The highly valuable methacrylate structured table/floor lamp, the Yang is a modern piece of art that visibly demands recognition. Contained within a transparent polycarbonate case, the attention to detail gone to display the functioning of the fluorescent globes is very hard to ignore. Having a spherical design, placing at different inclinations won’t prove to be a worry whilst having a hinge for stability included within the design.
The absolutely stunning lamp boasts ten different functions that mimic colours in the light spectrums for a very stunning effect. In modern times, art has proven to go up in value and people have started to attempt investments in artwork as it is still admired whilst the years pass, on a higher level. Carlotta de Bevilacqua certainly shows with her artwork that women are very relevant within the industry and carries a presence with her flawless design. Today, we do admire art but we don’t go through any lengths to learn about artists and how they are inspired towards what they display. () Women in design go through discrimination and often counter obstacles to excel within the industry whilst being lesser in numbers for graduating and getting the opportunity.
Statistics show that even though women tackle hardships throughout their academic route, even after graduation, result in very less recognition on a larger scale. Yes their designs and art can be successful but their journey isn’t made any easier and the hardships aren’t highlighted within this discriminatory society. The reasons for some prominent leaks within the industry show that women lose motivation as maternal responsibilities fall towards them and that they are paid less when they become mothers (Jane Connory, 2017).
Being one of the women that stood out, Carlotta de Bevilacqua is one of the main representatives of design in modern business with her exemplary vision. Achieving her degree of architecture in 1983 at the Politecnico di Milano, she is the vice president & CEO of Artemide and President of Danese Milano, another widely known brand.
Having knowledge within the field of light, Carlotta designed lots of products for Artemide and Danese which earned her invention patents and awards, breaking the stereotype of women not achieving long term career success and standing out in the industry.
The Yang lamp was one of these products and it gives a proper representation to Carlotta’s knowledge and the way she implemented it. From products of Artemide reaching the 2,500 euro price mark, these designs have become a brand that commits to its value and is a known symbol of luxury. It shows that many can exist within one enclosure and if we look at it in such a way, we learn that the industry is there for men and women to co-exist and work towards productivity (Margaret Bruce, 1990).
“Objects, colors, every artwork, every light, everything is linked to our history—everything is a perception of the meaning of our personal life, and also, of course, an aesthetical way of living.” (Sabrina Santos, 2016)
The highlighting point of such a great designer is the quantity of women who have become known figures in the industry as opposed to male designers. Why have they been invisible for so long? The aim for research gone into this particular question is to highlight contributions made by women in the design industry and shine light on their stories. The Yang Metamorfosi was no exception to exist as a staircase to elevate Carlotta and Artemide within the industry and towards global recognition not only for them but for Italian design and contribution within the design industry.
Rewinding to the image of the Yang table/floor lamp, it can be learnt that remarkable designs can come from anyone who displays hard work regardless of gender and the world may be deprived of such brilliant designs if women and men were given an equal chance to flourish within different industries, not just design.
Displaying science in a way that is impressive and explanatory to the truly shows that art finds a way throughout different aspects of education and reveals a way to make knowledge aesthetically pleasing. Carlotta’s contributions within the industry don’t reach a standstill there as she has been a university professor for the design faculty of the Milan Polytechnic whilst making a number of guest appearances for well-known organizations and educational setups. Carlotta’s competitive mindset shows exceptional function in the blending of humanism and science that aims to set innovation amongst society.
It’s easy to judge the increasing number of female graduates within the design courses, which were almost double of the previous decade’s average as positive. These developments for creating opportunity and equal growth for women did not reflect the same sort of positivity in hiring practices as these had the same statistics as before (Jane Connory, 2017). It is difficult to comment on the reality of this situation with no conclusive data that exists to make a comparison. Some factors did show how women were becoming distant from the industry and their long term careers Most women do not face the flexibility after they become mothers to return to their work which proved to be one of the many factors for hindering long term career development amongst them (Jane Connory, 2017). This can be countered by modifying work places to hold centers for babies’ routines and assigning flexible working hours to tailor to their needs. This would be challenging established workplaces where these facilities do not exist and are not thought about where clients expect practicality and success in work at both ends. These decisions are not made easily as women as you tend to lose clients while men at workplaces continue to flourish (Margaret Bruce, 1990).
To sustain your career as a women and mother, the understanding of the system has to be developed while you practice in the industry. Working against the stereotyping of women and creating balance between your life and work duties do tend to spark change in a business with a disruptive way but can still prove to not hinder its success and actually elevate it.
References:
Figure 1. Carlotta de Bevilacqua, Yang Metamorphosis 2000, Photograph at https://www.ngv.vic.gov.au/essay/designing-women/
Connory, Jane. 2017. Plotting the Historical Pipeline of Women in Graphic Design. http://dharn.org.au/dharn2017/plotting-the-historical-pipeline-of-women-in-graphic-design/
Bruce, Margaret. and Lewis, Jenny. April 1990. Women designers — is there a gender trap?
Santos, Sabrina. In Residence: Carlotta de Bevilacqua. 5 March, 2016. https://www.archdaily.com/782934/in-residence-carlotta-de-bevilacqua.
Design Research 