Light inspired by eva zeiseL

AlejAndro P. FigueredoiduS 250

owen FoSterwinter 2011

evA Stricker ZeiSel wAS born in budAPeSt in 1906. She entered the royAl oF Fine ArtS At the Age oF 17 intending to become A PAinter, but her mother encourAged her to go be-yond in the Fine ArtS world. She APPrenticed herSelF AS A trAditionAl Potter And begAn leArning. AFter A couPle oF yeArS She grAdu-Ated to journeymAn StAtuS.

AFter A yeAr From grAduAting her work wAS PreSented At her FirSt exhibition winning An honorAble mention At the PhilAdelPhiA SeSquicentenniAl. during thiS time She wAS working in the kiSPeSter FActory in budA-PeSt, however She wAnted to go Further And leArn About the world And diFFerent cultureS, So She moved to germAny Around 1932. She moved to ruSSiA For other work oF-FerS, but She wAS imPriSoned, For more thAn A yeAr, AccuSed oF AttemPting AgAinSt StAlin liFe.

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in 1938 She hAd the chAnce to move to new york where She Settled PermAnently. the FirSt one-womAn exhibition in the modern muSeum oF Art in 1947 PreSented her work in Pottery. trAveling All Around the world wAS A very imPortAnt goAl in her liFe And She hAS Achieved thiS quite SucceSSFully. nowAdAyS, ZeiSel workS Are PermAnently exhibit in SeverAl muSeumS Around the world Such AS the brohAn muSeum, germAny; the britiSh muSeum; the muSeum oF modern Art, new york, Among otherS.

in 2011, ZeiSel iS Still Alive And juSt recently StoPPed her deSign cAreer. evA ZeiSel hAS been A remArkAble deSigner who hAS trAn-Scended And lived though more thAn A century. She iS A witneSS oF the evolution oF induStriAl deSign And hAS been A vivid PArt oF itS hiStory. H

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evA ZeiSel’S deSign lAnguAge iS inSPired by nAture, the curved lineS in her deSign Are quite Fluid And giveS her PieceS A Feeling beyond being Pottery. eAch oF her PieceS Are treAted like SculPtureS, they hAve A SenSe oF lightneSS, which one cAn hArdly Find in other Pottery deSign.

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twhen it comeS to A color PAlette, white iS AlwAyS the PredominAnt color in her liSt. however, She AlSo uSeS A PAlette thAt doeS not reAlly chAnge much Among the color She normAlly uSeS. it comPrehendS oF SoFt colorS Such AS beigeS, blue greenS, olive green, A rAnge oF ter-rAcottA redS And orAngeS, bAby blue And AlSo PurPle. color AlwAyS helP to highlight the vocAbulAry And Form oF eAch one oF the her PieceS; SometimeS She uSeS quite SimPle PAtternS to comPlement the deSign.

PerhAPS the moSt imPortAnt ASPect oF her deSign iS the SenSe oF A whole, A SenSe oF FAmily thAt moSt oF her work rePreSentS. She AlwAyS thought About her creAtionS AS A FAmily oF two or more PieceS.

it iS eASy to See how the relAtionShiP be-tween the PieceS, in All her deSignS, Are deFined by the diAlog And interAction thAt the SoFt lineS And Form hAve between them. thoSe PieceS would not be thAt Strong juSt StAnding by themSelveS. thiS iS the reASon why i wAnted to deSign my lAmP bASed in the relAtionShiP oF two SePArAted FormS thAt reSPond to eAch other.

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bibiogrAPhy:“About the evA ZeiSel Forum.” Eva ZEisEl Forum. 2011. web. 25 jAn. 2011.

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the FirSt ASPect thAt i get inSPirAtion For creAting my lAmP wAS the Purity And SimPlicity oF the Form evA ZeiSel hAS AS A deSign vocAbulAry. i StArted exPloring with FormS thAt would conSiSt in juSt one Piece trAnSFormed into A whole. i exPlored ShAPe And For develoPed About A 100 concePtS in SketcheS And About 20 FormS in FoAm For PrototyPe.

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her working ProceSS wAS An imPortAnt PArt. AS ZeiSel leArned to mASter Pottery leArning to work by hAnd with the mAte-riAl And deSign i AlSo wAnted to mAintAin A humility in the mAteriAl, So thAt’S why i choSe PlASter For the electricAl PArt oF the lAmP. And to hAve A high contrASt between the PArtS, coriAn wAS my other oPtion For the lAmPS ShAde.

the FirSt SteP to the lAmP wAS to mAke A mold with wood where the PlASter could be Poured in diFFerent lAyerS So the electricAl comPonentS could be ArrAnged inSide oF the PlAne oF PlASter (including cordS, Socket, And Switch). AFter the PlASter wAS Set And tAken out oF the mold the SAnding PArt begun to deFine whAt would be the FinAl ShAPe. po

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For the ShAde mAking i uSed the SAme wood mold to ShAPe the coriAn. the mAteriAl wAS heAted in An oven At 325° F (160°c) For 20 minuteS. with the helP oF A new Second PArt oF the mold the coriAn wAS PlAced And Secured by clAmPS until it wAS cold. AFter thAt it wAS tAken out oF the mold, itS edgeS were cut, And the whole PArt wAS SAnded to SoFten the ShAPe.

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the FinAl deSign conSiStS oF A lAmP with two SePArAted comPonentS with A relAtionShiP in ShAPe thAt SuggeSt the reFlection oF the PlAne in A mirror, thuS creAting A whole And contrASted by the diFFerent mAteriAlS. the diAlogue in the PArtS StArt when light illuminAteS And the coriAn AbSorbS And diSPerSeS it Around the whole Form while the PlASter reFlectS And deFine All the light outlining A SoFt Seem where the light eScAPeS From.

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SPeciAl thAnkS:brAdley bowerS

ivAn bonillA