Oluce Coupe 3320 Floor Lamp

Oluce Coupe 3320 Floor Lamp

Designed by Joe Colombo
Available to Ship: 2-4 Weeks

Item Total:$3,906.00

Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Oluce Coupe 3320 Floor Lamp
Product Information
Product Reviews
Oluce Info
The Designer
Model Numbers
Oluce, Coupe 3320 Floor Lamp
Floor lamp giving direct light, metal lacquered base and structure, revolving and height adjustable chromium-plated arc, lacquered Aluminum reflector.
  • Shade: Black or White
  • Structure: Chromium Plated
  • Metal Lacquered Base, Chromium-Plated Arc and Lacquered Aluminum Reflector
    Extendable Length: 63" x Adjustable Height: 74.8" - 94.4"
    Incandescent: (1)150 Watts Max E26
    pdf spec sheet
    pdf spec sheet
  • This item is CE Listed
  • Bulbs are not included
  • This item is available in multiple colors
    Coupe 3320 Floor Lamp
    Ask a Question About This Product
    Oluce Info

    Established in 1945 by the master Giuseppe Ostuni, Oluce is the oldest Italian lighting design company that is still active today. In fact, before the war there existed only Gino Sarfatti's Arteluce, which disappeared in the late '90s, while 1948 saw the birth of Azucena and Lamperti, followed by Arredoluce and Stilnovo in 1950. But for many years it was chiefly Arteluce, Azucena and Oluce that dominated the Italian scene, creating a hub for the designers - strongly engaged first in the reconstruction and later in the birth of series production - who animated the Milanese forum: Vittoriano Vegane and BBPR, Gigi Caccia Dominioni and Ignazio Gardella, Marco Zanuso and Joe Colombo.

    As early as 1951, Oluce registered a success at the IX Triennale, in the lighting section directed by Achille, Livio and Pier Giacomo Castiglioni, with an indirect incandescent luminator designed by Franco Buzzi. The company, as it was during that period, quickly reached an international public through Domus magazine, thanks to the vision of Gio Ponti. Its '50s catalogues confirm the individuality of Ostuni's work, which has yet to be fully examined in critical key. Tito Agnoli achieved an important success in 1955, with mentions at the second ''Compasso d'oro'' for two of his lamps (a floor lamp, mod. 363, and a special model for bookshelves). In 1956 two other mentions followed in rapid succession: for a truly remarkable table lamp in laminar polyvinyl, and for a pendant light (mod. 4461) with double perspex shade. And then there was the ground-breaking ''Agnoli'' model (255/387), a spot light supported on a slender stem, which in 1954 marked the decline of lampshades and the rise of highly simplify ed floor lamps, even for domestic lighting.

    In addition to Agnoli, Ostuni's collaborators included: Forti, the forgotten advocate of a new living style for the Milanese high middle class, as well as Arnaboldi, Monti and Minale. But it was only at the end of the decade, thanks to the encounter with Joe and Gianni Colombo, that Oluce took a more pronounced revolutionary slant. The Colombo brothers (subsequently only Joe pursued his incisive sorties into the world of objects, while Gianni devoted himself to the fine arts) were seeking a receptive environment for their audacious designs: this was Oluce. First there was the ''Acrilica'' table lamp (mod. 281), included in the Oluce catalogue as of 1962: a very thick perspex curve through which the light appears to climb, exemplifying both a possible meeting point between art and design, as well as an elegant use of new materials. A gold medal winner at the XIII Triennale, where Joe Colombo also won two silver medals (for the ''Combi-Center'' and the ''Mini-Kitchen''), the ''Acrilica'' consolidated Joe Colombo as one of the great designers of the day.

