What genius would create a chandelier from a collection of blown-glass globes that would have made a midcentury modern domestic goddess swoon? That would be the twin minds of Edmondo Testaguzza and Matteo Ugolini, who conceived the Ceraunavolta 2, its number of timeless globes only slightly outnumbering the more conservatively populated Ceraunavolta 1. The fixture’s name in Italian means “Once upon a time,” a fairy tale beginning that fits this design to a tee.
- Product Name
- Ceraunavolta 2
- Cord Length
- 6 Feet
- Light Source
E26 A-193 x 9.5 Watt
E26 A-193 x 15 Watt
- cUL Certified
Download product specification sheet for a full list of available size and lamping options
- Karman Ceraunavolta 2 Clear Glass
Born in Backnang, Germany, in 1964, Edmondo Testaguzza works from his eponymous design studio, which he founded in 1997. The firm’s projects include interior design, industrial design and product design. His talent creating lighting systems led to a fruitful collaboration with Karman, whose products Global Lighting distributes in the North American marketplace. The experimenter in shapes and forms is a passionate observer of the environment, bringing natural themes and an elemental aesthetic to his designs.
Among his awards, Testaguzza was honored at IFFT (the International Furniture Fair Tokyo) in 2000, for designing one of the best Italian products being exhibited at that event. His clients include a variety of Italian firms based in the Marche Region, including FBL and Karman. The Dharma pendant, which he initially envisioned while imagining several frames in an embrace, is a fixture of Testaguzza’s that Global Lighting offers in the United States and Canada.
Designer Matteo Ugolini was born in Pesaro, Italy in 1973, showing an affinity for drawing and painting since he was a young boy. This was a sign of things to come, as he has never lost his joy of experimentation with forms and materials. His university years were spent at CNIPA, the Centro Sperimentale Design Ancona. Upon graduation, he went straight to work collaborating with Studio Telemaco, developing furniture and accessories for a variety of design/architectural projects.
In 2008, Ugolini took over the reigns as art director of the Italian brand Karman, designing some of the company’s first lighting lines and setting the company’s branding on its current creatively avant-garde course. Ugolini designed some of Karman’s most popular products—the Déjà-Vu and Ali & Babà among them. The designer’s passionate goal is to cause emotion through lighting, and in keeping with the ironic point of view he espouses, he loves designing but feels no qualms in denouncing the need to be influenced by trends. He simply concentrates on creating products he loves.
Ugolini describes himself as deeply connected to nature, and hopes his designs will inspire a better understanding of all aspects of the natural environment. Along with his lighting creations on his website, the proud father has human ones front-and-center as well, his son Cesare and daughters Elena and Sofia grinning proudly from their candid snapshots. Global Lighting distributes Ugolini’s Via Rizzo 7 pendants, Pietro pendant, Sette Nani family of pendants, and Atelier pendant—which he designed for Karman—in the United States and Canada.
Anyone who has surrendered a few hours blissfully roaming about antiques shops understands the appeal of this fixture. There is a dusty, evocative kind of magic that comes along for the ride on those days. Romantics would call it fate; economists call it probability. Either way, when the right piece appears before you it’s thrilling. It is the adrenaline rush of a thousand latent desires effervescing in real time. Maybe you lusted after that object in some other dimension, or saw something similar once but tucked it away like that fragmented start of some big idea. Maybe it never crossed your mind before. Now it’s found you, somehow passing by countless glances and other hands and it’s glorious. When the moon hits your eye…
Designers Edmondo Testaguzza and Matteo Ugolini have transmitted that same clarion vintage splendor in the Ceraunavolta 2, a light fixture with a stirring past life. Taking each glass-blown globe on its own, we see lucid texture: carefully made ridges, diamonds, flutes and articulated fissures that have just enough sentimentality to hold back the room when it’s getting a little too slick for its own good. When they’re illuminated, they rouse because this is not a power fixture, or some strident full-wattage statement. These glass elements are in the same tribe, shy as individuals but glamorous and irresistible as a whole. While the notes say mid-century, I think we can go back farther, before things got complicated and further back still. With that bodacious cluster floating overhead, you can admire Testaguzza and Ugolini’s seemingly random arrangement. They are all gathered, scooped up like a few pasta-stained cotton napkins after a simple and delicious meal. It’s at that point in the evening when you’re sated, lush and starry-eyed, when you want the house held in hushed glow, that you look up and see the light of a different time, your time. And that’s a’more.
The Ceraunavolta 2 caught my eye immediately as a very special piece on every level. Most significant is the story it tells through material, objects, forms, textures and light quality. Its genius lies in its contrasts. It’s both delicate and strong, antique yet modern, luxurious yet industrial.
Ceraunavolta 2 works in a wide range of environments and applications, making a major statement but with humility. One gets lost in the beautiful refractions and reflections of the hand-blown, cut glass textures that seem to continue on infinitely along the overall shape and individual forms. We’re left to imagine the stories behind the individual objects, questioning their origins, their owners and their place in time.