and “Prism Partition 2.”

Transforming the surrounding space into a distorted mirage, the partition is especially stunning in a natural setting where plants and greenery are reflected upward to create a harmonious gradient between land and sky. Making its debut in Milan in 2016, the design plays on more than just the objects’ reflective properties; the individual’s conscious perception of space is also a factor.

The work of the Japanese designer is characterized by an extraordinary attentiveness to detail and the development of an exploratory process unique to him. Yoshioka has gained wide recognition throughout the world for his installations that create ethereal experiences with the viewer. His original use of materials and methodology have resulted in exceptional forms and several iconic designs, such as the “Honey-pop” chair, a chair made of honeycomb paper, precursor to the “Tokyo-pop” series in polypropylene.

Prototype “Prism Partition 1,” 2016 Glass.

47 x 71 x 16 in. (119.4 x 180.3 x 40.6 cm) Produced by Glas Italia (Milan).

Donated by Luminaire.

Prototype “Prism Partition 2,” 2016 Glass.

53 x 17¾ x 59 in. (134.6 x 45.1 x 149.9 cm) Produced by Glas Italia (Milan).

Donated by Luminaire.

DESIGNERS TADAO ANDO (Born 1941) Tadao Ando, winner of the 1995 Pritzker Architecture Prize, is one of the most renowned contemporary Japanese architects. Characteristics of his work include large expanses of unadorned architectural concrete walls combined with wooden or stone floors and large windows.

Active natural elements, like sun, rain, and wind are a distinctive inclusion to his style. He has designed many notable buildings, including Row House in Sumiyoshi, Osaka, 1976, which garnered him the Annual Prize of the Architectural Institute of Japan in 1979; Church of the Light, Osaka, 1989; Pulitzer Foundation for the Arts, St. Louis, 2001; Armani Teatro, Milan, 2001; Modern Art Museum of Fort Worth, 2002; 21_21 DESIGN SIGHT, Tokyo, 2007; and the Stone Hill Center, 2008, and the Clark Center, 2014, on the campus of the Clark Art Institute. Among his many awards are: Gold Medal of Architecture, Academie d’Architecture (French Academy of Architecture) in 1989, Gold Medal of the American Institute of Architects in 2002, and Gold Medal of Union Internationale des Architectes in 2005. Ando is an honorary member of the American Institute of Architects, the American Academy of Arts and Letters, and the Royal Academy of Arts. He has been a visiting professor at Yale, Columbia, Harvard, and University of California Berkeley.

OMER ARBEL (Born 1976) Based in Vancouver and Berlin, Omer Arbel explores the intrinsic mechanical, physical, and chemical qualities of materials as fundamental departure points for making work.

His interdisciplinary practice spans multiple scales and cultural-economic contexts to include architecture, industrial design, materials research, sculpture, invention, and high-craft manufacturing. Arbel’s work has been exhibited at the Victoria and Albert Museum, Spazio Rossana Orlandi, Mallett, Monte Clark Gallery, and Dimore Gallery. He is the recipient of the 2010 Ronald J. Thom Award for Early Design Achievement and the 2015 Royal Architectural Institute of Canada Allied Arts Medal. Arbel is the founder of Omer Arbel Office (OAO) and creative director of Bocci.

IVAN BAJ (Born 1957) Ivan Baj, founded-owner and art director of Arcade, has nurtured a grand passion for Murano vases

since 1980, and he expresses himself through the design of these precious objects. Arcade produces a large and varied collection of vases and decorative objects crafted in Murano as unique or limited-edition pieces.

The Arcade vases are created by several world-renowned designers in addition to Baj—Laura de Santillana, Paola Navone, Marcello Panza, Laurent Corio, Tomita Kazuhiko, Tomoko Mizu, Stefano Gaggero, and Antonio Caggianelli—and they are jewels in the Murano glassware segment. Today, Arcade vases can be seen in numerous museums and art galleries, as well as in prestigious home furnishings shops around the world.

installations, and furniture. An interest in social issues grew into several projects with artisans in developing countries. Boontje was a professor and Head of Design Products at the Royal College of Art, London, from 2009 through 2013. His work is in major museum collections such as the Victoria and Albert Museum and The Museum of Modern Art (New York).