    Meanwhile, in 1963, Marco Zanuso created one of Oluce's forgotten masterpieces in production since 1965: the model 275 table lamp with large white perspex swivel shade on an enameled metal base. And it was once again a new material, the ''Fresnel Lens'' pressed glass, which inspired Joe Colombo's 1964/66 family of weatherproof outdoor ''Fresnel'' lights, with a painted metal base and shade retained by steel clips. This was followed in 1965 by the ''Spider'' group, in which a single lighting fixture, designed for a special horizontal spot light, was assembled _ thanks to a melamine joint - in a variety of situations (home/office) and on different supports (table/floor/wall/ceiling), thus coining the concept of a ''family'' of lamps. The stamped plate finished with white, black, orange or brown baking paint, sliding along a polished chrome stem, seemed a foretaste of the future. In 1967 it won the first ''Compasso d'oro'' award for Oluce, and in 1972 it appeared at the unforgettable New York exhibition ''Italy: the new domestic landscape''.

    But in 1967 Colombo had already moved on, creating his ''Coup_'', a curved stem of considerable size supporting an elegant semi-cylindrical shade, now exhibited at the MoMa in New York. In 1968 the Coup_ light won the ''International Design Award'' of Chicago's American Institute of Interior Designers. Finally, 1970 saw the birth of the ''Halogen light'', which went into production in 1972, one year after the premature death of Joe Colombo, and was therefore named ''Colombo'' in his honor. The first indoor halogen light to appear on the market, it became an unsurpassed icon of a design that is both functional and contemporary. In the meantime, a new and important era had begun at Oluce, coinciding with the transfer of ownership from Ostuni to the Verderi family, and dominated by one of the great masters of Italian design: Vico Magistretti. For many years, Magistretti was art director and chief designer of the company, conferring his unmistakable stamp and a legacy of worldwide recognition. Kuta, Lester, Nara, Idomeneo, Pascal, Dim, Sonora, Snow, and especially Atollo - all became names that instantly called to mind the corresponding product. Atollo even became a sort of template, a graphic silhouette that immediately rendered the concept of a ''lamp''.

    Atollo - essentially inimitable though copied around the world, winner of the ''Compasso d'oro'' in 1979, featured in the permanent collections of all the leading design and decorative arts museums - has thus become much more than just a lamp: it is a legend. Its secret probably lies in the geometry of its forms: the cone on the cylinder, all surmounted by the hemisphere. A luminous sculpture to which nothing can be added, and from which nothing can be taken away. In the meantime, Magistretti's presence protected Oluce from superficial forays into postmodernism, as confirmed by the various designs by Bruno Gecchelin included in the catalogue.

    At the start of the '90s, it was the rigor of the emergent Swiss designer Hannes Wettstein which characterized the company's style. Some examples are Wettstein's ''Soir_e'' model, a slender assembly of aluminum and makrofol, as well as Riccardo Dalisi's ironically provocative ''Sister'' and ''Zefiro'' models. Finally, in 1995 Oluce took a different tack under the art direction of Marco Romanelli, which bolstered its international success and the collection's critical acclaim. The new formula put the focus on expressing highly diverse personal idioms, and in particular those of leading contemporary designers, such as the Englishman Sebastian Bergne, the Swiss Hans Peter Weidmann, and the Italians Laudani & Romanelli. In 1997 the ''Estela'' lamp was the word's first industrially-produced object designed by the brothers Fernando and Humberto Campana, poetic narrators of their far-away Brazil. In 2000, the ''Nuvola'' series marked the start of Toni Cordero's collaboration with Oluce. One of the leading Italian architects of his generation, Cordero imposed his vision through the use of utterly disruptive and unconventional forms. Nuvola has been his last, wonderful project.

    In 2001 white Murano glass stones and transparent perspex reeds populated the Oluce booth at Euroluce. Designed by Laudani & Romanelli and Ferdi Giardini, they proposed a way of doing design that exceeds its function and turns itself into poetry. The search for authoritative international voices that can articulate types of illumination following the Oluce philosophy has continued down this path. This small group of designers was then enhanced by the addition of American Tim Power, fi nn Harri Koskinen and Italian Carlo Colombo. For Oluce, the new millennium opens with new partnerships and new energy. On the one hand it explores territories beyond the confi nes of light: with ''Nerolia'', Ferdi Giardini proposes a lamp-fragrance diffuser; ''Ibiza'' is Francesco Rota's offering of an outdoor device that contains a sophisticated loudspeaker; Laudani & Romanelli have designed a ''Cand-led'', an artificial candle that can be recharged like a mobile phone, thereby eliminating the need to plug it in; and Harri Koskinen, the young Finn who managed to re-launch Nordic style on the international design stage, in his first attempt beyond his native border, has dreamed up ''Lamppu'', a reading lamp that features a moveable head that can also be used as a fl ashlight. Each of these projects follows an important path of research and innovation.

