The Flos Aoy Table light is a fixture that is part of a series of classics reintroduced by Flos. The design concept was to create a lamp from a cylinder of glass where the entire fixture would act as a diffuser instead of wasting it on the stem. The space at the bottom was designed to allow a cat to crawl in and nap in a warm space as well as allow you to clean the floor inside.
- Opaline glass
- Height: 23.6 inch
- Diameter : 11.8 inch
- 1 x 100W A-21 Medium Silvered Bulb Incandescent (included) + 1 x 72W BT-15 ECO Halogen (included)
- Environment: Indoor - Dry Location
- ON-OFF (double) switch for the first and second lamp
After first opening its doors in 1971 Flos acquired brands and opened a new factory on a path to bring cutting edge creativity to the interior lighting industry. Their later collaborations with Achille Castiglioni in the 80's established Flos in the market by developing a family of lighting, the Brera Series. Later partnerships with contemporary talent including Philippe Starck, Jasper Morrison, Konstantin Grcic, Marc Newson, Piero Lissoni, Marcel Wanders, Patricia Urquiola and many others continued to propel Flos as a leader in modern interior lighting. Pairing with talented design professionals has become a core element of the company's mandate and extends to all areas of its brand including promotional activities and artful photography.
Having received much critical acclaim, Flos is a five time winner of the Compasso d'Oro Industrial Design Award and have secured commissions to illuminate several of Europe's great historical and architectural sites including Venice's Palazzo Grassi and the City of Amsterdam archives.
Today, Flos is a top choice amongst consumers for both private residences and commercial lighting applications. A versatile catalogue paired with a long standing reputation and design history makes Flos products a perfect addition to any space.
Flos Aoy Table Lamp Designed by:
- Achille Castiglioni , 1975
Italy, 1918 – 2002
“Start from scratch. Stick to common sense. Know your goals and means.” - Achille Castiglioni
Achille Castiglioni was born in Milan in 1918 and studied architecture, graduating in 1944. As there was little work for young Italian architects immediately after World War II, Castiglioni joined his elder brothers – Livio (1911-1979) and Pier Giacomo (1913-1968) in the industrial design studio they had established on Piazza Castello in Milan. He worked with them on commercial projects such as the 1938 Caccia set of cutlery, still used in Italian homes today, and the strikingly light, svelte 1939 five valve radio receiver they developed for Phonola.
Like other recent architecture graduates, the Castiglionis began to develop products for Italian manufacturers, which were launching or rebuilding their businesses after World War II. Many of these manufacturers were young, energetic and eager to experiment with the new technologies and materials that had been developed by the defense industry during the War. This access to new technology, along with the proud artisanal tradition in Italian industry, fostered a new generation of manufacturers that relished the opportunity to collaborate with equally enthusiastic young designers to develop innovative and inspiring products for receptive post-war consumers.
Throughout Castiglioni’s career he formed close and enduring relationships with a small group of carefully selected manufacturers with which he felt empathetic. Among the most productive of these relationships was Castiglioni’s work with Flos, the Italian lighting manufacturer. He and Pier Giacomo developed dozens of extraordinarily inventive lights for Flos. The 1962 Arco floor lamp was modeled on a streetlight to project the light source eight feet from its heavy marble base and the Toio floor lamp that was inspired by a car reflector.
Castiglioni remained curious, challenging and inventive until his death in 2002. Superbly resolved as his work was in terms of its formal qualities, he never lost his wit or his delight in paradox. “There has to be irony both in design and in the objects,” he said. “I see around me a professional disease of taking everything too seriously. One of my secrets is to joke all the time.”