JAKUB BERDYCH (Born 1971) Jakub Berdych is a sculptor and designer and is cofounder of the Qubus Design Studio, established in 2002 and based in Prague. Berdych focuses primarily on conceptual work in traditional Czech materials such as glass and porcelain. His work spans products and comprehensive collections known both locally and abroad, including the reconstruction of the interior of St. Bartholomew’s Church in Chodovice, Czech Republic and installations in the Moss Gallery in New York and in London’s Mint Gallery. In addition to conceptual and product design, Berdych focuses on implementations in the field of interior architecture and fine arts. He is the artistic director of the gallery shop Dox, which is run by Qubus Design Studio and offers a distinct selection of design and applied arts. The shop is located within the contemporary art gallery Dox in Prague.

TODD BRACHER (Born 1974) Todd Bracher designs furniture and architecture and is known for his highly reductive approach to design. He is a New York City–based designer who spent a decade working in Copenhagen, Milan, Paris, and London before returning to New York in 2007. Over the past twenty years, Bracher has collaborated with some of the most prestigious brands around the world, with experiences ranging from heading Tom Dixon’s design studio, acting as the Professor of Design at l’ESAD in Reims, France, serving as creative director of the Scandinavian luxury brand Georg Jensen, and cofounding the experimental collaboration to22. Bracher has been hailed as “America’s Next Great Designer” by the New York Daily News, was named 2008 New Designer of the Year at New York’s International Contemporary Furniture Fair, and has twice been nominated for Bolig’s International Designer of the Year Award. He holds a bachelor’s degree in industrial design from Pratt Institute and a master’s degree in interior and furniture design from Denmark’s Design School in Copenhagen.

TORD BOONTJE (Born 1968) Tord Boontje’s work is evidence of his strong interest in storytelling, nature, decoration, materials, and technology.

While he continually experiments, with results that vary from ornate to minimal and from handcrafted to made by robots, his work is known for his expression of romanticism in contemporary design and his ability to connect with strong emotions, even with designs that are whimsical and light-hearted. Boontje is originally from the Netherlands and his education at the Eindhoven Design Academy and the Royal College of Art in London set the foundations for Studio Tord Boontje. Established in 1996, the studio has worked with international companies on a range of products that includes lighting, graphic identity, textiles, ceramics, site-specific

FERNANDO CAMPANA (Born 1961) AND HUMBERTO CAMPANA (Born 1953) Founded in 1983 in São Paulo by brothers Fernando and Humberto Campana, Estudio Campana first became known for furniture design and creating intriguing objects. The practice grew to include interior design, architecture, landscaping, scenography, fashion, artistic partnerships, and more. The Campana’s work incorporates ideas of transformation and reinvention and integrates craftsmanship into mass production. Their design is characterized in part by its very Brazilian characteristics—colors, mixtures, creative chaos, and the triumph of simple solutions. Campana pieces are included in the permanent collections of the Centre Pompidou,

The Museum of Modern Art (New York), Musée des Arts Décoratifs, Museum of Modern Art (São Paulo), and Vitra Design Museum. Awards include Designer of the Year from Design Miami in 2008 and Designers of the Year Maison & Objet in 2012.

Also in 2012 they were selected for the Comité Colbert Prize, honored at Beijing Design Week, received the Order of Cultural Merit in Brazil, and were awarded the Order of Arts and Letters by the Minister of Culture in France. In 2014 Wallpaper* ranked them among the top one hundred major players in design.

NAOTO FUKASAWA (Born 1956) Naoto Fukasawa’s designs have garnered more than fifty awards in Europe and the United States. He was born in Yamanashi prefecture, Japan, and graduated from Tama Art University’s product design department in art and 3D design in 1980. Until 1988, Fukasawa worked as a designer at SeikoEpson. In 1989, he left Japan for the United States where he joined the company IDTwo, then a small office in San Francisco. That office was the predecessor of IDEO, which has grown to 450 employees in several cities nationally and internationally. Fukasawa returned to Japan and helped set up IDEO there in 1996. In 2003 he established his own firm, Naoto Fukasawa Design, in Tokyo. He is a lecturer in the product design departments at Musashino Art University and Tama Art University in Tokyo and a member of the advisory board of the Japanese company MUJI. SEBASTIAN HERKNER (Born 1981) Sebastian Herkner was born in Bad Mergentheim, Germany. He studied product design at the HfG Offenbach am Main (Offenbach University of Art and Design), focusing on designing objects and furniture merging various cultural contexts, combining new technologies with traditional craftsmanship to highlight the multifaceted beauty of the materials and draw renewed attention to small details. While still a student, Herkner completed an internship with Stella McCartney, which helped hone his feeling for materials, colors, structures, and textures. Since founding his own design studio in Offenbach am Main in 2006, he has designed products for manufacturers such as ClassiCon, Dedon, FontanaArte, La Chance, Moroso, Pulpo, Rosenthal, and Very Wood,

