Samer Selbak creates lights from "almost forgotten" luffa

Joseph Sidof, the founder, CEO, and creative director of Shakúff Bespoke Lighting Solutions, specializes in crafting artistic lighting fixtures that serve as central design elements rather than mere illumination. His work often involves glass and metal, sometimes incorporating other materials like wood, to create visually striking pieces. Shakúff’s designs are typically commissioned by interior designers and creative homeowners, with a significant market presence on Long Island, particularly for new constructions and home remodels. Sidof collaborates with clients, often starting with their vision, dimensions, and preferred glass types. One notable project involved designing raindrop fixtures for a kitchen island in a Southampton beach house. These fixtures, each containing a lightbulb, were suspended beneath a metal canopy, creating a statement piece that complemented the ocean view. For a home office with low ceilings, Sidof and his team created a bespoke 'Ivy Branch' fixture. This piece sprawled across the ceiling, over a beam, and down the wall, giving the impression of a living plant. Made with brushed brass and Amber Kadur Drizzle pendants, it aimed to inspire creativity and productivity with its warm glow. Shakúff offers a range of products, from single pendants priced at $300 to elaborate multi-thousand-dollar custom designs. While about 80% of their work is custom, they also sell premade items through their website. Custom orders typically take 8 to 10 weeks, compared to 6 weeks for premade products. Sidof emphasizes the importance of understanding the client's preferences and the space's aesthetics, sometimes opting for minimalistic colors when a view is particularly beautiful. Clients can visit their main Brooklyn showroom or showrooms like Island Final Touch in Syosset, one of 28 national and one international location that showcase their work. The design process often includes 3-D renderings to visualize the final product. Sidof, who previously worked in jewelry, is deeply involved in the design and creation of the glass components, overseeing the entire process from raw materials to the finished fixture. He recounts designing a unique 'branch' fixture for a client who desired a statement piece, where bending metal pieces branched from the ceiling onto the walls, filled with blown glass to serve as both lighting and art. Sidof prefers warm, soft, yellowish light but also uses bright white, multi-colored, or color-changing lights. He believes lighting fixtures are not just about illumination but about creating a 'statement piece,' envisioning designs that evoke natural elements like butterflies, stars, moons, or entire galaxies. He often hides wires to emphasize the artistic blown glass and light. His appreciation for light began in his childhood, inspired by nature and beaches in Haifa, which influences his desire to bring natural beauty into indoor spaces. LED technology has significantly impacted his designs, allowing for fewer light sources, smaller pieces, vertical and horizontal lighting with LED strips, and more dimming options. This enables varied effects, such as brightness at the top of a tube and lower intensity at the bottom. Modern designs increasingly combine metal and glass, with single rods replacing complex wiring, resembling bouquets. Sidof notes the profound effect light has on mood and is incorporating sensor technology for touchless dimming in table and floor lamps. Shakúff provides installation support in the New York metropolitan area, including Long Island, but designs are made to be installed by any electrician. Sidof customizes glass textures and colors to match the aesthetic of the space, whether it's an ocean view or a more richly textured environment. He highlights that the artistic beauty of these fixtures is appreciated not just when lit at night, but equally, if not more, during the day when the natural light illuminates their form. #JosephSidof #ShakuffLighting #BespokeLighting #ArtisticLighting #GlassArt #HomeDesign #InteriorDesign #HamptonsRealEstate #CustomFixtures

