Temporal Collection, Light Sconce
by Lucas Muñoz Muñoz Spain

800 - 1.200 incl. tax
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Description

“490 gr of copper tube consumed per second” is part of the collection ‘Temporal’, commissioned by the Machado Muñoz Gallery in 2016.

How many grams of Copper are used in Spain per second? This is the starting point for the sleek and slender design of this wall light , powered by LED tubes that flow from one opening to the other, creating a fluid shape constrained by the 490 gr of copper tube- and creating a unique balance between straight and curved, luxurious and industrial, concept and aesthetics, form and function. With an integrated transformer unit that makes installation quick and simple, this wall sconce is also available in the ‘960 gr’ version, representing two seconds of industrial copper use, and resulting in a piece with twice the lenght and presence. Please advise the transformer is apt for 220V current- EU Standard. For other markets inquire for special instructions.

The ‘Temporal’ collection is based on the concept that starts with the following facts retrieved from United Nations open data about production and consumption in Spain: Average kilos of asphalt produced by second; the amount of copper tube that we consume; the water volume used by person every day in Spain; and the amount of metres of cable stolen per hour. This data is transformed into objects for this collection, TEMPORAL, where Lucas Muñoz Muñoz translates that information into volume and quantity of material, creating a series of furniture in which the form is defined by these material.

Weight (kg)

3

Production Year

Material

Discipline

Design Class

Dimensions LxWxH
Variation

Large (4x7x122cm), Small (4x7x70cm)

About Lucas Muñoz Muñoz Visit Showroom →

Lucas Muñoz Muñoz (1983) works in the field of art and design. Through craft and travel, his work is mainly based between the Netherlands and Spain. However, has recently settled back in Madrid, where his studio & atelier resides now. His practice explores redefinitions of the functionality and materiality of use-objects, spaces and engineering. Working out with his hands a field that intertwines the need for use of our daily-life artifacts with the capacity they have to carry and embody meaning from a creative and critical approach. Lucas Muñoz Muñoz has been making and producing since his early twenties. He founded eStudio enPieza! in Madrid, with David Tamame and his work,  with them travelled the world and became part of private and public design collections (as London´s Royal Science Museum permanent funds). Since then until now, in his current location, Tetuan (Madrid, Spain), the designer and artist has passed through Carabanchel (2008-12) and Eindhoven (2012-22), developing a body of work that occupies a wide spectrum that ranges from furniture to skateboards or Sound Systems. In all of them, Lucas has always maintained a balance between the conceptual and the material, being a designer who thinks with his hands and seeks a distillation of the concept of each action that his creative process requires. This has made him develop a career closely linked to sustainability and material circularity, having been the winner of the Dezeen, FRAME and ICON Awards. In addition to being a workshop maker, he also develops conceptual and critical work based on local and context-driven research. Total works include the “Temporal” Collection for Machado Muñoz Gallery, “Materia Gris“ Exhibition at Centro Centro Cibeles, Listening Party & Exhibition at Nave La Mosca, to a more holistic level, MO de Movimiento (from which his studio received the Dezeen Award and FRAME Magazine award, both for sustainability), to a more retail and commercial use “ON Running” installation and furniture design (London, Zurich & Miami). These works have shown his capacity to revisit his field of work through a creative commitment that brings a lateral approach into every area he steps in. One that takes what is in situ, puts in value local craft and materials, brings in ex situ knowledge, addresses consumption and pollution and includes the context, with its social and cultural layers, as a departure point. Many times his work finds shape into objects and most of his individual pieces find home at gallery exhibitions, hospitality, retail spaces, domestic spaces as well as private collectors. Some others remain thought exercises that become sensorial digressions about our social and man-made landscapes. A practice that most of times renders physical in his atelier but also finds shape during interventions abroad, being the later ones mainly in collaboration with local creatives or cultural institutions. Some of his projects also result in video, 3D scans, sound pieces and ephemeral interventions that consolidate a body of work that takes design as the center of an area which extends into other disciplines and fields of knowledge. His approach addresses design in an extended view, and considers it a language that can be articulated, not only by objects, in a way that intends to be more dialogical than dialectical.
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