as well as working on interior design projects and for exhibitions and museums. Since 2007 he has taught several courses at HfG Offenbach am Main as a visiting lecturer. His designs have received multiple prizes, among them the 2011 German Design Award in the Newcomer category, the EDIDA Award for Best International Newcomer in 2015, and Guest of Honor at Imm Cologne 2016.

MAX INGRAND (1908–1969) A renowned French master glass worker and decorator who was awarded the French Legion of Honor, Max Ingrand was particularly known for his stained glass. He produced many important works in France and abroad for religious buildings, hotels, and public places, including forty-three stained glass windows for the Nôtre Dame du Pré at Le Mans Cathedral, some of the windows of the Chenonceau Castle, and stained glass work for the Normandie transatlantic liner. Ingrand was the artistic director of FontanaArte for a decade, beginning in 1954. During that time, he came up with true design classics, such as the Fontana table lamp, still one of the company’s bestselling products. Ingrand studied at the School of Fine Arts in Paris, where he specialized in the decorative arts under the guidance of major artists such as Jacques Grüber and Charles Lemaresquier.

NENDO OKI SATO (Born 1977) Oki Sato received his master’s degree in architecture from Waseda University, Tokyo, in 2002. He established his design studio, Nendo, the same year. His activity in the design world is wide ranging: graphic and product design; designing furniture, installations, windows, and interiors; and even forays into architectural territory. Sato was chosen as among “The 100 Most Respected Japanese” by Newsweek and awarded “Designer of the Year” by both Wallpaper and Elle Décor magazines. His designs can be found in The Museum of Modern Art (New York), Musée des Arts Décoratifs, and Centre Pompidou. In Japanese, Nendo means free-form clay, which is a soft, fluid substance symbolic of the flexibility with which the design team executes projects. Nendo’s design concept reflects a specific aim: to inspire. The studio philosophy stems from recognizing those “!” moments within the everyday that enrich life and make it more interesting. For Nendo,

the simplest ideas and the smallest designs create the most unusual experiences. The narrative of each piece is also important; these stories are, in fact, the starting point for most projects.

NAO TAMURA (Born 1976) Nao Tamura is a designer in the most modern terms. Her talents cross over cultures, languages, disciplines, concepts, and styles with the consistency of smart thinking always at the heart of her work. She is truly global in her insights and execution. She is a product of the creative communities in both Tokyo and New York City. Her solutions in the worlds of 2-D and 3-D have an uncanny ability to find that emotional connection with the audience. Tamura defies the kind of categorization that the industry status quo often insists upon. Her unique solutions are more than simply design—her works exhibit a rare balance of innovation and beauty.

ANNA TORFS (Born 1967) Born and trained in Belgium, Anna Torfs studied interior design at the Sint-Lukas School for Architecture in Brussels before moving at a young age to the Czech Republic to work with the finest Bohemian glassmakers. She launched her own collection in 2002 and is known for her extraordinary use of color and powerfully minimal designs. The ability of glass to capture, reflect, and absorb light is the central theme in Torfs’ work. All of her pieces are handmade. She has collaborated to develop new techniques, bringing fresh and surprising creations to an old tradition. Cutting through the object like an anatomist, Torfs reveals layer after layer to show how an object is built. Unconventional cutting techniques reveal the contrast between the vibrant center and the sober skin of her objects.

MARCEL WANDERS (Born 1963) Marcel Wanders graduated from the Hogeschool voor de Kunsten (ArtEZ Institute of the Arts) in Arnhem, Holland, in 1988. In 1995 he opened his studio in Amsterdam, quickly coming to worldwide attention in 1996 for his iconic “Knotted Chair,” which paired high-tech materials with “low-tech” production methods.

