Daniel Arsham unveils ‘Light & Time’ installation for Hublot

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

The importance of a well-conceived lighting plan in home design is often underestimated, frequently being an afterthought rather than an integral part of the initial concept. Good lighting significantly contributes to an inhabitant's well-being, optimizes functionality, and elevates the overall aesthetic of a room, transforming an ordinary space into something remarkable through strategic fixture selection and placement. This principle was vividly demonstrated at the recent WOW!house design exhibit held at the Design Centre, Chelsea Harbour in London, England. The exhibition featured 22 unique rooms, each crafted by leading interior designers, where lighting often took center stage. The WOW!house exhibition, open to the public for a month in June to support the United in Design charity, was not a traditional house but an innovative installation. It comprised a series of exterior and interior spaces within the atrium of the Design Centre. These spaces were diverse, ranging from entries, kitchens, dens, bars, and dining areas to libraries, bathrooms, bedrooms, and outdoor courtyards, all brimming with originality and creative design solutions. Across most of these spectacular settings, lighting played a prominent role in defining the ambiance and functionality. One of the most striking examples was the grand entry of the installation, which featured an dramatic leaf chandelier by Cox London. Victoria Davar, founder of Maison Artefact, specifically requested a five-meter ceiling height to ensure the fixture was not only accommodated but also given pride of place, asserting its visual dominance upon entry. Davar emphasized that this height aligns with classical design principles. Her design philosophy for the entry embraced a blend of classical and modern elements, where the chandelier was framed against a traditional-surround fireplace. This approach allowed each element to balance the other, creating a dialogue between the old and the new. Davar intentionally utilized negative space, leaving the wall above the fireplace blank, to allow the chandelier to stand out as a sculptural piece without visual interruption, fostering a sense of airiness. Another innovative approach was seen in the courtyard room designed by Emma Sims-Hilditch. This multi-functional space, envisioned to support various aspects of country living such as a boot room, dog wash station, and gardening area, integrated classical elements of heritage country homes with modern touches. Sims-Hilditch positioned an oversized Charles Edwards lantern as a focal point above an island, drawing inspiration from classical English country house lanterns. The lantern received a contemporary update through its coloration, painted in Farrow & Ball's Lulworth Blue. Wall lights, inspired by carriage lanterns, and pendant lights with fabric shades in corner spaces were strategically placed to layer the lighting, ensuring both functionality and comfort. Sims-Hilditch underscored the importance of soft lighting and avoiding bare bulbs, opting for a layered system that included John Cullen Lighting for downlights and Soane Britain for wall lights. The bathroom designed by 1508 London exemplified how lighting can transform a functional space into a luxurious retreat. The design studio incorporated an advanced lighting system by John Cullen Lighting and Lutron, offering three distinct illumination programs: Ritual, Revitalizing, and Revery. Paris Albert, an associate at 1508 London, explained that “Ritual” supports daily cleansing routines, “Revitalizing” enhances vanities and showers for rejuvenation, and “Revery” creates a dreamlike state for relaxation. These options, accessible at the touch of a button, elevated the bathroom experience from mere utility to a restorative escape. Interior decorator and antiques dealer Daniel Slowik presented his morning room design, emphasizing subtle, layered lighting rather than bright, centralized fixtures or intrusive task lighting. He advocated for side lights, often converting decorative vases or antique items like Arts & Crafts candlesticks into lamps, to create ambient illumination. Slowik aimed for a subdued, not overlit, atmosphere, focusing on objects that also serve as beautiful design elements. While generally disliking overt task lighting, he integrated a brass floor lamp discreetly next to a reading chair, chosen for its distressed appearance that conveyed a sense of history and permanence. The unifying theme across all these designs is the necessity for lighting to be an intrinsic component of the overall design strategy. A thoughtful approach to illumination enhances comfort and functionality, highlights the aesthetic, and can dramatically transform a room into a unique and spectacular environment. #HomeDesign #InteriorDesign #LightingSolutions #WOWHouse #DesignExhibition #ArchitecturalLighting #DecorativeLighting #SmartLighting