skinflint, a British lighting brand, has dedicated over a decade to giving new life to vintage lights, rescuing more than 50,000 items from landfills. The company sources lights globally, from abandoned glassworks in Budapest to old Navy ships, meticulously restoring them to modern electrical standards while preserving their original character. Co-founder Chris Miller emphasizes that repairing, restoring, fixing, and mending were integral to his upbringing, influencing his career path and the foundation of skinflint, which was established with a mission to prevent vintage lights from ending up in landfills. He notes that the practice of repairing vintage lights is an act of care for both the planet and its inhabitants. The appeal of repairing objects over creating new ones for skinflint lies in a triple-bottom-line approach, prioritizing people and the planet over profit, especially as a Certified B Corp. Miller believes that restoring and repairing vintage lights is the most effective way to achieve this. The company aims to counteract "fast furniture" trends, thus avoiding the creation of new waste through designing and manufacturing new lighting. Vintage lights, crafted before the concept of planned obsolescence, were built to endure. This inherent durability allows skinflint to find them in remarkable locations worldwide, often outliving the structures they once illuminated. Miller prefers the term "restoration" to describe skinflint's work, defining it as an effort to preserve as much of each vintage light's original character as possible. This involves ensuring modern technological standards are met while consciously retaining signs of age and patina, which tell the unique story of each light's journey from diverse locations such as UK churches, private residences in Prague, and Eastern Bloc factories. The inspiration for skinflint stemmed from a desire to challenge the conventional approach to lighting in modern spaces. In 2009, the founders tested their theory in a Victorian home in North London, which ultimately led to the brand's establishment. Fourteen years later, skinflint remains true to its founding mission, with an ethos that positions business as a force for good, demonstrated through initiatives like 1% for the Planet. The restoration process is varied, tailored to each light, and involves techniques such as soda-blasting for paint removal, polishing, and lacquering. The process is slow and meticulous, always executed with sustainability and environmental priorities in mind. The objective is to preserve the original function of salvaged vintage lights, enabling them to continue their stories. This means a light that once illuminated a mine shaft could later adorn the ceilings of B Corps like Aesop and Patagonia. The visibility of repair is managed to retain the light's character, with patina seen as an asset that adds to its history and makes for interesting conversation pieces. However, all electrical components are rigorously updated to meet modern technological standards. As a member of the UK Lighting Industry Association, skinflint undergoes independent audits and verification to ensure faultless functionality. Consumer attitudes towards mending and repair are evolving, with clients showing increased awareness of environmental impact. skinflint's B Corp Certification legally obligates the company to consider and report on its impact, pushing it to continuously refine its circular working methods. This commitment is exemplified by the recent introduction of Full Circle, a product buy-back scheme that offers clients a 50% credit for returning vintage lights, ensuring their continued existence. The company also provides a lifetime guarantee for repairs, reinforcing its dedication to circularity. Looking ahead, skinflint envisions a future where its fully circular approach to vintage lighting, particularly with its buy-back scheme, inspires other industry players to adopt similar practices, fostering sector-wide change and a more sustainable future. Katie Treggiden, a purpose-driven journalist, author, and podcaster, champions a circular approach to design and contributed to this article as Editor at Large for Design Milk. Her work explores how craft can contribute to saving the world through initiatives like her book "Wasted: When Trash Becomes Treasure" and her podcast, "Circular with Katie Treggiden." #VintageLighting #Restoration #CircularEconomy #SustainableDesign #BCorp #HomeFurnishings #InteriorDesign #RepairCulture #EnvironmentalImpact