Today, Wanders’ studio numbers around fifty international design specialists, and he is a prolific product and interior designer and art director, with over seventeen hundred projects

to his name. Wanders often mixes innovative materials and techniques with references to well-known historical styles and archetypes.

Clients have included Alessi, Bisazza, KLM, Flos, Swarovski, and Puma. In 2001 Wanders cofounded the design label Moooi, for which he is also art director. He was selected as one of Europe’s “25 Leaders of Change” by Business Week, awarded Designer of the Year in 2006 by Elle Décor, and received the Philadelphia Museum of Art’s modern design collaborative award, Collab, and the Design Excellence Award in 2009.

TOKUJIN YOSHIOKA (Born 1967) Japanese designer and artist Tokujin Yoshioka established Tokujin Yoshioka Inc. in 2000. His works transcend the boundaries of product design, architecture, and exhibition installation, and are highly valued as art. Among his representative works are the paper chair “Honey-pop,” “PANE chair,” “VENUS – Natural crystal chair,” and “Stellar” for the Swarovski Crystal Palace. “Water Block” is permanently exhibited in Musée d’Orsay. Yoshioka designed Swarovski’s flagship store in Ginza and a number of boutiques for Issey Miyake. He has collaborated with companies such as Hermès, BMW, Toyota, and Lexus. Many of his works are in museum collections, including The Museum of Modern Art (New York), Centre Pompidou, Victoria and Albert Museum, Cooper Hewitt National Design Museum, and Vitra Design Museum. His many awards include: Mainichi Design Award, 2001; Design Miami, Designer of the Year, 2007; Elle Deco International Design Awards (EDIDA) Designer of the Year, 2009; Tokyo Design & Art Environmental Awards Artist of the Year 2010; and Maison & Objet Creator of the Year 2012. His books are TOKUJIN DESIGN, Tokujin Yoshioka Design, Invisible Forms, and TOKUJIN YOSHIOKA.

SPONSORS LUMINAIRE Luminaire (luminaire.com) has been on the forefront of contemporary European design for over forty years.

Located in Miami and Chicago, Luminaire is internationally recognized as a vanguard of design excellence.

Founded in 1974 by Nasir and Nargis Kassamali, Luminaire has earned the reputation of being the leader in presenting and providing exclusive design to the United States. As part of their vision, the Kassamalis have made it their top priority to actively engage the American public by bringing some of the world’s most renowned designers to Luminaire for open, interactive design lectures and exhibits. Over the past four decades, Luminaire has remained the premiere place for creative solutions, inspiration, education, reflection, and, sometimes, a museum fix.

PHILLIPS Phillips (phillips.com) is a leading global platform for buying and selling twentieth- and twenty-first-century art and design. With dedicated expertise in the areas of art, design, photographs, editions, watches, and jewelry, Phillips offers professional services and advice on all aspects of collecting. Auctions and exhibitions are held at salerooms in New York, London, Geneva, and Hong Kong, while clients are further served through representative offices based throughout Europe, the United States, and Asia. Phillips also offers an online auction platform accessible anywhere in the world.

BENEFICIARY

COMPANIES

BRAMAN FAMILY BREAST CANCER INSTITUTE, SYLVESTER COMPREHENSIVE CANCER CENTER AT THE UNIVERSITY OF MIAMI MILLER SCHOOL OF MEDICINE Sylvester Comprehensive Cancer Center (sylvester.org), part of the University of Miami Health System and the University of Miami Miller School of Medicine, is among the nation’s leading cancer centers and is South Florida’s only Cancer Center of Excellence and only university-based cancer center.

With the combined strength of more than 120 cancer researchers and 130 cancer specialists, Sylvester discovers, develops, and delivers more targeted therapies, providing the next generation of cancer clinical care—precision cancer medicine—to each patient.

The Braman Family Breast Cancer Institute at Sylvester became a reality in 2002, thanks to a generous gift from the Norman and Irma Braman Family Foundation. Combining Sylvester’s clinical strength with world-class research, the Braman Institute seeks to discover, develop, and deliver new, more effective treatments for patients with breast cancer. The institute has made huge strides in the way it assesses breast cancer risk, diagnoses the disease in its earliest stages, and predicts which treatments will be most effective for each patient.

ARCADE Arcade (arcadeparis.com and arcademurano.com) is more than simply a company. It is a world unto itself, a creative workshop where design and expertise meet and intermingle, an atelier that bridges the past and the future, producing entirely handmade articles.

