Postmodern Design: Super Lamp By Martine Bedin

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Pomo summer season: Memphis Group designer Martine Bedin’s Super Lamp can be trailed along like a dog on a leash, demonstrating the collective’s playful design. This subsequent article in our summer season series on Postmodernism tells the story behind 1 of Memphis’ most comical products.

Bedin was a founding member of Memphis in the 1980s, and one particular of the younger designers that found fame by way of the group, which has grow to be closely associated with Postmodernism.

Memphis pioneer Ettore Sottsass, took the French designer under his wing while she was nonetheless a pupil and aided flip her whimsical wheeled designs into realised products.

Made as part of the group’s very first exhibition, the Super Lamp was described by the designer as “like a modest puppy that I could carry with me”. With exposed light bulbs splayed out from its arced back like the armour of a stegosaurus and 4 wheels that permitted it to be dragged along, the lamp – at Bedin’s admission – is between “the much more humorous ones” in the group’s debut collection from 1981.

The daring kinds and bright colors championed by the Memphis Group – and present in the Super Lamp – drew a large quantity of media interest and a really mixed response from the public.

Martine Bedin's Super Lamp Martine Bedin’s 1981 Super Lamp, also main picture

“We imagined we have been generating merchandise that produced people’s lives much better, society happier, which of course didn’t happen,” Sottsass told the New York Times in 2002. “But we did open up the choices of design and style.”

“It was like opening a window to reveal a new landscape. Why need to a table have 4 identical legs? Why must laminate veneer be only for the kitchen and bathroom and not for a luxurious living space?”

Bedin was born in Bordeaux in 1957 and grew up in Corsica. She studied architecture in Paris before receiving a scholarship to go to Florence in 1978, exactly where she met the members of the Radical Architecture motion. These included the founders of Studio Alchimia, Superstudio and Archizoom Associati, who were focused on deconstructing classical architecture into new kinds.


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A shift in the avant-garde from the minimum aesthetic of Modernism, this proved hugely influential to twenty-year-old Bedin, who looked up to Radical Architecture’s crucial figures like Alessandro Mendini and Andrea Branzi.

“That kind of vocabulary was really new to me, but in a way quite near to me,” she told Dezeen. “I’m a Mediterranean lady, I like colours, and almost certainly something touched me. It was some thing I could work with simply.”

Martine Bedin's 1984 Charleston floor lamp Martine Bedin’s 1984 Charleston floor lamp

Superstudio founder Adolfo Natalini invited her to Milan in 1979, when she was introduced to designers Michele De Lucchi and Ettore Sottsass – with whom she would go on to identified the Memphis Group.

When she returned to Paris, these influences in her function angered her teachers, but she continued to travel to and from Italy on the evening train to understand from the architects and designers she had met there. “That is how I began to style pieces that I could consider with me,” she stated.

Sottsass and his wife Barbara Radice also visited Bedin in Paris, and spotted the design and style for the Super Lamp whilst flicking by way of her sketch book.

“He came to my residence and he looked at my guide,” explained Bedin. “He stated: ‘Wow, I love that lamp, we need to make it’. And I ripped out the page of my book and I gave to him, and I explained: ‘Sign it. That is the only way for that lamp to exist due to the fact I am not ready’. And he stated: ‘Wait wait wait, that’s not how we do it’.”

Sottsass invited her to work in his studio, so Bedin moved to Milan where she turned the layout into a realised solution underneath her own name.

She spent 3 years during the early 1980s at Sottsass’ studio, operating on her very own designs while writing for a French magazine to cover her living charges.

Martine Bedin's 1982 Western floor lamp Martine Bedin’s 1982 Western floor lamp

“We had been funding our economic climate to maintain spending time all together with Ettore,” said Bedin. “Every single 1 of us had a second occupation to make the funds and give us time for our accomplishment.”

“The factor was that it was considerably much more fascinating to be with him than to perform on his tasks.”

Born during an alcohol-fuelled meeting at Sottsass’ apartment, the Memphis Group intended to “produce a chaos in the co-ordination of style” and Bedin set about realising her mobile furniture and lighting styles as portion of this.


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“We were always discussing the possibilities of new furniture, furniture that could move,” said Bedin. “I was developing everything on wheels at this time. There are so many drawings in the scrapbook with wheels: furniture, socks, a lot of issues.”

The prototype for the Super Lamp – at present component of the permanent assortment at London’s V&ampA museum – has 4 little industrial wheels and a chassis manufactured from pressed steel, lacquered in vivid blue.

When put into production, the steel was swapped for fibreglass, which is produced in two pieces and glued along the middle.

Martine Bedin's 1983 Holiday floor lamp Martine Bedin’s 1983 Vacation floor lamp

The prominent bulbs, mounted into fittings that every carry a distinct colour, have gone by means of a lot of iterations due to changes in laws. Following years of what Bedin described as “undesirable light”, new engineering has enabled the creation of energy-productive bulbs that replicate the intended result of the originals.

The Super Lamp was one particular of a variety of lighting styles that Bedin designed for Memphis. Her later on Western, Vacation and Charleston designs – all floor lamps – carry the identical graphical simplicity, but never acquired the identical interest.

“I very first spotted this lamp in a keep in South Kensington when I came to London to examine in the late 1980s,” explained designer Michael Anastassiades in a roundup of his favourite patterns for Icon. “Many years later, I managed to afford it. It is so various to anything at all I layout, but it tends to make me smile every single time.”

Right after numerous years, Memphis members started to lose their enthusiasm as they had to spend much more time on finance, production and showroom liaisons than on style.

“It was like a real task and not avant-garde any more,” explained Bedin. “Quite soon we got really bored with that.”

Sottsass left Memphis in 1985. Bedin eventually moved back to France, in which she nonetheless types geometric and abstract furnishings, ceramics and homeware with her very own studio.

Bedin, like numerous other architects and designers, disassociates herself from the Postmodern label and argues that Memphis was in no way part of the motion, because its members did not use historical references in their work.

Martine Bedin's 1982 Lodge bookcase Martine Bedin’s 1982 Lodge bookcase

“It was extremely clear that we took the distance far from Postmodernism,” she stated, citing Radice’s book about the group to back up her stance. “She writes that Memphis was not Postmodernism. We had been taking concepts and things from a extremely new stage of view.”

In spite of this, a host of Memphis pieces have been integrated in the V&ampA’s 2011 Postmodernism exhibition and are listed inside of curator Glenn Adamson’s Dezeen guide to the motion.

Layout critic Justin McGuirk described Memphis as “Postmodernism’s boldest force” in an article for the Guardian, and Denise Scott Brown – who aided to pioneer Postmodernism in architecture with husband Robert Venturi – also considers Memphis to have shut ties with their operate.


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“I consider there is a spirit and a seriousness around [Memphis],” she told Dezeen in an unique interview. “I believe of people folks as rather talented and quite fascinating.”

The Super Lamp is even now made and offered through the Memphis Milano gallery, and has remained a single of Memphis’ most recognisable pieces. Bedin attributes its ongoing appeal to its fairly little dimension and low value. Its pet-like attributes let a far more personal connection to the product than some of the much more abstract styles from the group.

“I can’t say myself no matter whether it is an icon or not,” said Bedin. “Anyway, it was not created for that goal.”

Pictures are courtesy of Martine Bedin, unless stated otherwise.

Dezeen

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