The Scraplights lighting collection by Graypants, a modern design team, showcases a commitment to storytelling through design, with an emphasis on the process and craftsmanship behind their products. The company, humorously named after its founders' initial meeting while wearing identical gray pants, focuses on creating designs that resonate with individuals and extend beyond their physical form. This ethos is particularly evident in their flagship Scraplights collection. The Scraplights are meticulously handcrafted from recycled cardboard, highlighting a dedication to sustainability and unique material utilization. The inherent qualities of the recycled cardboard impart a classic dark edge to the fixtures, which beautifully accentuates the warm light emitted through the corrugated layers. In addition to the natural cardboard finish, the collection also features an option made from custom-produced entirely white corrugated cardboard, offering an elevated and distinct aesthetic while retaining the signature layered design. Each Scraplight fixture is engineered to provide warm, intimate, and functional lighting suitable for various applications and spaces. The production process involves precision laser-cutting of the cardboard components, followed by careful hand-assembly using non-toxic adhesive. This combination of advanced technology and artisanal skill ensures the durability and quality of each piece. As a crucial safety and environmental measure, all Scraplights are treated with a non-toxic fire retardant, making them both robust and elegant additions to any interior. The collection includes a diverse range of lighting options, such as the Tilt Natural Floor Lamp, which offers a striking visual presence, and the Tilt White Table Lamp, providing a more compact yet equally sophisticated option. Pendant lights are a significant part of the Scraplights range, with models like the Drum24 Natural Pendant Light and Ohio24 Natural Pendant Light presenting unique spherical and elongated forms. Larger pendant options include the Dome36 Natural Pendant Light, designed for a more pronounced statement, and the Ausi8 Natural Pendant Light, offering a distinct geometric shape. Further expanding the variety, the collection features the Bell10 and Bell16 Natural Pendant Lights, characterized by their elegant bell-like silhouettes, and the Drop18 and Drop26 Natural Pendant Lights, which provide a flowing, elongated design. The Hive12 Natural Pendant Light offers a unique, intricate structure, while the Nest24 Pendant Light presents a more organic and encompassing form. Complementary table lamps like the Ausi Natural Table Lamp and Ebey White Table Lamp offer smaller, versatile lighting solutions. Additional pendant styles, such as the Allyn White Pendant Light and Alki White Pendant Light, introduce further variations in form and size, demonstrating the versatility of cardboard as a design material. Graypants’ Scraplights collection, available through the Design Milk Shop, represents a harmonious blend of innovative design, sustainable practices, and meticulous craftsmanship, transforming everyday recycled material into sophisticated and functional lighting fixtures for contemporary living spaces. #Graypants #Scraplights #CardboardLighting #RecycledDesign #SustainableDesign #HomeFurnishings #InteriorLighting #ModernDesign #Handcrafted

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

Lucifer Lighting, a company that has grown from a family business to a global entity, is headquartered in San Antonio, Texas, on a 13-acre campus alongside Salado Creek. This facility serves as the hub for all creative processes, including design, assembly, prototyping, and management. The spaces are adorned with art, and the building offers access to 20 miles of walking and biking trails. In addition to its Texas headquarters, Lucifer Lighting expanded its presence by opening a showroom in San Francisco's Jackson Square in 2022, followed by its first New York City showroom in 2023. The company continues its expansion, with 2025 being particularly active, marked by the debut of its new decorative fixture, Stellaris, at Euroluce during Milan Design Week. Gilbert Mathews, the founder of Lucifer Lighting, discussed the evolution of their decorative fixtures. He noted that Stellar, their first decorative fixture, was launched in 2020 to commemorate the company's 40th anniversary. While Stellar is characterized by its elegance and modest scale, Stellaris, their latest creation, measures approximately 30 inches in diameter and is designed to command a striking presence, capable of defining the ambiance of a space independently. A key innovation in Stellaris is its ability to integrate both downlight and volumetric light within a single form. Mathews expressed particular pride in the patented fold design, which incorporates discrete, concealed LEDs within the waveguide, creating a mesmerizing effect that prompts observers to question the light source. Stellaris is slated for an official launch in September 2025. The Stellaris design comprises two primary components: a suspended enclosure featuring internally illuminated tubes and a translucent barrier that defines the fixture. This design was a collaborative effort with the architecture firm Gensler, which also designed Lucifer Lighting's showrooms. All of Lucifer Lighting's finished products are assembled in the United States, with 93% of the fixture components sourced from North America. Mathews emphasized the company's philosophy regarding architectural lighting, stating that “the best lighting is the kind that no one notices.” He explained that their architectural lighting can be customized with special baffles, kick reflectors, and discrete aiming and adjustment mechanisms, allowing for precise illumination without drawing attention to the light source itself. Their motto, “Design, Define, Disappear,” highlights this paradoxical approach where beautifully crafted fixtures are designed not to be the focal point. Mathews noted that this philosophy represents a departure from traditional American lighting product design, which he found to be largely utilitarian and purely functional. He drew inspiration from European lighting fixture design, appreciating its sleek aesthetic, and sought to elevate this approach through Lucifer Lighting's engineering and fabrication capabilities. He finds inspiration in the seamlessly integrated surfaces of sculptural forms, comparing them to fine watches, cameras, and Italian sports cars. The company's work has graced prominent hotels and flagship stores globally, including The Peninsula, The Standard, Four Seasons, Mandarin, St. Regis, Rosewood, and The Ritz Carlton, as well as retail spaces for Apple, Chanel, Cartier, Gucci, Louis Vuitton, Ralph Lauren, and Tiffany & Co. The company's name, Lucifer Lighting, originated from its first strip light, the Lucifer Light, derived from the Latin root "luciferous," meaning "light-bringing," a name that proved memorable and distinctive. #LuciferLighting #LightingDesign #MilanDesignWeek #Stellaris #ArchitecturalLighting #InteriorDesign #ProductInnovation #LuxuryLighting

