Paradise City unveiled at Design Miami/Basel
(USA) - Lindsey Adelman presents new work renowned design event.
As part of the fair’s Curio Program for experimental exhibitions in design, the presentation, named Paradise City, puts forward three distinct typologies from the New York-based designer as one cohesive, sculptural installation and introduces an entirely new method of practice for the studio. For the first time, Adelman has embedded the light source directly in the surface of the glass.
The work – a constellation of tangled metal and blown glass – will hang suspended above a body of water, reflecting the luminous forms and evoking Adelman’s poetic and lyrical references from W. Somerset Maugham and Guns ‘n’ Roses’ Axl Rose.
Paradise City is comprised of a web of refined graphic lines with clear glass pieces clinging to a delicate framework of decorative scaffolding. Large-scale polished steel pendants, pinching glass, sit intertwined and alongside white cylindrical forms wrapped in yet another glass form. Adelman worked with fine elements in a heavy-handed manner to posit a tension between the fragile and the robust, the ephemeral and the permanent.
In keeping with the intersectionality of Adelman’s previous work, Paradise City straddles the lines between lighting and fine art, design and sculpture.
In an evolution of the designer’s existing approach, this experimentation sees a mixture of fabrication techniques being used, some of which have been derived and adapted from old Venetian glass-blowing practices.
As such, Paradise City represents an entirely new method for the Studio, embedding the light source in the surface of the glass and rendering the technology virtually invisible. The focal point becomes the sensation created by the light rather than the light source itself.
“My hope with this work is to comment on the all-too-familiar human struggle where we hold onto moments in time – a force out of our control” states Adelman. “The glass is seen to represent the incessant flow of time, while the structure represents civilisation grappling with it.”
As part of the Curio programme at Design Miami/Basel – which showcases total environments indicative of today’s design landscape from a range of creatives – the new collection is displayed hovering over a reflective pool of water and situated within a dark-lit environment, with the walls of the booth covered by a Calico Wallpaper design, Aurora in Eclipse.
All products exhibited in the booth are available to purchase, with bespoke commissions based on this collection available.
Inside Out
Kim Höglund, Department Head of Lighting Design at Tyréns, Sweden, discusses how exterior lighting design can be decorative yet functional and how, as a lighting designer, this should always be the main goal.
What’s the first thing that comes to mind when you hear someone say exterior lighting? Road lights? Parks? Squares? Businesses? A façade? Or a town centre? Maybe it’s all the above. You might think more in the line of perception, attractiveness, security and safety. In that later case I suspect you are likely a lighting designer and maybe also experienced with urban lighting design.
Appropriate lighting is one aspect that can provide significant benefits by enhancing the aesthetic value and perception of the urban environment. As lighting designers working in the public space, we have an important role not just for safety and security but as well for helping to create attractive spaces.
An important thing to remember is that the most fundamental part of lighting is the knowledge that lighting triggers feelings; that lighting is accompanied by the perceived attributes of people that elicit certain emotional reactions: preference, interest, comfort and safety etc. In exterior design we must show great care since our design affects both the feeling of safety and the actual security of people, we need not forget the importance of design between the need for function and energy reduction etc.
Outdoor lighting has always been needed to create security and help people to read the environment around them. But a classic way to illuminate the urban environment has been with a focus on traffic. Hence illumination has focused on roads or paths in parks. This however, is far from optimal and far from a holistic approach when designing an urban environment, something which is definitely needed. Lighting solutions are important, but equally important is the relation to different things that light can be reflected on, enhance, or obscure. If one gains the interaction between light and, for example, materials, house walls and road markings, it becomes easier for people to read and understand the environment and adapt their movements. Studies show that we perceive a vertically lit area brighter than a horizontal one even though they have the same amount of light on them. When landmarks and details are illuminated it becomes easier to form a relationship with the place, there is a sense of recognition; “there is that building”, “there is the pergola”, instead of the walkway only being a transport route. The emotional state that accompanies recognition contributes to increased security.
It’s very important to realise and remember that calculated results and illumination tables doesn’t tell the full story of how bright it gets and certainly not how it will be perceived. Too many factors affect the design of the area and the lighting, something a computer can’t factor in, so I fully rely on my visual sense!
For my colleagues and I, we see no difference between function and decoration, they aren’t opposites. Decorative lighting can with no problem be functional as well, it’s a matter of knowledge of the planner. The aesthetics are about adapting the lighting to harmonise or enhance the style of the place, for example the playfulness in a playground or the welcoming feel of a town square.