Light designer Arnout Meijer has joined the roster of Victor Hunt Designart Dealer, a Brussels-based design gallery. Meijer is known for his innovative approach to light, which he treats as a sculptural medium rather than merely a source of illumination. His work explores the interplay between light, perception, and the viewer's position in space. The exhibition, titled 'One Point Perspective,' showcases eight new light sculptures, including floor lamps and wall-hanging pieces, all minimally presented as bare panels of glass. Meijer's creations are characterized by their simple geometric constructions, featuring arrangements of LED points. The patterns produced by these LEDs are dynamic, shifting and distorting as observers move around them. This optical phenomenon is central to his artistic vision, where the LED points serve not only as light sources but also as elements that define and depict intangible objects on the optical surface of the sculptures. The exhibition's title, 'One Point Perspective,' underscores this focus on how perspective influences the perception of his light installations. His ongoing research delves into the relationship between reality and illusion, often challenging conventional notions of sight. Meijer believes that optical illusions are not mere deceptions but fundamental aspects that shape human visual perception. By manipulating light and perspective, he aims to reveal the inherent subjectivity of vision and how our spatial relationship to an object can dramatically alter its perceived form and depth. The bare environment of the exhibition space is intentionally designed to enhance the impact of these illuminated patterns, allowing the viewer to fully immerse themselves in the transformative qualities of each piece. The collection represents an evolution of Meijer's continuous exploration into how light can be sculpted and how human perception interacts with these luminous forms. His designs encourage viewers to engage actively with the artworks, experiencing the profound changes in geometric patterns and depth as they shift their vantage point. Each lamp essentially encapsulates a shape of light that is fluid and dependent on the viewer's position, transforming from a clear geometrical pattern when viewed head-on to a distorted, depth-accelerated form when seen from an angle. This nuanced approach to light design offers a fresh perspective on how art can manipulate our visual understanding of space and form. #ArnoutMeijer #VictorHuntDesignartDealer #LightSculptures #LightingDesign #OpticalIllusion #PerceptionArt #ContemporaryDesign #Exhibition #BrusselsDesign

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

This article features an interview with Daniel Arsham, a Miami-raised, New York-based artist known for his large-scale installations that manipulate perceptions of space and architecture. Arsham's artistic journey began at Cooper Union, where he met architect Alex Mustonen, leading to the formation of Snarkitecture in 2008. Snarkitecture is a collaborative practice that blends art and architecture, recognized for its inflated scale and monochrome aesthetics, with projects including KITH boutiques and flagship stores for brands like Valextra and COS. Alongside Snarkitecture, Arsham maintains an individual art practice focused on structural experiments, often featuring crumbling walls and decaying cultural artifacts, challenging conventional architectural norms. Arsham's 2018 solo exhibition, “3018,” at Galerie Perrotin in New York, showcased pop culture icons, such as the Delorean from *Back to the Future* and the Ferrari from *Ferris Bueller’s Day Off*, rendered in materials like crystal, volcanic ash, pyrite crystal, selenite, and quartz, appearing where mechanical components would typically be. These works illustrate his exploration of a dystopian future where contemporary culture undergoes erosion. The year 2018 was particularly eventful for Arsham, encompassing “3018,” Snarkitecture’s retrospective “Fun House” at the National Building Museum, the release of Snarkitecture’s monograph, his own upcoming book through Rizzoli, and an exclusive sneaker design for Adidas. In the interview, Arsham discusses how his upbringing in Miami, a city built on a swamp with a fabricated sense of fantasy, influenced his artistic sensibilities. He elaborates on his fictional archaeological works, which involve degrading contemporary objects to appear ancient, emphasizing the importance of materials in conveying his concepts, such as using crystal to suggest a geological timeframe. Arsham reflects on 2018 as a year of introspection, with his Rizzoli book covering two decades of his work, tracing back to his thesis exhibition at Cooper Union, where he first used architecture as a medium for manipulation to create unsettling, uncanny spaces. He identifies stage design, particularly his work with choreographer Merce Cunningham, as one of his most exciting and challenging commissions. This experience, despite his lack of formal training in dance or theater, profoundly impacted his practice by teaching him to translate sculptural methods to a stage environment with fixed audiences and crucial lighting. The discussion also delves into the origins of Snarkitecture, which arose from Arsham's need for architectural expertise to execute larger-scale public art pieces, leading to a partnership with Alex Mustonen. Their collaboration thrives on the interplay between Arsham's chaotic, experimental artistic approach and Mustonen's ordered, precise architectural background, embodying an ethos that balances precision with chaos. Arsham shares a key business lesson: recognizing failure as a vital tool for learning and avoiding repetition. He cites Hurricane Andrew's devastation of his Miami home 24 years prior as a pivotal experience that shaped his understanding of architecture in flux, decay, and rebuilding, significantly influencing both his personal art and Snarkitecture's work. Ultimately, Arsham finds the best aspect of his profession to be the freedom inherent in not having a conventional "job." #DanielArsham #Snarkitecture #ArtAndArchitecture #ContemporaryArt #Sculpture #ArchitecturalInstallation #Exhibition #Materiality #DesignProcess #CollaborativePractice