The 'Accent Light' is a limited-edition desk lamp designed by Zürich-based designer Fritz Jakob Gräber, focusing on perspectives, symmetries, and colors. Gräber, who possesses extensive experience across various crafts, aims to create an eclectic range of products, furniture, and lighting. The 'Accent Light' exemplifies his approach to design, which centers on transforming flat materials into three-dimensional forms. The development of the 'Accent Light' was driven by Gräber's ambition to establish his own design practice and produce his own editions, a challenging endeavor for a young designer. The lamp is designed to be highly practical, emphasizing ease of production, storage, and shipment through its super flatpack design. This minimizes labor costs and logistical complexities, making it an efficient product to manufacture and distribute. The lamp's aesthetic is minimalistic yet visually striking, crafted from a specialized type of paper. This material choice is integral to the lamp's ability to create volume from a flat form. The production process involves a unique technique where all envelopes are hand-printed on a Dainippon flatbed offset machine, a vintage piece of equipment from 1971. This detail highlights Gräber's dedication to craftsmanship and his appreciation for traditional printing methods, adding a unique character to each lamp. Functionally, the 'Accent Light' emits a subtle warm downlight, designed to create an inviting and cozy atmosphere. The lamp is a limited edition, with only seven pieces produced, all manufactured in Switzerland. This exclusivity underscores its status as a collectible design object, reflecting the designer's personal commitment to quality and unique artistry. The limited availability and local production emphasize the bespoke nature of Gräber's work and his focus on maintaining high standards of craftsmanship. The design reflects a blend of artistic vision and practical considerations, addressing both aesthetic appeal and the challenges of independent production. The 'Accent Light' is not just a lighting fixture but a statement piece that embodies the designer's philosophy of creating impactful objects from simple materials while managing the complexities of establishing an independent brand in the design industry. #LightingDesign #LimitedEdition #DeskLamp #FritzJakob #MinimalisticDesign #SwissDesign #Handcrafted #ProductDesign #InteriorDesign

