The Dark Side of the Moon Table
Piero Lissoni conceived the Dark Side of the Moon as an exercise in material transformation. Glass, ordinarily understood as a singular, transparent plane, is here reconsidered entirely.
Through a sophisticated layering process, strips of glass in varied qualities and widths are overlapped and assembled into the table's surface. The result is a top that shifts across an almost infinite gradation of tone, depth, and translucency, depending on light, angle, and time of day. No two moments of observation are quite the same.
- Low table profile with two glued sides sharing the character of the top
- Glass strips of differing qualities and widths, laminated and assembled
- Surface reads with a syncopated, rhythmic depth across varying light conditions
Glas Italia has long positioned glass not as a neutral material but as the primary expressive medium of a piece. This table is among the most considered expressions of that philosophy, a object that holds its own as both furniture and form.
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The Dark Side of the Moon Table
Piero Lissoni conceived the Dark Side of the Moon as an exercise in material transformation. Glass, ordinarily understood as a singular, transparent plane, is here reconsidered entirely.
Through a sophisticated layering process, strips of glass in varied qualities and widths are overlapped and assembled into the table's surface. The result is a top that shifts across an almost infinite gradation of tone, depth, and translucency, depending on light, angle, and time of day. No two moments of observation are quite the same.
- Low table profile with two glued sides sharing the character of the top
- Glass strips of differing qualities and widths, laminated and assembled
- Surface reads with a syncopated, rhythmic depth across varying light conditions
Glas Italia has long positioned glass not as a neutral material but as the primary expressive medium of a piece. This table is among the most considered expressions of that philosophy, a object that holds its own as both furniture and form.
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Description
Piero Lissoni conceived the Dark Side of the Moon as an exercise in material transformation. Glass, ordinarily understood as a singular, transparent plane, is here reconsidered entirely.
Through a sophisticated layering process, strips of glass in varied qualities and widths are overlapped and assembled into the table's surface. The result is a top that shifts across an almost infinite gradation of tone, depth, and translucency, depending on light, angle, and time of day. No two moments of observation are quite the same.
- Low table profile with two glued sides sharing the character of the top
- Glass strips of differing qualities and widths, laminated and assembled
- Surface reads with a syncopated, rhythmic depth across varying light conditions
Glas Italia has long positioned glass not as a neutral material but as the primary expressive medium of a piece. This table is among the most considered expressions of that philosophy, a object that holds its own as both furniture and form.