Allied Maker, a New York-based design and manufacturing studio founded in 2012, recently introduced four new lighting fixtures at the Architectural Digest Design Show. The studio is known for its minimalist designs that emphasize the inherent beauty of materials such as brass, glass, and hardwoods. The newly unveiled collection continues this aesthetic, incorporating both angular, structural lines, specifically triangles, and soft, curving circular forms into their latest creations. One of the new additions is the Tri Cone Pendant, a fixture that features a cone-shaped shade designed to direct a focused beam of light. This focused illumination is achieved with a glass disc, all contained within a tetrahedron-inspired structural frame. The design seamlessly blends geometric precision with functional lighting, creating a visually compelling piece that is both modern and elegant. Another significant launch is the Grand Aperture 4, an expanded version of Allied Maker's existing Aperture 4 chandelier. This larger chandelier is specifically engineered to make a substantial visual impact in spacious environments. It comprises four glass domes strategically placed to encircle four distinct light sources. This arrangement ensures a broad and even diffusion of light, making it suitable for grand living areas or commercial spaces where significant ambient lighting is desired, all while maintaining a sophisticated aesthetic. The collection also includes the Contour Wall Lamp 22”. This wall-mounted fixture is characterized by its graceful, hand-bent arc, which extends to connect with a glass sphere. The design's functionality is enhanced by its ability to swivel against the wall, allowing for adjustable lighting direction and adaptability to various room configurations. The elegant curve and spherical element offer a blend of art and utility, providing both illumination and a sculptural presence. Completing the quartet of new fixtures is the Concentric 15”, a versatile piece designed for either wall or ceiling installation. This fixture stands out due to its handcrafted wooden dome, which features a series of concentric circles. These circles create a topographic effect, giving the fixture a unique textural and visual depth. The pleasing arrangement of the concentric rings adds a subtle yet striking decorative element to any space, reinforcing Allied Maker's commitment to thoughtful design and meticulous craftsmanship. These new offerings from Allied Maker reinforce their dedication to creating lighting solutions that are not only functional but also serve as artistic statements within a space. The combination of high-quality materials, expert craftsmanship, and a keen eye for minimalist design ensures that these fixtures enhance the ambiance and aesthetic of contemporary interiors. #AlliedMaker #LightingFixtures #ArchitecturalDigestDesignShow #MinimalistDesign #BrassLighting #GlassDesign #Chandeliers #WallLamps #HomeFurnishings

The article details a collaboration between the avant-garde watch brand Hautlence and the creative design agency Black Badger, resulting in the creation of the Vagabonde x Black Badger watch. This timepiece stands out by integrating Black Badger's James Thompson's expertise in luminescent materials, particularly his proprietary 3D luminescent composite known as Badgerite. Thompson, often referred to as the 'Master of Glow,' utilizes vibrant colors to create a striking contrast against the sleek, dark aesthetics of Hautlence’s watch case. The genesis of this collaboration was Thompson's observation of the 'empty space' surrounding the time display system in a Hautlence model. He viewed this negative space not as an emptiness but as an architectural element that lent character to the piece, seeing it as a perfect canvas for his distinctive touch. This perspective aligns with Hautlence’s brand philosophy, which emphasizes playful design, three-dimensionality, kinetics, and a unique interplay of volumes. Hautlence’s team found the collaboration to be a natural fit, as Thompson’s approach resonated with the core identity elements they sought to highlight during the brand’s repositioning. These elements include the brand's signature TV-screen-shaped case, the deliberate use of volumes, the dynamism of movement, and a commitment to maintaining a sense of playfulness in their designs. With a production volume of 150 to 200 pieces per year, Hautlence has the flexibility to explore and cultivate this sense of fun and experimentation in their creations. The design of the Vagabonde x Black Badger watch is intentionally built upon contrasts. This is evident in the interplay of shapes, where sharp angles meet rounded, organic forms. The tension between the bright, luminescent colors and the deep black of the watch components is a central theme. Furthermore, the watch merges cutting-edge luminescent materials with an aesthetic reminiscent of 1980s arcade games, creating a unique visual experience. This delicate balance of conflicting elements, according to Hautlence, is what elevates the watch to a work of art. #WatchDesign #Hautlence #BlackBadger #LuminescentMaterials #WatchCollaboration #AvantGarde #LuxuryWatches #ProductDesign

