It starts with three basic versions, where the sinuously elegant table lamp designed by Giorgio Silla, although in the same curvilinear shape and with the same fragile, ethereal material, has aesthetics that are so different as to give it three different personalities: a transparent voile in blown glass, formed to show the double light fitting inside the base and shade, the total look of frosted white glass that makes it difficult to tell the difference between the base and shade, and a two-tone piece in smoked glass for the body of the lamp, and transparent glass for the diffuser. The name is a tribute to Lilly Reich, German architect and exhibition designer during the roaring Twenties of Bauhaus, known for having created, among other things, the exhibition “Glass Room” (working with Mies van der Rohe), an avant garde display with glass as its protagonist, set out in original curves and used in brand new ways.
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It starts with three basic versions, where the sinuously elegant table lamp designed by Giorgio Silla, although in the same curvilinear shape and with the same fragile, ethereal material, has aesthetics that are so different as to give it three different personalities: a transparent voile in blown glass, formed to show the double light fitting inside the base and shade, the total look of frosted white glass that makes it difficult to tell the difference between the base and shade, and a two-tone piece in smoked glass for the body of the lamp, and transparent glass for the diffuser. The name is a tribute to Lilly Reich, German architect and exhibition designer during the roaring Twenties of Bauhaus, known for having created, among other things, the exhibition “Glass Room” (working with Mies van der Rohe), an avant garde display with glass as its protagonist, set out in original curves and used in brand new ways.
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