To provide some examples in this article, we see a park from the north of Sweden called The Hedalundadungen. The lighting design is based on the key words pine and pine cone in the centre. Several trees have therefore been decorated with large illuminated spheres that collect inspiration from the pine cone. Great emphasis has also been put on getting the park to feel safe and welcoming with good visual comfort. Much of the lighting has therefore been integrated into the play equipment to create an even and inviting light and to avoid the feeling of a backdrop. One has a clear visual path although the park landmarks are clearly visible, giving you a greater sense of orientation.
Another good example of a how to use lighting outside is to create a landmark with it. Such as the project Frizon, where the purpose was to create a space based on the target group’s thoughts and needs, but also a place where everyone can feel welcome. The dialogue process with the girls had a crucial role for the design work and the project was adapted several times according to new views and wishes, a process that was very important.
The project was realised in a central park in northern Sweden where many young people hang out. The site is designed with an oval roof that embraces an existing tree. The roof is perforated and the round holes are covered with glass of different colours. Under the roof hangs large round seating furniture with space to sit together. Both the roof and the floating seating furniture are illuminated to create an inviting and safe atmosphere even in the evening and winter. In addition to creating a place that feels safe and inviting, there was a wish that people should be able to connect their phone and play music from it, which is impossible.
Last but not least a town centre with its main shopping street redesigned to be more than just a street. Kungsgatan, in Eskilstuna a city in the middle of Sweden was renovated as part of a larger city project. The goal was for the street to emerge as Eskilstuna’s most important trading area. It is a pedestrianised street that is now a pleasant meeting place in the same way as a town square might be.
Well-being, safety and the environment are leading words in the lighting program. To link the newly refurbished Fristadstorget street lighting program with the overall seasonal lighting design concept for Eskilstuna, the same approach was applied - with three central concepts used as design tools: space-creating light, social light, and identity-creating light were analaysed to define the light needed at various levels to create a good well-being environment where people feel safe. Behind this approach lies a holistic thought with the people at the centre.
Lindsey Adelman NoHo studio opens
(USA) - During NYCxDESIGN, New York-based designer Lindsey Adelman unveiled a new 5,000 sqft showroom to showcase studio’s sculptural lighting collections.
Encompassing over 10 years of creative work and archival material, the new showroom offers clients access to a vast material resource library and offers a behind-the-scenes look at the studio’s design process.
Located in the NoHo neighbourhood of Manhattan, the new showroom occupies the same building as Adelman’s current studio. The designer has taken a second floor, doubling her footprint to 10,000 sqft in total and allowing the design and sales teams to seamlessly meet with clients in a space that houses Lindsey Adelman lighting pieces from inception to fabrication.
“Now more than ever, having more space, we’re really able to serve our audience at a much higher level,” explains Adelman. “A real motivation was to allow our design and sales teams to work together and meet clients. We find that since the great majority of our clients are designers and architects, they really love talking to other designers. And our clients like to get a sneak peek of the behind the scenes process, so that was also part of the drive.”
The showroom also includes Adelman’s new personal studio, acting as a creative laboratory where she can develop and test new ideas. With enough space to hang and build new fixtures, the private office provides clients with a glimpse into Adelman’s hands-on, ever-evolving approach to product development.
“Visibility into our product development method gives our clients a richer understanding of our process and work. It’s easier to absorb an idea or a certain technology when you can see the material or process happening right in front of you,” says Adelman.
An Emotional Response
JOI-Design’s co-managing directors Peter Joehnk and Corinna Kretschmar-Joehnk, along with interior designer Irina Schneide, ask: Acoustic Lighting - multi-functional luminaires that are on-trend?
Interior design is an artistic composition, with lighting and acoustics essential tools of the palette in determining the success or failure of an overall scheme. Having appropriate levels of illumination not only influences the general atmosphere of spaces, it affects peoples’ wellbeing, from moods to circadian rhythms to energy levels. Acoustics go hand-in-hand with lighting when it comes to creating places that evoke positive emotional response. Contemporary architecture favours openness, brightness and generosity of space. Exposed concrete and expansive glass façades predominate, but it is precisely these materials that amplify disturbing sound waves.