Craftsmanship, top-quality materials, and all-important design are the guiding principles that underpin all the production. Founder-owner and art director of Arcade, Ivan Baj, launched the company in 1990. Today, Arcade produces a large and varied collection of vases and decorative objects crafted in Murano by world-renowned designers, including Laura de Santillana, Ivan Baj, Paola Navone, Marcello Panza, Laurent Corio, Tomita Kazuhiko, Tomoko Mizu, Stefano Gaggero, and Antonio Caggianelli.

Arcade vases are unique or limitededition pieces that can be seen in numerous museums and art galleries, as well as in major home furnishings shops.

BOCCI In 2005, Bocci (bocci.ca) was founded in a red barn surrounded by hay fields, on the periphery of Vancouver, Canada. The company launched with one product, 14, which became an instant classic and remains a design staple and bestseller. Today, Bocci has a growing portfolio of contemporary design ranging from light installations to furniture to electrical sockets. All Bocci designs are developed, engineered, and fabricated in-house through an infrastructure calibrated to provide full control over technique, quality, and scale. With headquarters in Vancouver and Berlin, Bocci operates as a cooperative community of designers, architects, craftspeople, technicians, agents, governance bodies, testing facilities, raw material suppliers, and fine shops. The company’s objective is to be a healthy, flexible, and stable network united by the goal of creating and delivering extraordinary objects.

CLASSICON ClassiCon (classicon.com) has from its inception aspired not only to offer pieces by established figures, but also to foster contemporary design.

The models chosen must display the kind of quality and advanced form that earns them the designation “classic.” That’s why ClassiCon is always open to new design ideas.

The company’s modern classics are collector’s items—not only the masterpieces of yesterday, but of tomorrow as well. ClassiCon aims above all to produce individual pieces of great originality and formal perfection—pieces with the potential to become classics in their own right one day. In producing design classics, the accent is on quality. High quality means in concrete terms that pieces in the “Classic Collection” of furniture are indelibly marked and numbered consecutively. The ClassiCon logo offers the assurance that each limited edition is an authentic replica of the original, made with the consent of the rights-holders.

FONTANAARTE Founded in 1932 and based on an idea by Gio Ponti, FontanaArte (fontanaarte.com) is one of the Italian companies that have helped write the history of lighting and furnishing in Italy and around the world.

FontanaArte works with leading architects and lighting designers to create its timeless products, which have contributed to the culture of the architecture, lighting, and furniture worlds. Many FontanaArte products have become design classics and some have been shown by or are in the collections of major museums around the world.

GLAS ITALIA Glas Italia (glasitalia.com), established in Brianza in the early 1970s, produces modern pieces of furniture, door-wall partitions, and accessories in crystal glass. The company draws from the heritage, long experience, and technical know-how of a centuryold family glass factory as well as from an unbridled passion for glass manufacturing. Through the years, Glas Italia has followed an evolutionary process through focused development of its collection, both in terms of image and distribution in the Italian and export markets. Research and design of the crystal glass material employ the most highly advanced technologies and increasingly complex manufacturing processes.

Glas Italia has collaborated with many prestigious international designers, including Piero Lissoni, Edward Barber and Jay Osgerby, Ronan and Erwan Bouroullec, and Nendo, who witness the realization of their creative ideas and inspiration. Glas Italia’s distinctive and exquisite pieces are characterized by the refinement and originality the company brings to all of its products.

LASVIT Lasvit (lasvit.com), founded in 2007

by Leon Jakimic, sheds a new light on Bohemian glass and takes it into the next millennium. Lasvit combines the authenticity of glass with innovative technologies and creative craftsmanship. In a few short years, Lasvit has established itself as the authority in delivering bespoke lighting sculptures and art installations made from hand-blown glass. Collaborations with renowned designers and artists have produced unique glass collections. Nendo, Ross Lovegrove, Daniel Libeskind, Maarten Baas, and Czech legends Rene Roubicek and Borek Sipek are among those who choose Lasvit to embody their unconventional artistic vision, endow it with the precision and mastery of the company’s glassmakers, and produce impressive creative works.

Lasvit’s uncompromising mission is to transform glass into breathtaking light and design experiences.