An exhibition titled 'Lightings' at the Grand-Hornu in Belgium showcases a comprehensive collection of 100 lamps by Alvar Aalto, a significant figure in organic design and Scandinavian architecture. Aalto's work, which spans architecture, furniture, and lighting, emphasizes natural forms, materials, and a free approach to space, aiming to enhance everyday life within the home. His lighting designs, often developed as integral components of broader architectural projects, highlight his dedication to creating a more humane built environment and promoting the social and therapeutic benefits of light. The exhibition, which commenced on February 9th, 2014, covers Aalto's lighting creations from the late 1920s to the 1950s and is structured into two main sections. The initial section features an immersive installation where visitors cross a wooden bridge over water. This setup allows Aalto's luminaires to cast their light and reflections onto the water below, creating a chiaroscuro effect that underscores the importance of nature in his design philosophy. This sensory experience is designed to remind viewers of the natural elements that often inspired Aalto's artistic and architectural endeavors. The second part of the exhibition delves into the developmental process of Aalto's lighting designs. It presents reproductions of archival documents, including photographs, drawings, and other materials, which detail the genesis, mechanical aspects, and intrinsic architectural connections of his lights. This section offers insights into the intricate relationship between Aalto's lighting and his overall architectural vision, demonstrating how each piece was conceived as part of a larger, cohesive design. The article highlights several notable lighting designs featured in the exhibition. The A805 'enkelinsiipi' or 'angel wing' lamp, originally designed in 1955 for the National Pensions Institute in Helsinki, exemplifies Aalto's architectural approach to lighting. Its hand-riveted steel shade slats filter light to create distinctive shadows, which influenced its name. A variation, the A809, designed in 1950 with three shades, was created for the living room of Maison Louis Carré in France, showcasing Aalto's ongoing experimentation with light reflection through fanned-out slats. Another iconic piece is the 'beehive' lamp (A331/A332), designed in 1953 for the University in Jyväskylä. Inspired by Danish architect Poul Henningsen's research into perfect lighting, this sculptural luminaire features five or six reflecting metal slats, available in black or white variations. The 'hand grenade' light, available in variations A110 and A111, derives its name from its resemblance to a German weapon. Conceived in 1952 for the Finnish Association of Engineers building and the council chamber of Saynatsalo Town Hall, its lacquered metal dual cylindrical form is noted for its texture and technicality, with an additional non-mass-produced variation featuring an organic opening for light. These examples illustrate Aalto's ability to blend practicality with aesthetic value, creating objects that are both functional and artistic. The exhibition also explores Aalto's collaboration with his wife Aino and partners Maire Gullichsen and Nils-Gustav Hahl in establishing Artek in 1935. This company was founded to promote and sell Aalto's furniture and lighting designs, aiming to foster a modern culture of habitation through exhibitions and educational initiatives. Artek's core philosophy centered on the combination of aesthetics, functionality, and series production to make everyday environments more beautiful. Beyond individual pieces, the second half of the exhibition uses deep viewing boxes to present glimpses into Aalto's broader architectural and industrial projects, such as the Savoy Restaurant (1936) and the Paimio Sanatorium (1933). Each viewing box encapsulates a different project, revealing the meticulous attention to detail and conceptual genesis behind Aalto's compositions. This approach provides context for his lighting designs, demonstrating how they are integral to his overarching vision for harmonious and human-centric spaces. #AlvarAalto #LightingDesign #Exhibition #GrandHornu #ScandinavianDesign #OrganicDesign #ArchitecturalLighting #FinnishDesign #ModernistDesign

