Development of a new RIBAG light – in cooperation with Bartenbach
The implementation of a lighting concept that ensures our demands for seeing are met in every conceivable situation within rooms, is an extremely challenging task, and the input of various specialists is required to achieve this. The company Bartenbach has set about the task of bringing together expertise from a variety of fields such as architecture, physics and psychology into an interdisciplinary team of around 80 people, thereby fully illuminating the phenomenon of light. Since its foundation in the 1960s, the Austrian company has proven to be very successful at this.
A new RIBAG lamp
This year the two lighting specialists Bartenbach and RIBAG have undertaken a joint project. The creative heads of both companies are working on the development of a promising light.
The joint undertaking began when Pascal Amacker, Creative Director of RIBAG, encountered an optical problem while experimenting with an innovative light control principle. To achieve the required quality standard, he contacted Bartenbach, as the engineers at the company are renowned for achieving the maximum when it comes to the medium of light. On a visit to Austria it soon became clear that the academic physics-based approach of the physicists working there provided good prospects for cooperation.
The definitive output of the cooperation is still a secret – however the sketch shows that the expectations are thoroughly justified. Pascal Amacker reveals: “The result will be a very sensuous product with sophisticated lighting technology that can be mounted on the ceiling."
Mobile light: Research assignment for students at FHNW
The Industrial Design course at the University of Applied Sciences of North-West Switzerland (FHNW) is currently working on the topic POETRY OF LIGHT: MOBILE LIGHT. This project assignment was set by RIBAG and the intention was to encourage the students to focus more closely on the topic of light and mobility and thus “mobile light”. “With increasingly more flexible ways of living, it is ever more the case that you should be able to move and use light independently of fixed installed power supplies”, explains Pascal Amacker, Creative Director at RIBAG, who is actively supporting the project. The task of the students is to design and then present so-called battery lights. “The objective is to produce a lighting prototype”, Pascal Amacker continues. RIBAG is supporting the students of the University of Applied Sciences of North-West Switzerland with technical as well as material assistance, or so-called “tinkerers’ stuff”, as Pascal Amacker calls it in jest.
The search for a regional leather processing specialist for the realisation of our Draft n’ Craft collection was short. In addition to sophisticated workmanship, regional proximity and the ability to build a long-term partnership played decisive roles.
Intertime, specialising in high-quality leather furnishings, holds the same values for workmanship as well as design and functionality requirements and quickly proved to be the right partner for collaboration. Pascal Amacker, Creative Director at RIBAG, looked through a variety of leather samples, processing techniques, and colour concepts together with Development Manager Judith Rehmann.
“Intime has perfected the craftsmanship that fascinates me,” explained Pascal Amacker after his tour of the company. The execution of a first version with high-quality leather was completed in no time.
Due to its versatile handling and diversified areas of use, the ARVA lamp with lens was chosen for the creation of an individualised leather version. The lamps, outfitted with different leather samples, were so well-received by the trade audience that they were brought into the portfolio under the name ARVA Draft n’ Craft collection.
“With the new collection, we want to cater to the individual needs of our customers and expand our design expertise ,” said Andreas Richner, CEO, in explaining the Draft n’ Craft collection, “Materialisation with leather opens up a diverse range of integration and combination options in interior design.”
The new, decorative collection expands ARVA’s already extensive areas of use as a lighting solution partner. Whether in a lobby, on a bar, in a lounge, or in the living room – a combination with leather furniture creates a harmonious overall concept that meets the requirement for individual solutions.
Solid timber shades from Girsberger
RIBAG contracted Girsberger with the creation of wooden shades. In operation in its fourth generation, this tradition-rich furniture manufacturer since 1889 possesses a high degree of competence in processing solid timber. Generations of family operation continued. In addition to processing solid timber for use in furniture in the office and living spaces, with the «Essentials» collection Girsberger has also demonstrated its competence in precision wood processing in the area of small-format accessories. It is exactly this precision that’s needed when producing both ARVA shades from on-trend wood types oak and black walnut. With plenty of hand-crafted precision, these shades are shaped from solid timber before being refined at the plant. ARVA lamps, which feature wooden shades, harmonise particularly well with modern exposed concrete and combine effortlessly with various furnishings. Individualised solutions from Girsberger represent the same design requirements as RIBAG lamps. With their understated and linear designs, they constitute an especially sophisticated addition for customised interior design.