As the use of spaces evolve in reaction to lifestyle preferences for shared experiences, designers cannot focus on lighting without considering acoustics. Whether restaurants, hotel lobbies, meeting areas, lounges and especially open-plan offices, high amounts of public traffic always come with loud noise levels that are often perceived as unpleasant. Since lighting is an essential function in every room, it makes sense that fixtures with the added bonus of sound-absorption would be a welcome benefit.
Today’s trend for open offices means acoustic wellbeing and effective lighting are essential for productivity, reduced eye strain and mood levels that encourage cooperative frames of mind amongst colleagues. Thus, many manufacturers have taken up the challenge to combine the growing demand for designs that are not only aesthetically pleasing, they feature problem-solving functionalities, too. Numerous issues can be addressed at once, planning and assembly costs are reduced, and new, interesting products can transform impressions of a space.
A wide variety of design styles are now available, from those with classic elegance to those that are futuristic, minimalist, extravagant or playful. At first glance, their dual functionality is not immediately apparent. It is only on closer inspection that the fixtures’ acoustic properties are revealed. Felt, acoustically absorbent fabrics, and even extraordinary materials such as moss are preferred. With products available in diverse sizes, colours and variations, they offer versatility to complement an interior designer’s vision for a space. Clever use and positioning can even eliminate the need for conventional acoustic ceiling tiles.
Our studio’s interior designers are always in close contact with manufacturers, and, working closely with our specialised division, Products by JOI-Design, they develop new solutions and products. Their goal is to create the best possible results, ones that meet the business needs of our customers as well as a space’s design and functional requirements, resulting in individual solutions tailored to the particular demands of each project. Our product designers are keen to explore the emerging realm of custom acoustic lighting products for future projects.
However, JOI-Design’s interior architecture and design teams already combine acoustic elements with lighting products in a variety of ways...
In all the examples that follow, acoustic and lighting elements have joined forces to resolve design dilemmas with aesthetically-pleasing solutions. The preference for shared spaces, sustainable materials and clean-lined interiors continues to flourish. So there’s no reason why stunningly-designed acoustic lighting pieces can’t resolve noise, illumination and environmental challenges in one fixture, reducing building costs while quietly – yet boldly - stealing the limelight.
Capri by Fraser Berlin | JOI-Design’s concept for the Capri by Fraser Berlin interprets the brand’s philosophy of referencing the unique spirit, place and story each hotel’s locale. Vibrantly-coloured design elements and flexible furniture create an assortment of textures for sound absorption – especially important as the hotel is a tourist destination in itself. Roman archaeological excavation works are visible below the lobby’s glass floor, so the right lighting and acoustics were vital for creating the proper environment.
The slogan of the hotel’s Asian restaurant, ‘dip into history’ references the Singaporean roots of Frasers Hospitality. As it is a popular spot for tourists, noise control had to be considered along with illumination that showcased the cuisine’s fresh and colourful vegetables. Honeycomb acoustic wall elements and suspended acoustic luminaires made with sound-absorbing materials were installed as practical yet decorative solutions.
Öschberghof Hotel | For the spa at the luxurious Öschberghof Hotel in Donaueschingen, Germany, we designed a niche that integrated acoustics and lighting to create a peaceful oasis. Adjustable lighting and sound-absorbing textiles covering clean, simple forms invite guests to linger and relax in quiet calm. Another space within the Öschberghof combines function with design. Cosy seating nooks are equipped with sound-absorbing materials and lighting specially designed for focused tasks, creating a quiet space for concentration during business guests’ meetings.
Salomon Hochschule | Following the adage that necessity is the mother of invention, JOI-Design made a challenge a virtue in the student café at Salomon Hochschule in Berlin. Existing columns in the spacious dining room were disguised with acoustic ‘wall art’ panels reminiscent of cafeteria serving trays. Swivel lights were integrated to individually illuminate the room and tables.
Hyatt Place | A combination of moss and lighting adorns the foyer wall in the lobby of the Hyatt Place in Frankfurt. This living green element not only radiates freshness and inspires the wellbeing of guests, it is also 90% sound-absorbent.
Neuer Marstall | For the Neuer Marstall in Berlin, acoustics were featured centre stage as a design feature of this mensa, or student café. An acoustic sculpture ‘floating’ above the seating area was specially developed to improve the sound quality in the room while softening the potential glare from overhead lights.