Shakúff, a Brooklyn-based design and manufacturing studio, has unveiled its latest lighting fixture, the Tamar Wand pendant light. This innovative design showcases a tubular shade meticulously enveloped in delicate strings of blown glass, offering a distinctive visual and textural appeal. The creation of the Tamar Wand involves skilled glassblowers who intricately stretch borosilicate glass into thin strands and then artfully swirl them around the exterior of a central glass tube. This specialized technique results in a unique drizzled surface that is designed to capture and refract light, creating a mesmerizing effect. Joseph Sidof, the creative director of Shakúff, expressed his admiration for the glassblowing process itself, describing it as a captivating cycle of blowing, melting, and reshaping. He noted that the name 'Tamar Wand' playfully alludes to the inherent magic and transformative nature of this ancient craft. The Tamar Wand is an evolution of Shakúff's existing Tamar pendant, incorporating modern advancements while retaining its artisanal core. The illumination for the pendant comes from internal LED strips, which are integrated along a stainless-steel rod. This rod serves a dual purpose: it acts as a conductor for the LEDs and aids in their cooling, ensuring optimal performance and longevity. The design philosophy behind the Tamar Wand aimed to bridge traditional craftsmanship with contemporary aesthetics, making it suitable for modern, linear architectural spaces. To further enhance its contemporary feel, the pendant light is accented with brushed brass or chrome detailing. These metallic finishes provide a sophisticated contrast to the organic texture of the blown glass, reinforcing the fixture's appeal in modern interior design schemes. The Tamar Wand represents a harmonious blend of traditional glassblowing artistry and cutting-edge lighting technology, offering an elegant and eye-catching lighting solution for various environments. The product details specify the Tamar Wand as the product name and Shakúff as the brand. This product is featured on Dezeen Showroom, a platform that provides an accessible avenue for brands to introduce new products and display their design achievements to a wide global audience. The article emphasizes that Dezeen Showroom content is an example of partnership content, indicating a collaborative promotional effort. This new lighting piece reflects Shakúff's ongoing commitment to exploring innovative ways to incorporate classic techniques into modern design. #LightingDesign #PendantLight #BlownGlass #BorosilicateGlass #InteriorDesign #ModernLighting #Shakuff #DesignInnovation

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

Designer Lee Broom launched his new 'Optical' lighting collection by transforming his studio's delivery van into a mobile exhibition space. This innovative concept, named 'Salone del Automobile,' involved meticulously designing the van's interior to resemble a traditional Italian palazzo. The transformation included painting the van's interior in Broom's signature grey, and adding ornate Corinthian columns, architraves, and stuccoed details, complemented by an illuminated floor. This elaborately decorated van served as a dramatic backdrop for the new monochromatic lighting fixtures. The 'Salone del Automobile' embarked on a journey from Broom's London headquarters to Milan, where it was showcased at various prominent locations during Salone del Mobile, including Brera Design District, Spazio Rossana Orlandi, ZonaTortona, San Gregorio Docet, and Ventura Lambrate. This unconventional exhibition strategy allowed the collection to reach a wider audience and provided a unique viewing experience, highlighting the pieces within an unexpected, yet grand, setting. The 'Optical' lighting collection itself features illuminated globes adorned with graphic, linear patterns. These designs are asymmetrical, creating a dynamic visual effect where their appearance shifts depending on the viewer's angle. Broom drew inspiration for this collection from his own experiences in the early 1990s, specifically recalling his use of monochrome graphics when decorating his bedroom. This personal connection to the design imbues the collection with a sense of nostalgia while maintaining a contemporary aesthetic. The collection is characterized by its stark black and white palette, which further emphasizes the graphic quality of the patterns. Each piece is designed to create an interplay of light and shadow, enhancing the 'optical' illusion and making the fixtures captivating from all perspectives. The installation within the van was carefully orchestrated to maximize this effect, presenting the lights as functional art pieces within a curated, mobile environment. This method of presentation not only served as a launch for the 'Optical' collection but also demonstrated a creative approach to exhibition design in the competitive world of furniture and lighting. By bringing the showroom directly to the audience in an artistic and memorable way, Lee Broom successfully generated significant attention and discussion around his new works, solidifying his reputation for innovative design and marketing. #LeeBroom #LightingDesign #SaloneDelMobile #ProductLaunch #ExhibitionDesign #OpticalLighting #MilanDesignWeek #InteriorDesign