Jason Krugman, a New York-based artist, creates captivating light sculptures using wire mesh forms embedded with thousands of hand-soldered LED bulbs. His journey into art began after a career in investment banking, leading him to study technology and art at NYU's Interactive Telecommunications Program (ITP). There, he learned about microcontrollers, soldering, digital fabrication, and new materials, which became foundational to his artistic practice. In 2009, Krugman established his studio in Brooklyn, focusing on the intersection of physical computing and fine art, transforming electricity into remarkable sculptures. Krugman's work is characterized by its fluid appearance, despite being constructed from static materials, often mimicking natural phenomena or intricate systems like swarms of mini-drones. He has developed several proprietary technologies, including a hand-soldered LED mesh, various cable systems, and custom printed circuit boards for LED artworks, holding two US patents. His designs are unique in that they often use the physical structure of the sculpture to conduct electricity to the light sources, eliminating the need for insulated wiring. This innovation allows thousands of LEDs to appear to float weightlessly within minimal wire forms, creating a soft, ethereal glow. His recent recognition includes a LIT Lighting Design Award for 'Capella Basket,' a large-scale installation described as a rectangular sheet of 2,000 LED bulbs rolled into a cannoli-like shape and seamed. This particular piece represents a decade of development, inspired by the challenge of shaping mesh material into complex forms. The 'Capella Basket' itself was a monumental undertaking, involving over 10,000 circuit boards, extensive prototyping in collaboration with Arup engineers, and fabrication with the support of the Brooklyn Navy Yard and other local businesses. Krugman views his work as a three-dimensional puzzle, where aesthetic form is deeply intertwined with functional utility. He believes that the beauty of his art is enhanced by its ability to perform, allowing viewers to engage with it intellectually and emotionally. The sculptures are shaped by their inherent capacity to efficiently distribute electricity. The artist's approach combines craft with technology, a process he manages by always building smaller versions and mockup sections, regardless of the project's scale or edition count. Feedback on Krugman's installations frequently highlights their resemblance to scientific structures and natural forms, fostering a sense of connection and collaboration with his audience. Looking ahead, Krugman aims to create even more complex forms while maintaining structural clarity. He also plans to explore folding and stretching techniques with different materials to delve deeper into surface creation, moving beyond his current focus on points and lines. He is also beginning to offer smaller sculptures for sale on his Instagram and website, providing more accessible ways for the public to engage with his art. #LightingDesign #ArtDesign #LightSculptures #LEDArt #InteractiveArt #PhysicalComputing #ContemporaryArt #Innovation #DesignProcess

Lighting designer Lindsey Adelman premiered her new installation, titled 'Show Me,' at Wright gallery on Manhattan's Upper East Side. The exhibition's opening night featured a music video, also titled 'Show Me,' which was projected in a darkened room. The video showcased a performance by a group of 16 dancers, with the music composed by Leo Madriz. Notably, the cast of the music video, including the dancers and lead vocalist Laura Young, were members of Adelman's studio or former colleagues. Young, Adelman's former director of operations, served as the lead vocalist, and the choreography demonstrated a blend of professional execution and playful enjoyment. The 'Show Me' music video intricately integrated pieces from Adelman's latest collection, which features a distinctive aesthetic. The collection includes punk-inflected jewelry, such as fringed, gold ear cuffs and leather bracelets adorned with gold quills. Gilded mirrors embellished with patterns resembling mushroom gills are also part of the new works. Additionally, luminaries reminiscent of Adelman's 'Cherry Bomb' fixtures are present, all contributing to a unique gothic sensibility infused with elements akin to 'A Midsummer Night's Dream.' These new pieces, alongside a striking five-foot-long gold candelabrum, were strategically placed to establish a dark-romantic and alluring atmosphere within the gallery space. Adelman established her studio in 2006, initially gaining recognition for her 'Branching Bubble' chandelier. Since then, her business has expanded significantly, incorporating a wider array of lighting fixtures and a diverse range of home objects. Adelman views her foray into various mediums beyond lighting as a natural evolution of her studio's creative trajectory and an opportunity to explore new avenues for enjoyment. She emphasizes that her decision to create a music video for the exhibition was not a sudden concept but rather an organic expression of her inherent interests, allowing her to integrate her personal passions with her daily professional endeavors. This approach underscores her belief in the fluidity between artistic exploration and business growth. The exhibition 'Show Me' will be open for public viewing at the Wright gallery, located at the Parke-Bernet Building, 980 Madison Avenue, New York, NY 10075, until August 1st. The show provides a comprehensive look at Adelman's expanded creative vision, demonstrating her capacity to merge industrial design with artistic performance and personal expression. This presentation not only highlights her new collection but also offers insight into the collaborative and innovative spirit that defines her studio's work. #LindseyAdelman #WrightGallery #LightingDesign #ArtInstallation #MusicVideo #NewYorkArt #DesignExhibition #HomeDecor #GothicSensibility