Hardenbergstraße Mensa | Sophisticated solutions were developed for the Hardenbergstraße Mensa in Berlin, where high ceilings in the sunlight-filled room had the potential to induce echoes that would amplify student chatter. Acoustic panels were transformed into art through the integration of decorative patterns on the fabric, and pillar corners were covered with leather where the hand can touch, and above, with felt, for added noise absorption. Silver-coloured pendant globes introduce focused light for students studying while they eat.
Mensa Oase Adlershof | Mensa Oase Adlershof in Berlin features room dividers covered with woven strips of felt in various colours, creating an artistic wall mural out of acoustic materials. A range of light levels interact with the undulating ‘ribbons’ to create depth and shadows. Having room dividers with superior sound absorption allows the café to host simultaneous events without one disturbing the other, while adjustable lighting offers a range of moods from morning to night.
Moxy Frankfurt | At the Moxy Frankfurt City Center, decorative textiles are hung from the high, open ceiling, along with assorted fabrics, carpets and cushions to absorb the noise from the energetic crowds in this lifestyle hotel’s lobby. An eclectic mix of decorative and functional lights brightens and warms the concrete walls.
Delta Light - Reflections
Delta Light's new lighting range Reflections makes use of the brand's experience in light technology in a more decorative way. In an exclusive interview with darc's Editor Helen Ankers, Maarten Demunster expands on the concept behind the range.
Delta Light is known worldwide for its technical, architectural lighting applied by architects and designers within the specification market. To further expand its offering, the Belgium-based company is upping its decorative solutions, with more expressive designs, resulting in bold new shapes, finishes and colours. The recently launched Reflections collection aims to give specifiers the opportunity to combine both Delta Light architectural and decorative lighting solutions in their projects.
Made up of three variations of fixtures – the Soiree, Mello and Miles – for one of the designers behind the collection, Maarten Demunster, Reflections is all about trying to use Delta Light’s experience in light technology in a more decorative way. Speaking exclusively with darc, he says: “LED technology has changed the world of fixture design drastically – not only technically but also in their form. Miniaturisation is a trend in the architectural market and has become unstoppable.
“Lighting is often used as an expression of the user - alongside their furniture, the art they choose to put on the walls, or the car in their garage. Thanks to LEDs and the consequent miniaturisation, the focus of lighting has moved on to the functionality – creating different atmospheres with light. Decorative lighting still has a more expressive function and is becoming increasingly important in creating these ‘atmospheres’ when combining it with the almost invisible architectural lighting in a space. We are now able to design a decorative, signature fixture in a design typology that is combined with our architectural lighting experience – not only in its form but also its light output.”
Having worked in product design for over 20 years, Demunster’s passion for design began at an early age and at sixteen he had grand plans of becoming a fashion designer; but with a mathematics teacher as a father, his parents had other ideas. “I was influenced by the Antwerp-6 when I was a teenager – a group of Belgium fashion designers including the likes of Dries Van Noten and Walter Van Beirendonck,” Demunster tells darc. “Like my father, I was also good at maths and so pursuing an education in engineering was an obvious choice for my parents - we compromised at product design, which led me to the University of Antwerp.”
As well as inheriting his father’s aptitude for mathematics, the pair also share a keen appreciation for the arts, which filters through to Demunster’s designs today.
“I have a collection of Belgian contemporary art from the 50s up to the present day,” he says. “Having studied the work of Marcel Broodthaers, Philippe Vandenberg and Mario De Brabandere gives me the oxygen I need to breathe!
“The education I received was often focused on a signature design style and a lot of designers work that way… If I am honest, even today, most of the designs I start out with have a clear ‘Maarten Demunster Signature’ but this is followed by an in-depth design process that removes elements rather than adding to the design. Styling becomes a delicate balance between the ordinary and the sublime rather than shouting out and using forms that have only an aesthetic function.”
Having worked predominantly in product design for the architectural lighting sector, Demunster has been working with Delta Light’s Paul Ameloot for the past decade, whom has, over the years taught the product designer that good design is about more than winning awards.
“Paul Ameloot convinced me after a while that ‘commercial’ isn’t a swear word and that good design is not just ‘good’ for the designer involved, or the end user, but for the entire chain of people that are engaged in the lifetime of the product, as well as the environment and also what is good for the company!
“Most of the products designed at Delta Light are architectural lighting products – designed to service the architecture and the people who use it. It is a tool we give to architects and lighting designers to pronounce their designs, to give the space some atmosphere or to create some functionality.