This article explores the benefits of upgrading swimming pool lighting to LED technology, focusing on energy savings, reduced maintenance, and enhanced aesthetic appeal. Many existing pools, equipped with older incandescent or fiberoptic lighting systems, present a significant opportunity for service professionals to offer LED conversions. LEDs offer substantial energy savings compared to traditional lighting. Incandescent lights consume up to 500 watts, fiberoptic lights use 150 to 200 watts, while LED pool lights typically use between 20 and 50 watts per hour. This drastic reduction in energy consumption can lead to considerable cost savings for pool owners, potentially paying for the conversion within one to two years, depending on usage habits. Beyond energy efficiency, LEDs also boast lower maintenance requirements. Incandescent bulbs need replacement approximately every 2,000 hours, and fiberoptic systems require replacement every three to seven years, alongside other components like motors and color wheels. LED lights, in contrast, have a much longer lifespan, often exceeding 10 years, significantly reducing the frequency and cost of replacements. This longevity makes LEDs a more sustainable and economically sound option for pool owners. The ease of upgrading is another compelling factor. Many LED models are designed to fit into existing light niches, simplifying the installation process for service technicians. For instance, Hayward’s Universal ColorLogic LEDs are UL listed for various niche styles, eliminating the need for technicians to determine specific niche types. Similarly, Pentair’s GloBrite lights are made entirely of plastic, removing the need for grounding or bonding and making them suitable for gunite, fiberglass, or vinyl pools. One of the most appealing aspects of LED pool lighting is its ability to introduce a vibrant spectrum of colors. Pool owners can select from a wide range of hues or program dynamic light shows to match specific moods or events. This customizable lighting transforms the backyard ambiance, offering a significant upgrade from the static illumination of older systems. The transition to LEDs also extends beyond just the pool; modern platforms allow for the integration of multiple LED lights on a single transformer, enabling homeowners to illuminate landscaping, water features, and other outdoor elements, thereby creating a cohesive and visually striking outdoor environment. This expanded application presents additional opportunities for service professionals to broaden their offerings. Specialized LED replacements are available for fiberoptic systems as well. Companies like Fiberstars offer small-niche LED lights that fit directly into existing wall fittings, replacing fiberoptic cables and connecting to a 'Power Tower' controller with built-in transformers and wireless remote control. This allows for a straightforward conversion from older, more expensive fiberoptic systems to modern, color-rich LED lighting. Finally, the convenience of remote control is a major draw for contemporary pool owners. Systems like Zodiac’s iAqualink enable users to manage their pool lighting and other features via smartphones or tablets, enhancing user experience and control. The inherent safety of low-voltage LED systems (typically 12 volts) is also highlighted, particularly in contrast to the potential electrical hazards associated with high-voltage pool lights. Overall, upgrading to LED pool lighting offers a combination of energy savings, reduced maintenance, aesthetic versatility, and enhanced safety, making it an attractive investment for pool owners. #LEDLighting #PoolDesign #EnergyEfficiency #HomeImprovement #OutdoorLighting #SmartHome #PoolMaintenance #TechnologicalAdvancement #BackyardDesign

The article profiles Chad Jacobs, founder of Bone Simple Design, and his approach to lighting and fiber arts. Jacobs, who dislikes bare lightbulbs, emphasizes the importance of diffused light and multiple light sources to create a comfortable ambiance. His designs, primarily made with string and rope since 2015, are both decorative and functional. Jacobs's Truro home, which he shares with his husband Stephen Orr, showcases a variety of his creations, including large hanging fixtures, wall sconces, and tabletop lights. Jacobs, with a background in architecture, integrates structural integrity with soft materials in his designs. He advises using at least two light sources in a room to achieve proper illumination, typically a combination of table, wall, and ceiling lamps. In his home, an orb-like fixture made from white rope encloses an opaque globe pendant, illustrating his commitment to obscuring the bulb while allowing light to emanate. He notes that this particular piece, while experimental, was too time-consuming for large-scale production. The article highlights some of Jacobs's ready-to-produce designs, such as a drum light and wall sconce in his entranceway, which offer flexibility for bright or atmospheric lighting through dimmer switches. He meticulously considers bulb shape and silhouette during the design process. The drum fixture, made from opaque fabric, casts a warm, round glow, while the wall sconce, with its spaced rope strands, subtly reveals chandelier bulbs, dispersing light gradually on the wall. Jacobs's architectural background from the University of Texas, Austin, informs his design philosophy, leading him to create rigid underlying structures that complement the soft materials. An example is a large, terra-cotta-colored lamp above his stairway, reminiscent of Brunelleschi’s Dome in Florence, demonstrating how scale is crucial in integrating a fixture within a space. While he has created larger pieces, his Truro home features designs scaled appropriately for its modest size. Fiber art profoundly influenced Jacobs's work, especially after an exhibition in 2015. Since establishing Bone Simple Design in 1993, he has explored various materials, but fiber became his primary focus, leading to a successful collection of wrapped, dyed shapes produced by his team in New York City. He believes fiber art continues to evolve and holds significant artistic potential. #ChadJacobs #LightingDesign #FiberArts #HomeDecor #InteriorLighting #BoneSimpleDesign #ArchitecturalInfluence #TextileArt #HandcraftedLighting