Jamb founders Will Fisher and Charlotte Freemantle, known for their bespoke lighting tailored for leading interior designers, are set to launch their new Deco collection. This collection, which will debut at London Design Week, features five distinct pieces that deliberately eschew current trends, focusing instead on timeless design and exceptional craftsmanship. The duo, operating from their London home and studio, emphasizes traditional skills and meticulous attention to detail, a philosophy that stands in contrast to the rapid-fire launch cycles common in contemporary design. The Deco collection is characterized by a glamorous and somewhat majestic aesthetic, designed to soften the edges of each piece in a romantic fashion. This romantic sensibility extends from their previous work, including their distinctive pink room at the Wow! House at Chelsea Harbour Design Centre. Will Fisher's background in studying antique objects heavily influences their design process. The team initiates new designs by identifying original antique pieces that serve as the foundational inspiration. Their deep immersion in historical objects led to the early twentieth-century themes evident in the Deco collection, drawing from movements and periods such as The Bloomsbury Group, the Roaring Twenties, and the Belle Époque. The collection highlights a focus on rich materiality, combining hand-planished metal, luminous alabaster, and shimmering silk textiles to create compelling juxtapositions. Some designs incorporate hand-carved patterns, which are then cast using the traditional lost wax technique, a method Will Fisher describes as the "noblest form of manufacture." Charlotte Freemantle is particularly interested in integrating decorative fabrics, a concept carried over from the Wow! House show, into their new product lines. She notes that drapery softens and diffuses light in a room, and similarly, the textiles in their collection evoke the gentle glow of candlelight, enhancing the overall ambiance. Often described as the "jewelry of the home," lighting in the Deco collection aims to create unique and inviting atmospheres. The pieces are designed to complete and complement diverse interior aesthetics, whether mid-century modern or traditional, effectively bucking trends and potentially establishing new ones. To illustrate their versatility, the designers have photographed the collection in various in situ settings, demonstrating how these objects can seamlessly integrate into different environments. The article specifically mentions pieces like the Hopper Alabaster wall sconce, the Thelma pendant light with its hand-stippled brass frame and optional linen or silk skirt, a new floor lamp styled with antique furniture, and the Hatton Rod, which embodies the Art Deco aesthetic with its alabaster bowl and brass detailing, offering both down and uplighting. The collection will be available from Jamb at 95-97 Pimlico Road, London, and through their website. #JambLighting #DecoCollection #LondonDesignWeek #BespokeLighting #InteriorDesignTrends #AntiqueInspired #Craftsmanship #AlabasterLighting #LuxuryLighting

Lumibright has introduced an innovative Integrated LED Handrail Lighting System, designed with a focus on both aesthetic appeal and practical functionality. This system is engineered to provide unique lighting solutions with exceptional uniformity and photometric performance. A key aspect of its design is the elimination of the need to illuminate entire areas, thereby contributing to increased safety and security while maintaining minimal energy consumption. The LED Railing Module is a versatile system that integrates lighting directly into handrails. Constructed with a durable stainless steel body and boasting an IP67 waterproof rating, this lighting system is suitable for a wide array of interior and exterior applications. These include staircases, atrium surrounds, balconies, viewing galleries, ramp ways, pedestrian bridges, and walkways. Its robust build quality ensures reliability and longevity in various environmental conditions. A primary function of these handrail lights, particularly in public spaces, is to enhance safety and provide resistance against vandalism. The integrated lighting significantly improves visibility, which is crucial in dimly lit areas or during nighttime. Beyond its safety features, the illuminated handrail system also serves as a decorative element, capable of being incorporated into street furniture and urban art installations. This dual functionality allows for both practical illumination and an enhancement of urban aesthetics. Each CREE LED module within the system is designed to be powerful yet unobtrusive. These modules produce an oval-shaped beam with a sharp cut-off, a design choice intended to deliver non-overbearing illumination. The system prioritizes a high degree of uniformity in light distribution, minimizing glare, light spill, and wasted light. This precise light control ensures that illumination is directed where it is most needed without causing discomfort or unnecessary light pollution. Flexibility in installation is another notable feature of the Lumibright LED Handrail Lighting System. It can be integrated into newly constructed handrails or retrofitted into existing ones, offering a practical upgrade solution for various settings. This adaptability makes it a suitable choice for a broad range of projects, from new developments to renovations, allowing for enhanced safety and aesthetic improvement across different architectural contexts. #LEDLighting #HandrailSystem #ArchitecturalLighting #SafetyLighting #UrbanDesign #OutdoorLighting #EnergyEfficiency #CREELED #Lumibright