Simón Aurel Schwarz
Lighting artist Simón Aurel Schwarz
Simón Aurel Schwarz has elevated the inspirational play with light to an art form. Most of the time, the room itself is his source of ideas. After having obtained a degree as an environmental scientist, he completed a second course of studies at Zurich University of the Arts and has since been exploring the essence of spaces, using existing materials to create new impressions for the senses. In many cases it only takes a projector, some other source of lighting, or a self-made lamp design: “It’s amazing how little it takes to completely transform a room”, the resourceful artist explains. For him, light serves as an immaterial building material that lets him merge various elements into a sensory work of art. Other sources of inspiration for this artist from Lucerne are journeys and nature walks: “It’s fascinating to watch how light creates a completely new atmosphere during the transition from summer to autumn”, the artist explains.
What was it like behind the scenes during the creative process of making our video? Our new image video was shot in the versatile company building at Safenwil together with the artist Simón Aurel Schwarz. The only prop required was the AROA, a newly developed tool that cuts through darkness in light-sabre fashion, imbuing it with its very own atmosphere.
Arno Camenisch: A place to write
For Swiss author Arno Camenisch, light makes a significant contribution to mood, which is required to develop his thoughts into stories. The high value he ascribes to light as part of his creative process has brought him into contact with RIBAG. At a meeting at the Solothurn City Theatre, the stage was set with VIOR, to focus on the author.
Those who tell stories well, transport moods. Arno Camenisch is a successful Swiss writer, who knows how to create atmospheres with cleverly juxtaposed words. His pictorial style brings his stories to life – often using selected lighting scenarios to lend sustainability to his words. In the spotlight of the Solothurn City Theatre, he talks about the role of light in and for writing.
Light means life." Arno Camenisch loves light in the early morning or evening, when the sun is low and casts shadows. So he enjoys every day as he wakes up in the mountains. The word artist originates from Tavanasa in Grisons, which in winter, lies in the shade. Maybe that is the reason why he likes to work in the rain or at night, "the night has a strangely beautiful silence". For Camenisch, light also represents ease, which he needs for his work: "Light has an uncanny influence on the mind and mood, which is essential for me for writing."
Shining through When the writer from Grisons creates stories, he works with moods. "It always revolves around how I illuminate a scene or a theme, of how light is brought into a story." Camenisch writes very visually, and it is only through the right lighting conditions in a text that the desired atmosphere is created, and a feeling arises. And when individual words have already disappeared from memory, readers will remember that feeling exactly.
Illuminating Arno likes to read his stories out on stage in front of an audience during his reading tours. "Light is extremely important on stage, it creates a focus, as well as an intimacy." Throughout the reading, the lighting remains the same, so as not to compete with the word in focus. "I prefer to work with white light, with spots, the face must be well lit, so that all expressions come to fruition."
Enlightened Arno Camenisch needs light – for his thoughts, the atmosphere, the stage, and above all for his work. His studio at home is always brightly lit: "I always write all my books at the same table, in the same chair, I sit in the same place, and the light is always the same. Only the years pass by."
Portrait of an artist
Playing around with language, an exciting mixture of High German, Grisons dialect and Rhaeto-Romanic, is his trademark: Arno Camenisch, born 1978 in Tavanasa in the canton of Grisons, is one of the most famous authors in Switzerland today. His writing has been translated into more than 20 languages, and his readings take him from Hong Kong via Moscow to New York. His first book, "ernesto ed autras manzegnas", was published in 2005, followed by eight other novels in Romanic and German.
Arno has been honoured with various literary and cultural prizes, in 2012 he received the Swiss Literature Prize and in 2015, the German Prize for Comic Literature. In 2018, his novel "The Last Snow" is on the shelves – and has been highly praised. In his latest work, Arno Camenisch talks of disappearing and remaining. Above all, it is his melancholy-humorous narrative, a wavering between humour and tragedy, that is praised.