In an era increasingly defined by mass production, handmade lighting stands as a significant testament to the enduring value of craftsmanship. Each piece, shaped by human hands, emits a unique warmth, instilling a sense of individuality within a room. The materials used, ranging from the smooth finish of hand-turned wood to the complex designs of handwoven rattan, echo a rich history of artisanal traditions that have been preserved and passed down through generations. These lamps are not merely sources of illumination; they embody history, culture, and artistic expression. The article highlights nine distinct lamps, each showcasing unique qualities and craftsmanship. The first, the Atelier MVM Ceramic Polychrome Marbled Shroom Lamp, features an idiosyncratic glazing technique and mystical color palette, playfully exploring the form of a mushroom. Next, the Ben and Aja Blanc Table Lamp No. 10 is distinguished by its unexpected incorporation of horsehair and silver threads, elevating a modern, organic design. The Danny Kaplan Griffin Lamp, hand-thrown in stoneware, blends ancient ceramic methods with contemporary aesthetics, and is offered with a Vellum shade and customization options. Following these, the In Common With Gemma Table Lamp, Small, designed in collaboration with Sophie Lou Jacobsen, exhibits marble-like dots, a nod to centuries-old glass adornment techniques. The Shayd Table Lamp, crafted from a single sheet of clay, is noted for its gracefully folded shade, which reflects the precision and artistry of Japanese origami. James Cherry's Juno Table Lamp blurs the lines between lighting and sculpture, utilizing recycled materials to create its distinctive and original form. Further examples include the Kawabi Souvenir Lamp, where designers Irisa and Aaron Kawabi draw upon their diaspora heritage to inform a piece that symbolizes a spiritual gateway. The Jessica Stambaugh Hand-Turned Wooden Lamp showcases the American craft tradition of wood turning, with Stambaugh sculpting classical forms anew. Finally, the Soane Rattan Turkic Lamp, a popular choice among decorators, reinterprets a 13th-century Islamic jar shape using rattan, fostering a dedicated following. While these lamps come with higher price points than mass-produced alternatives, they are presented as collectible items, akin to functional, three-dimensional art. Embracing such handcrafted lighting celebrates established craft traditions while contributing to a future characterized by authentic and original design. #HandmadeLamps #ArtisanalLighting #HomeDecor #InteriorDesign #Craftsmanship #UniqueLamps #LightingDesign #HomeAccessories #FunctionalArt