The article delves into the history and design of the iconic Bubble Lamps, a creation by industrial designer George Nelson and his studio, George Nelson Associates, Inc. These lamps are celebrated as prime examples of American modernism and demonstrate the innovative use of modern materials and production techniques. The inspiration for the Bubble Lamps arose from a practical challenge Nelson faced: the high cost of a silk-covered Swedish pendant lamp he desired for his office. This led him to recall a newspaper image depicting Liberty ships undergoing mothball treatment, where their decks were covered in netting and sprayed with a self-webbing plastic. This technique sparked the idea for a new, more affordable lighting design. In 1947, combining the aesthetic appeal of the Swedish pendant with the practical application of the self-webbing plastic, Nelson and his team developed the first Bubble Lamp. The Bubble Lamps are characterized by an internal steel wire skeleton, which is then spray-coated with a translucent plastic polymer. This specialized plastic, initially observed in the mothballing process, creates a unique finish that is simultaneously opaque and transparent. The resulting lamp functions not only as a light source but also as a sculptural art piece. When illuminated, it emits a consistent, soft glow. The lamps were designed in various shapes, including the classic spherical ball and the elongated cigar, and are available in multiple styles such as pendant, floor, table, and wall lamps. This versatility has allowed them to become a staple in modern interior design. The article emphasizes Nelson's role as a founding father of American modernism and his significant contributions to furniture, lighting, and accessories, particularly during his tenure as director of design at Herman Miller. His ability to merge aesthetic vision with innovative material application resulted in timeless designs that continue to be relevant. #GeorgeNelson #BubbleLamp #HermanMiller #IndustrialDesign #MidcenturyModern #LightingDesign #Modernism #InteriorDesign #ProductDesign

The article discusses the debut of "Cascade," a new lighting collection designed by British creative Lee Broom for Lladró, an artistic porcelain brand, at Euroluce, a biennial exhibition of lighting design in Milan. This collection explores the duality of porcelain as a material for lighting, moving beyond its traditional uses and presenting contemporary designs rooted in the ritual of celebration. Broom's inspiration for the collection stemmed from his immersive experience at Lladró’s factory in the "City of Porcelain," outside València, Spain, where he gained a deep understanding of porcelain's intricate nature and the challenges involved in crafting precise geometric forms from it. This experience allowed him to push the material's boundaries while preserving the integrity of its craftsmanship, ultimately expanding his perspective on working with porcelain in innovative ways. "Cascade" comprises three primary porcelain pendant lamp silhouettes: two different-sized orbs with a distinct horizontal break and a vertically aligned tubular element. These made-to-order lamps feature a fine black cord, allowing for custom, cascading configurations. These intentional arrangements create narrative-driven connections, referencing traditional lanterns that are often strung together. The collection also includes a portable table lamp variation, enhancing its versatility and decorative appeal for various settings. A key aspect of Cascade's design is its dual personality. When unlit, each lamp appears opaque and solid, showcasing the classic, pure white form of porcelain. However, once illuminated, the fixtures transform, revealing a translucent quality that challenges conventional perceptions of porcelain's capabilities. This transformation is achieved through highly engineered production methods that combine a thin layer of material with multiple LED configurations to produce the desired luminosity. Broom expressed his satisfaction with achieving his vision of porcelain that transitions from a crisp white when off to a warm amber glow when on, similar to candlelight. He emphasized that this effect evokes an emotional response and brings a sense of joy, reminiscent of lanterns at celebratory events. The article highlights how the "Cascade" collection successfully blends traditional craftsmanship with modern design, utilizing Lladró’s material expertise to create lighting that is both functional and emotionally resonant. The collection is anticipated to be available on lladró.com starting in September. #LeeBroom #Lladró #LightingDesign #Porcelain #Euroluce #MilanDesignWeek #HomeFurnishings #DesignInnovation #CeramicCraftsmanship

Czech glassmaker Lasvit showcased a series of new lighting designs at Euroluce 2025, taking inspiration from various natural elements and textures to create pieces that explore the relationship between light, material, and well-being. The exhibition, titled 'Soaked in Light,' featured several highly textured designs that blended innovative glassmaking techniques with natural aesthetics. One of the standout creations was 'Vera,' a sculptural glass pendant designed by renowned French designer Patrick Jouin. The concept for 'Vera' originated from Jouin's observation of a twig, leading to experiments with torn paper and eventually a glass piece that mimics the appearance of bark. This design incorporates two types of handmade glass: delicate borosilicate for the light source and fused glass, where molten glass is poured over raw wood to capture its intricate grain and texture. This process allows the glass to take shape influenced by gravity and nature, resulting in a unique interplay of surface, shadow, and light that evokes a primal connection to forests and trees. Another highlight was 'Splash,' an extravagant glass installation by Lasvit designer Martin Gallo. This piece was designed to emulate the calming effect of water, featuring fused glass forms suspended in a dramatic arrangement. Visitors could walk among these forms, which resembled water in motion, reflecting light like ripples and creating an immersive experience that promotes tranquility and well-being. At the entrance of the exhibition, Lasvit artistic director Maxim Velčovský introduced 'Loomo,' a new lighting system inspired by woven textiles. Despite its smooth-to-the-touch surface, the glass in 'Loomo' is imprinted with a structured weave, effectively capturing the softness of fabric within a rigid form. Designed for compact spaces like corridors or bedside areas, 'Loomo' is available in two wall sconce sizes, both finished in a warm, golden hue that enhances their sculptural glow. Velčovský emphasized the playful approach to light in its development, aiming to optimize every centimeter to transform the atmosphere of a space. Rounding out the showcase was 'Niveo,' a collection by Czech designer Jan Plecháč. Named after the Italian word for 'snow-white,' 'Niveo' captures the fleeting beauty of hailstones in hand-blown glass. The collection includes linear pendants, clusters, and an inverted spherical table lamp, all featuring an irregular texture that produces an alluring, soft glow. Additionally, the exhibition featured the 'Herbarium Radiant,' an immersive, color-shifting lighting installation that incorporates a new type of glass made from repurposed waste. This piece, first launched at Design Miami 2024, allows users to adjust the light color for a dynamic and mesmerizing visual experience. Lasvit's installation at Euroluce 2025 served as a contemplative contrast to the bustling Milan Design Week. It offered a moment for visitors to pause and appreciate the subtleties of design, emphasizing nature-inspired aesthetics and innovative glass craftsmanship in lighting. #Lasvit #Euroluce2025 #LightingDesign #GlassArt #MilanDesignWeek #NatureInspiredDesign #InteriorLighting #CzechDesign #DesignInnovation