“As such, I would describe most of our products as ‘introvert designs’. The architecture of a building is the most important element; light is then used either in a functional capacity or for aesthetics, to strengthen the architecture. The form of a light fixture is in the function of the light…”
Referring back to the Reflections range, Demunster expands on its concept: “For the Miles family, we were searching for a kind of ‘forgotten’ archetype. A shape that is recognisable but not too obvious. I was inspired by the paintings of Giorgio Morandi – I started with one shape and made variations of other forms but with the same base. The result is pure eye-candy! A collection of four purely handcrafted glass shapes, each in four different colours, each recognisable yet unique in all respects.
“It is a family of suspensions that play on the visual contrast between the coloured and white blown glass, combined with different shapes and colours, also ideal for multiple compositions. All shapes and finishes are inspired by the interplay of opacity, translucency and transparency. Its translucent or milky forms and dynamic light offer a countless number of scenarios.
“When switched off, its transparency makes Miles almost disappear. When switched on, it provides a cosy and stylish luminous presence, stimulating senses and perceptions.
“For the Soiree family, we started with the idea of creating a volume with only one sheet of metal. Big impact with the minimum amount of materials is for me, the essence of product design! The range has been designed to be voluminous, lightweight and transparent. Its sophisticated form creates a dense and decorative effect, filled with a warm light. It takes its inspiration from many angles, from the play of light and shadow in architecture to natural light effects, the shape of everyday objects and sculptural art.
“The result is a nest of lights, made of circles or rectangles, both structural and decorative – generating a seductive luminous effect. Even when not turned on, they bring texture and character to rooms, defining different areas with small and large contemporary pendants. The interaction between the pure circular and rectangle forms, with the warm light sources and the symmetric configurations triggers a dynamic tension.
“And then finally, there is Mello; our search for a more present and flamboyant suspension resulted in a co-operation with master glass blowers, with whom we worked on the balance between object and light, between subtle colours, densities and transparencies. When turned off, its colours gain definition; when turned on, they disappear with gentle luminosity. The Mello offers a sense of special intimacy with direct light on its below surfaces. At the same time enhancing the space with warmth, elegance and transparencies.”
Challenged to create a set of more decorative and expressive shapes, Delta Light, presents us with a series of new adventures in luminaire design. Reflections is a poetic expression of craftsmanship, light, technology, texture, shape and mood.
Nick Sheridan
At the core of Cerno’s business is a friendship that dates back to childhood with the three founders growing up in Laguna Beach. Helen Ankers spoke with designer and co-founder Nick Sheridan about his passion for modernism and how that plays a role in the studio today.
Cerno is a modern lighting design studio based in southern California. Founded in 2009 by childhood friends Bret Englander, Daniel Wacholder and Nick Sheridan, 2019 marks Cerno’s ten-year anniversary.
At the forefront of LED lighting design, the Cerno team always aims to strike a balance between contemporary design and modern craftsmanship, that is forever inspired by their Californian upbringing. Holding true to their design principles of respecting the process and materials, while building a strong manufacturing team, Cerno is vertically integrated – they design and manufacture everything under one roof in Irvine, CA.
Cerno’s lead designer Nick Sheridan grew up in a small town of Laguna Beach. Exposed to woodworking from a young age by his father, who was in the construction trade, he tells darc how he still remembers the homemade ping-pong table that doubled up as their workbench.
“I was always drawing when I was younger,” he says. “Doodles, sketching from observation, but also designing objects. I remember drawing elements of my dad’s projects as early as middle school. I’m not sure I realised then that I was so in love with design, but it’s clear now that the passion was already there.
“One of the first projects Daniel, Bret and I worked on together was a small wooden boat we built in my yard at home, when my dad heard about our plan to build a boat from scratch, he simply said, ‘well first you need to draw it.’ I always remember that moment when I realised the relationship between designing and building. For me, the design is as much about the building of an object as it is composing drawings depicting an object.”
Growing up in a craftsman style bungalow Sheridan's father had filled with Greene & Greene detailing and Stickley furniture, instilled an understanding and appreciation of great craftsmanship in Sheridan. Studying architecture at college, a one-year stint in Florence, Italy, was to be a transformative experience.
“Once I was immersed in architecture I fell in love with modernism,” he tells darc. “I loved the rationality of modern designs and quickly became consumed with the works of Mies Van Der Rohe and Le Corbusier among others. It is these great modernist architects who continue to be a primary source of inspiration for me.
“While in my heart I feel I am a modernist, as it applies to our designs at Cerno, we do certainly stray into more contemporary designs as well. I strive to design clean and modern fixtures.
“People say certain products in the Cerno line share aspects of Japanese design, while others have mentioned our work has more of a modern Danish aesthetic.”
The latest design Penna is influenced by a number of ideas, which all culminate in its final form. For Sheridan, the Penna was a challenge to resolve.
“The leather suspension and brass hardware details are borrowed from old world vernacular and harken back to a time that we find a lot of inspiration from,” he says. “The design has a largely utilitarian composition, but through detailing and execution, the fixture exudes a sense of elegance and sophistication. It is in the reconciliation of these contrasting ideas where you find the final fixture - by working through the design process, with the whole team until it feels just right.”
Sheridan tells darc that when designing Penna, he wanted to illuminate the wood body of the fixture to showcase the grain with a continuous linear light source that would deliver diffuse ample light.
“The way the sloped wood body emulated the sloped leather strapping used in the fixture’s suspension creates harmony and balance in the fixture’s silhouette,” he says.
Their first time using leather in a product, Cerno spent a lot of time finding the right type for the application. Along with sourcing, they also had the challenge of figuring out how the leather interfaced with the fixture body and the suspension cords.
“We wanted to celebrate and expose these connections,” continues Sheridan. “The use of brass and leather together struck a cord from the beginning and helped inform subsequent development. There is a conscious nod to tradition in the Penna, which is balanced with the overall contemporary design of the piece.”
A separate challenge for the design team, was creating Penna’s faceted diffuser. Having never produced such a long continuous diffuser, the Cerno team knew they needed to get it right and as such developed a new technique, which will now be used in other fixtures.
Designed for use in myriad applications, the Penna collection is made up of a sconce and pendant. The pendant is ideal over kitchen islands, dining room tables and in conference rooms, while the sconce is easily applied to large-scale spaces.
With the Penna range launching at this year’s ICFF New York; a new outdoor lighting range in the pipeline; and a vanity light fixture soon to be released, Cerno is continuing to make waves in the lighting scene and they’re certainly ones to look out for moving forward.
Concluding Sheridan tells darc:“I’m so appreciative of our entire team that works so hard day in, day out to help realise our designs. Being a vertically integrated manufacturer with everything designed and made under one roof is core to who we are.”
Mico III - Baroncelli
The Mico III pendant’s warm LED radiates throughout each interlocked circular framework, bound by strands of glass beads, and finished with either satin gold or matte white clasps. Each ring is suspended from a single round ceiling canopy in either a satin gold or polished chrome finish with an adjustable drop.
Vale Series - ANDlight
The Vale Series crystallises light in its transitional state. The undulating profile of the lens translates emitted light to a striking gradient, while its prismatic surface further carries light across, creating a soft hue and ambient diffusion. Technically intricate, Vale optimises functionality through its multidirectional luminescence. Beyond providing structure for both lenses, a lightweight aluminium frame houses the technical aspects of the fixture. Channelled within, the electrical assembly and suspension system are discreetly integrated into the frame. The fixture may suspend horizontally and vertically; singularly and plurally; its compound curves oscillating with further confidence as they are repeated. The Vale series is available as a single pendant and surface mount.
Galaxy - Brand Van Egmond
Brand Van Egmond’s latest light fixture is inspired by the galaxy; a constellation of energy, movement and form. Propelling away from the centre of gravity towards clouds of stardust and outer planets. Orbiting through space, the composition offers a different experience when seen from different angles.
73V - Bocci
Bocci’s latest offering 73V uses a Kevlar-based fabric gathered, textured and overlapped in pillows. Glass is then blown into the fabric, constricting the material as it expands. Once cooled, the shape takes its final form and as a final step, light is introduced at the densest area of the colour gradient in the pendant.
Origo Cone - Manooi
Origo Cone is a handcrafted contemporary crystal pendant lamp, designed by János Héder. This lamp offers many possibilities for arrangements in clusters or as single pendants. It is adorned with the highest quality crystals, and uses the LED light source. The shade is available in copper and chrome finishes.
Haeru - nendo for Flos
Translating to ‘grow’, Haeru consists of eight parts - three tables, two light fixtures and three supporting legs. The basic structure of the object is made of a three-legged table with a built-in battery. Two of the legs are cut shorter, thus allowing the user to change and add light fixtures and tabletops depending on their preference.
