Ascent uses the same archetypical head found on Counterbalance (Luceplan 2012), mounted on a slender vertical stem. By moving the head along the stem, the light intensity goes from being turned off at the bottom position, to gradually ascending to the full light output at the top. This gives the user control over not only the light intensity, but also the spread of the light.
The visual elements of Ascent are all recognizable, from the classic head to the round stem, but it is the way you use Ascent that makes it different from existing lights. The gesture of sliding the head upwards for more light and down for less is a conceptual idea, but at the same time an action that feels natural.
Ascent comes in two versions, with an anchor bolt for tables, or with a base. The anchor bolt is made impact resistant by having a co-molding of steel and rubber in the base, allowing up to 15 degree of tilt of the stem. As to protecting the inner mechanics and electronics the head is made to rotate freely. These measures make Ascent suitable for larger public spaces as well as for domestic use.
Ascent, by Daniel Rybakken, for Luceplan
Jar RGB is a lighting project connecting thin colorful glass blowing techniques and the idea of RGB color mixing. Using white glass for one of the hanging jars allows it to turn into a large light bulb generating the light for the entire fixture. Observing one jar through another and the space surrounding them gives one a unique and everlasting discovery of color superimposition.
Jar RGB by Arik Levy for Lasvit
Unlike many other Italian producers, Mattiazzi keeps all the facets of wood production under one roof. By default, they have become a rare company that is able to shape wood as if it were plastic, while embracing ever-increasing challenges through their own R&D. Industrial Facility have continued to push Mattiazzi further into the exploration of robot-craftsmanship – following on from their first collaboration with the Branca Chair.
Radice finds its underlying beauty and simplicity in its structure. It is the bringing together of the front-half of a traditional 4-legged stool with a single back leg – the root. It is a visual improvisation, where two things come together unexpectedly.
“Radice has some tension in its form and it is a slight surprise that the third leg works as well as it does to resolve the overall structure. It is in some ways structurally diagrammatic, yet is made comfortable visually and physically because of how this third leg supports the seat,” says Sam Hecht.
The backrest is small and reassuring, allowing a coat or handbag to rest on it; and the seat is open for large and small people. It is light both visually and in weight and uses no screws or metal fittings, yet also passes stringent BIFMA standards ensuring it is structurally sound, stable and reliable. The wood stain options for Radice are based on the cycle of an autumn leaf turning colour.
Radice Stool, by Industrial Facility, for Mattiazzi
Gardenias is a collection of furniture for the garden. That’s not a real genre, but it does differentiate Gardenias from other exterior furniture collections. Subtlety, beauty and memory are omnipresent in its design, along with a determination to make the collection broad, varied, multipurpose and open. Further pieces will be added in the future. There will be room for sculptural vases and planters of surprisingly fine terracotta, chairs with or without a pergola, benches and even an attractive watering can.
One of the most outstanding characteristics of the collection is the way its translated the generally rigid and square-shaped image of outdoor metallic furniture to a language that is more romantic in form and also suitable for indoor use. It carries the unmistakable mark of Hayon in the svelte, subtle and feminine forms. It is almost Gaudí-sque (or should we say Gardenia-esque) in so much as it renders metal with organic, almost natural shapes – ones that are more generally seen in furniture made of wood.
Gardenias, by Jaime Hayon, for BD Barcelona Design
Aiming to raise discourse on the future of design, Droog Lab went to Shenzhen, China, the epicentre of copycat culture, with the intent of copying China. The result is a collection of 26 works by Studio Droog, Richard Hutten, Ed Annink, Stanley Wong and Urbanus each taking copying as a starting point. From a classic Chinese teapot with an added robust handle by Richard Hutten, to an inverted Chinese restaurant that features a miniature table setting inside a fish tank by Studio Droog-each piece translates an essence of the original in a literal way.
Chinese companies and the government are working hard to shed their copycat reputation. But copying does not only produce exact replicas. Chinese imitation and pirated brands and goods often introduce novelty by adding something, upgrading, or adapting for another market. By linking copying to creativity, The New Original demonstrates that the process of copying is clearly more than just mere replication-it can be a real driver in innovation.
“We have reached a level of saturation in design and in the market, that it’s time to think more intelligently about what to do with the surplus, and use it in the design process. We should take better advantage of our collective intelligence,” states Renny Ramakers, co-founder and director of Droog. “Imitation can also be inspiration.”
Droog Lab: The New Original, March 9th – April 9th, 2013, at Hi space, zhen Jia shopping mall, 4th floor, No. 228 Tianhe Road, Tianhe District, Guangzhou, China
The collection was the development from the process of the numerous experiments and research for ‘Crystallized project’ initiated in 2007. In this project, Tokujin created “VENUS” which is having crystal structure. VENUS is formed through the growth of the crystal by using the laws of nature. Through the project, Tokujin would like to throw a question of how we could connect our lives to the future, by being exposed to the serendipitous beauty born of nature. Upon these experiments, “Element” was born from his challenge revealing a new aspect of nature and it’s sculptural form for furniture.
Hood is a sheltering lamp that creates both room and light. Much like the recent Plug lamp, Hood is built on necessity. Once again bringing a dual function light, Hood meets the basic desire of shutting things out and concentrating light on secluded areas like work-, conference- or dining tables. At the same time, the three-piece modular function lets you build the Hood to whatever size you need. Starting with basic corner units, one can add the compressed industrial felt sheets to scale the pendant for an extensive illuminating form.
“The Hood lamp is more than a lamp. Itʼs a piece of furniture – the size and material has an interesting effect on the atmosphere, making the piece feel so much more than just a pendant lamp”, says Form Us With Love.
Hood Lamp, by Form Us With Love, for Ateljé Lyktan, Photography by Jonas Lindström
With an unadorned exterior our studio has created Vinge, a table lamp with a movable wing that encourages interaction. The function of dimming the light is moved to the wing – which can be rotated 180° around its own axis – making the sweeping experience of increasing or decreasing brightness highly tactile
Vinge Lamp, by Note Design Studio, for Örsjö Belysning
Kunsthal Rotterdam will be presenting a comprehensive exhibition to celebrate the 100th anniversary of the Dutch furniture brand Pastoe. Since it was founded in 1913, Pastoe has grown to become an internationally recognised designer label. The brand stands for simplicity, timelessness, quality and craftsmanship. Over the past years, Pastoe has acquired an excellent circle of designers including Maarten Van Severen, Shigeru Uchida and Scholten & Baijings.
The exhibition Like Pastoe illustrates the rich history of the furniture brand and provides an overview of the unique collaboration between Pastoe and various architects, artists and designers. The exhibition has been organised around the following themes: ARCHIVES, ENVIRONMENTS and VISIONS. In the ARCHIVES theme, Krijn de Koning presents the history of Pastoe using exceptional designs, advertising material, sketches, photographs and trade fair presentations. Within the ENVIRONMENTS section, Anne Holtrop projects Pastoe’s vision on the architectonic space. The exhibition’s installations represent an environment in which living, working, learning and creating are defined in a new way. VISIONS highlights the search for new perspectives on product development and includes work by various designers such as Naoto Fukasawa, Claudio Silvestrin and Scheltens & Abbenes.
Like Pastoe: 100 years of design innovation, February 23 – June 2, 2013, at Kunsthal Rotterdam
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