This article highlights 15 emerging talents in product design who are making significant contributions to the industry. These designers and studios showcase innovation across various materials, techniques, and product categories, ranging from home furnishings to decorative objects. Lucie Roy, a member of the Kaléidosco collective in France, specializes in float-glass wall tiles. Her Blue Lands tiles manipulate translucency and opacity with aqueous hues, achieved through multiple enamels and three firing processes, and finished with subtle gold details. Bond Hardware, founded by Dana Hurwitz and Mariah Pershadsingh, originally known for jewelry made from scrap metal, has expanded its offerings to include home furniture. Ben Erickson's Erickson Aesthetics presents the "Halo Drippp," a product that integrates a rainbow spectrum into a fundamental form. Soft Geometry, led by Palaash Chaudhary and Utharaa Zacharias, focuses on shapes and references dessert in their new collection. Asa Pingree, drawing inspiration from his boat-building apprenticeship, explores fiberglass in his Brooklyn workshop, evident in his experimental stool designs. Jude Heslin Di Leo, inspired by feng shui principles, created "Amplifier," a 15-inch-high table crafted from pure quartz crystal, intended to enhance natural energy. Sasha Burchuk, founder of New Age Design Studio, reinterprets the ancient terrazzo technique for cement tiles and candleholders, utilizing ethically sourced precious and semiprecious stones in her "Gemstone Terrazzo" and "Ziv" lines. Marie Schumann, a Swiss designer, creates vibrant tapestries called "Softspace #5" and "Softspace #6." These textiles feature haptic fringing and draped threads, woven from materials like Lurex, Trevira CS, or cotton on an industrial jacquard loom and distributed through OKRO. Henri Judin’s "Liquorice" shelves, available vertically or horizontally, are crafted from black rods of bent and powder-coated steel by Lankapaja metalsmith, evoking the candy they are named after and sold through Young Finnish Design. Felicia Arvid, a former fashion designer, introduces "Addéra," a reconfigurable daybed. Its wool-covered cushions, armrests, backrests, and painted-birch tablet can be rearranged to slot into a tubular-steel base. Emiliana Gonzalez and Jessie Young, founders of Estudio Persona, launched "Flecha," an angled side table made of mahogany-veneered plywood, coinciding with the opening of their Los Angeles showroom. Virginia Valentini and Francesco Breganze of LatoxLato designed "Aracne," a coffee table with a 40-inch-diameter glass top supported by eight legs in light oak or dark walnut, noted for its innovative structure. Brecht Wright Gander of Birnam Wood Studio collaborated with jeweler Suna Bonometti on "Brutiful U&I," a cocktail table inspired by Carlo Scarpa’s Brion Cemetery, made from Valchromat wood-fiber visible through an acrylic top. Kyle Comeaux, founder of Komolab, offers "Walden," a dog bed featuring a walnut or white oak base topped with a removable wool-upholstered cushion and a waterproof liner. Finally, Daria Belyakova designed "Paspartu," an armchair described as an "inhabitable sculpture." It is made from chromed, molded fiberglass with wool upholstery and is supported by a nearly invisible glass stand, available through Palisander Gallery. These designers represent a diverse range of styles, materials, and functional applications within contemporary product design. #ProductDesign #RisingStars #InteriorDesign #FurnitureDesign #HomeDecor #TextileDesign #GlassArt #ContemporaryDesign