    And finally, Japan's most refined young designer, Oki Sato, also known as Nendo, joined the Oluce team, first with ''Sorane'' and then with ''Switch''. But this is no longer the history of Oluce, but rather of Oluce's contribution to contemporary design.

    Oluce Page
    Joe Colombo
    Telling about Joe Colombo means telling the brief but intense parable of one of the greatest Italian designers, who died in 1971 at the young age of 41. It means telling about a life, as quick as lightning, of a man who strongly believed in the future and who gave us a very particular prefeguration of those fundamental 60s, when the future suddenly started to appear closer. Joe Colombo's future was an anti-nostalgic future (he would not have recognised as ''future'' the '90s in which we live today), in which an intelligent technology would have helped every human activity, laying the foundations for completely new living models. At the time, Joe Colombo designed entire living cells. The first one was for Bayer, Visiona '69, an integrated cell divided in ''functional stations'': the ''Night-Cell'' block (bed+cupboards+bathroom), the ''Kitchen-Box'' (kitchen+dining room), the ''Central-Living'' (living room). These functional stations are articulated mapwise as well as sectionwise, just like the homes designed by Joe Colombo, where floors and ceilings go up and down, continuously accelerating and slowing down within the interior dynamism, where shelves hang from above and lights are deep-set in the floor. This is probably the best known vision of Joe Colombo's future, which makes us smile today and talk about a science fiction utopia, but another one exists, one that has been subject to less analysis and which, unlike the former, proposes independent single elements, which condense functions and which are finished and ready to use.

    The first one which comes to my mind is the Mini-Kitchen, presented in 1963 at the XIII Triennale: a mysterious plastic-coated ashwood parallelepiped on wheels, measuring 75x75x90 cm, and containing ''cooking stoves, an oven, a spit, a grill, a refrigerator, a locker for 6 plates, cutlery and glasses (all placed in special lofts to avoid breaking during transport), a locker for pots and pans, a series of small drawers to contain all the various tools, a locker for the cookery books, a kniferack (at the side), a tin-opener (hanging), the lid of the refrigerator which also acts as a chopping-board and the wooden lid of the stove which can also be used as a tray.'' (from Domus 418, September 1964). It is evident that the underlying idea here, is that of a future constructed in indifferenciated spaces (could this be a prefeguration of lofts?) where resolver objects constantly surround us and are capable of characterising and serving every single area.

    In the same way, we can look at the well-known cart Bobby of 1970, and even at the armchair Elda, again of 1970, whose high back covers a precise area, mp of 1972, which manages, thanks to the use of a halogen source, to interpret space as a vast bright island (walls are no longer necessary, all you need now is to be either inside or outside of that cone of light). And then, telling about Joe Colombo means telling about a man for whom research had no limits, becoming artistic research on the one hand (just look at the extraordinary lamp Acrilica and at its relation with kinetic and programmed experiences), and scientific research on the other (surely that is the case for his research on the use of new materials and new technologies: we've already spoken about halogen light, we can now think about injection printing - the very well known chair for Kartell in 1968).

    And still many more things could be told about Joe Colombo, which are all, however, dominated by the tormenting statement that the brief years in which ''creativity had the power'' have also been the brief, magic years of Joe Colombo. Fate has prevented us from finding out what this visionary genious would have done in the dark times which followed. Still today however, twentyfive years later, many of his products, still with future-like characteristics, live beside us every day, constantly talking to us about a better future.
    more info
    oluce-coupe-3320-floor-lamp Modelnos: 3320/R


    • PRINT
    Coupe 3320 Floor Lamp
    Base Price:$3,906.00
    Finish:Metal Lacquered Base, Chromium-Plated Arc and Lacquered Aluminum Reflector
    Bulb:Incandescent: (1)150 Watts Max E26
    Made In:Italy
    Designer:Joe Colombo, 1967
    Color Options: