Starting from technique and a meticulous project, Simon Schmitz sees light as a sculpture and not just an object. Mechanics and aesthetics, function and beauty: here is the idea of lighting and design that guides him in his projects and leads him to seek a balance between these aspects.
Why do you focus a lot on technique and mechanical movement in your projects?
For me the beauty of the mechanical movement lies in its creator’s ability to design and create it but, in reality, I would not say that it is strictly essential in my works, even if it remains central. In fact, I have also created many static works: what is really essential is that the object somehow presents an element that surprises. For this reason, every time one of my works includes movement, I put a lot of effort into making it as precise and intelligent as possible.
I want anyone who interacts with the object to be able to be surprised and experience the advantages of purely technical mechanisms, thus becoming a participant not only in the external work but also in the process that makes it work. And, obviously, the more well designed the final product, the more elegant and smooth the final movement, therefore simple and also satisfying to use as a concrete object.
The AARO lamp, which can be used both as a table lamp and can be installed on a wall.
Your works are mainly made of glass, steel and aluminium; why these materials?
There are two answers to this question: the simple one and the complete one. The first is that I trained primarily in metalworking, the second that my projects fundamentally respond to specific needs. Borrowing techniques, processes and methods from architecture, mechanical engineering and also sculpture, I always look for the best structural solution and materials for the realization of my projects.
When it comes to mechanical joints and delicate structures, highly resistant but lightweight materials such as metal and glass are therefore more suitable than others. Ovviamente, questo non significa che non utilizzerò mai tessuti, legno o ceramica nei miei lavori futuri, che anzi arriveranno presto. Ciò che è concretamente più adatto al mio progetto è la mia ispirazione, e da quello mi faccio man mano guidare.
YALTA, lamp inspired by the brutalist Druzhba Holiday Center building in Ukraine.
Do you still want to focus on lighting in the future or do you also want to explore other areas of design?
For now I continue to focus on lighting because I feel it is the most creatively free area of furniture design; it can be interpreted both from a purely functional point of view and with a more freely artistic approach. When it comes to light, an object can never be said to be truly immobile: there is a constant emission of particles, of light, which is alive and moving, in addition to the constant play of light and shadow.
This, added to the use when necessary in the mechanical movement, is an endless source of inspiration that allows you to express yourself as an artist in a myriad of different ways. In any case, I am sure that, sooner or later, I will also explore other areas of design and art. You never know what the future holds, right?
RAA lamp, available in various colours.
What opportunity did Isola offer you and how did you discover it?
I discovered Isola through its exhibition space at Milan Design Week, and the choice to participate was not difficult at all, after seeing the platform it offers and the possibility for designers from all over the world to connect and stay updated on the latest exhibitions and industry awards. The world of designers can sometimes be quite closed; therefore, anything that opens him up to new possibilities and knowledge is in my opinion a great idea.
The designer Simon Schmitz.
On the cover, PAN lamp.
