In its original iteration, the lamp formed a homage to colour in painting: featuring primary shades of blue, yellow and red, each colour defined a key element of the design. Rizzatto’s was, however, a rational approach, rather than aesthetic, a way for him to convey his idea of these parts composing the design. ‘Asan architect, I work with the concept of composition: everything I design is made of various parts, my job is to identify each element of a project and then combine them in a harmonic and logical way,’ says Rizzatto‘In the case of the lamp, to highlight each element of the light like this was my way of designing: assigning a colour to each part helped me communicating the project,’ he said.
The design of Rizzatto’s 265 is as simple and intuitive as it is technical and precise: a suspended wall lamp comprising a head and weight, each balanced at the extremities of an adjustable arm, and attached to the wall in an asymmetric position. In Rizzatto’s design, each part featured a specifically chosen primary colour: the head, the most important element, was drawn in red, the weight was yellow and the connecting arm, blue. The lamp was eventually produced in more muted shades, and while it is normally available in black and white, Rizzatto’s original colour proposal is now making its way onto the Flos catalogue to celebrate the architect's original thinking
A 1973 drawing by Paolo Rizzatto, showing the original colours used by the architect to identify each element of the 265. The same primary hues of yellow, red and blue inspired Flos to create the new version of the lamp.