SWAROVSKI Swarovski (swarovski.com) is the world leader in cut crystal for jewelry and decorative pieces as well as lighting, architecture, and interiors.

The company’s origins date to 1895 when Daniel Swarovski, a Bohemian jeweler inspired by the idea of making crystal more accessible, invented a machine to cut crystal perfectly and precisely. Still owned and run by the Swarovski family today, Swarovski introduced its ornate ground crystal elements for use by designers and manufacturers of chandeliers and lighting fixtures in 1965. Swarovski Crystal Palace began in 2002 as a mission to recreate the chandelier for the twenty-first century. Driven

by Nadja Swarovski’s passion for innovation and visionary design, the project has commissioned a formidable portfolio of designers to work with a single raw material— crystal—to re-evaluate traditional concepts of the humble candle-lit fixture.

ANNA TORFS All of the pieces created by Anna Torfs (annatorfs.com) are made by hand and infused with Torfs’ wonder at how the centuries-old techniques of glass blowing, cutting, and sanding can lead to contemporary objects. To achieve her results, Torfs has developed new techniques, resulting in fresh and surprising creations—contemporary design using traditional glass techniques as a base from which to explore and create. Because each of the company’s pieces are carefully hand-crafted, no two

pieces are identical. Slight variations in appearance make each piece a unique piece of art.

VENINI Venini (venini.com) has been based in Murano since 1921, when it was founded by Paolo Venini, a laywer, and Giacomo Cappellin, an antique dealer, as Cappellin Venini & C, with painter Vittorio Zecchin serving as artistic director. The company, a landmark in glass art, today combines its rich heritage with its commitment to continually research glass and develop new techniques.

Its philosophy remains the same as when it was founded: reinterpretation of traditional schemes, openness to new artistic trends, and advanced manufacturing skills. “I believe that the Venini taste is the fruit of an enchanted mix, created over time, of a few exclusive techniques, a handful of exceptional artists who were inventors of forms, and a predilection for certain colors. This tradition and these boundaries are Venini’s magic formula,” notes architect and designer Alessandro Mendini.

WONDERGLASS WonderGlass (wonder-glass.com), dedicated to the Italian tradition of glass blowing and inspired by the beauty of Venice, was launched in April 2013 at Salone del Mobile in Milan by Maurizio and Christian Mussati, under the art direction of Nao Tamura. The Mussatis describe the company as a dream informed by ideas gathered from talks with designers and friends who share their passion for Italian glass blowing.

The combination of innovation, original design, and traditional handmade quality makes WonderGlass a unique brand. Designers who have contributed to the WonderGlass team, in addition to art director Nao Tamura, include Claesson Koivisto Rune, Zaha Hadid, Jaime Hayon, John Pawson, and Dan Yeffet. WonderGlass is headquartered in the United Kingdom, with production mainly in the Venice area.

THANK YOU Luminaire would like to thank all of those who participated in GlasLove.

We are indebted to you for your unconditional devotion to and LOVE of this project.

DESIGNERS Tadao Ando Omer Arbel Ivan Baj Jakub Berdych Tord Boontje Todd Bracher Fernando and Humberto Campana Naoto Fukasawa Sebastian Herkner Max Ingrand Nendo (Oki Sato) Nao Tamura Anna Torfs Marcel Wanders Tokujin Yoshioka COMPANIES Arcade Bocci ClassiCon FontanaArte Glas Italia Lasvit Swarovski Anna Torfs Venini WonderGlass

JURORS Paola Antonelli Senior Curator of Architecture and Design and Director of Research and Development, The Museum of Modern Art (New York) Chantal Hamaide Founder and Editor-in-Chief, Intramuros Craig Robins Co-founder and Co-owner of Design Miami and Developer of the Miami Design District Meaghan Roddy Senior Specialist, Vice President, Phillips ZoĂŤ Ryan Chair and John H. Bryan Curator of Architecture and Design, The Art Institute of Chicago

We would like to express our deepest appreciation to our sponsors and supporters.

OUR PRIMARY SPONSORS Cultured Glas Italia Miami Design District Tramo OUR SUPPORTERS Grupo Mass Ilona Studio The Luminaire Team

Copyright Š 2016 Luminaire Image credits: The images contained in this publication are published with the permission of the rights-holders.

No images may be reproduced without permission.

Catalogue design: Ilona Studio