Edward Linacre's Nest Lamp is an innovative flat-pack pendant light made from fast-growing bamboo veneer. The design draws inspiration from natural forms, specifically the honeycomb structure found in beehives, giving the lamp an organic and aesthetically pleasing appearance. This lamp is designed to be lightweight and strong, measuring 23 inches wide, while its flat-pack nature allows for easy and efficient shipping. The construction involves interlocking pieces of bamboo veneer, held together using non-toxic glue, emphasizing a commitment to sustainable materials and production methods. Linacre, an Australian designer, recently showcased the Nest Lamp at Milan Design Week as part of the Melbourne Movement, a collective known for presenting cutting-edge Australian designs. The exhibition provided a platform for the Nest Lamp to be introduced to a global audience, highlighting its unique design and sustainable attributes. The use of bamboo veneer, a renewable resource, aligns with growing interests in environmentally conscious product design, offering an alternative to more resource-intensive materials. The interlocking mechanism not only contributes to the structural integrity but also simplifies assembly for the end-user, enhancing its practicality. This product exemplifies a trend in design that combines natural inspiration with functional innovation. The honeycomb pattern is not just decorative; it inherently provides strength and an intriguing visual texture. The flat-pack characteristic is particularly noteworthy for its environmental implications, as it reduces shipping volume and, consequently, carbon footprint. This approach also makes the product more accessible for distribution across various markets, potentially reducing costs and making it a more competitive option in the lighting market. The Nest Lamp is positioned within the broader context of green lighting and sustainable interior design. Its presence at Milan Design Week under the banner of the Melbourne Movement underscores a shift towards designs that are both beautiful and responsible. The choice of bamboo, known for its rapid growth and minimal environmental impact, is a key element of its sustainable profile. The designer's emphasis on non-toxic adhesives further reinforces the product's eco-friendly credentials, ensuring that it is safe for indoor environments. Overall, the Nest Lamp by Edward Linacre represents a harmonious blend of natural aesthetics, functional design, and environmental consciousness. It caters to a market that values sustainable products without compromising on style or quality. The lamp's design, material selection, and production methodology reflect current trends in interior design and product development that prioritize ecological responsibility and innovative solutions for everyday items. #EdwardLinacre #NestLamp #BambooVeneer #FlatPackDesign #GreenLighting #SustainableDesign #InteriorDesign #MilanDesignWeek #MelbourneMovement

The LUMNES collection of lamps, designed by product designer Isabel Brouwers, takes inspiration from the mesmerizing phenomenon of photo-luminescent algae. This unique lighting series is a direct result of Brouwers' experience during a swimming journey in Cambodia, where she encountered a species of algae that naturally produces light. The designer sought to capture and immortalize this fascinating moment, allowing the installation to evoke the marine plant's captivating properties within an interior setting. The LUMNES series specifically draws its essence from the *Pyrocystis fusiformis* algae, a particular species renowned for its bioluminescent capabilities. A key characteristic of this natural light production is its reliance on oxygen. Brouwers has cleverly integrated this biological requirement into her lamp design, where the lighting fixtures themselves react to the ambient oxygen levels, thus echoing the algae's photogenic behavior. Each lamp in the LUMNES collection is a unique piece, crafted through the traditional and intricate method of glassblowing. This handcrafted approach ensures that every lamp possesses individual variations, much like organisms in nature. Furthermore, the glassblowing process itself inherently involves the use of oxygen, a detail that serendipitously aligns with the scientific principle behind the algae's luminescence, where oxygen is essential for light to originate. This meticulous attention to both aesthetic representation and scientific accuracy underscores the thoughtful design process behind the LUMNES series. The inspiration for the LUMNES lamps stems from a personal encounter with nature's beauty, specifically the luminous algae observed by Isabel Brouwers. Her objective was to translate this ephemeral natural phenomenon into a tangible, artistic product. The resulting lamps are not merely sources of illumination but are also sculptural interpretations of the *Pyrocystis fusiformis*, capturing its form and the environmental conditions necessary for its glow. The hand-blown glass technique employed in their creation emphasizes the organic and fluid shapes that characterize the algae, making each lamp a delicate and artistic representation of its natural muse. The interactive element, where the lamps' light production is linked to oxygen, creates a dynamic and living quality, inviting observers to engage with the product on a deeper level, appreciating the intricate connection between light, life, and environmental factors. This project highlights a unique intersection of natural inspiration, traditional craftsmanship, and innovative design thinking. #LightingDesign #ProductDesign #IsabelBrouwers #LUMNESLamps #Bioluminescence #Glassblowing #NatureInspiredDesign #HandmadeLamps #ArtisticLighting

This article details the journey of Ivy Karlsgodt, a former costume designer who founded Ace of Shades, a Brooklyn-based business specializing in handmade lampshades. During the 2020 COVID lockdown, Karlsgodt, laid off from her costume industry job, began making lampshades to personalize her apartment, driven by a long-standing appreciation for vintage glamour and maximalism. This newfound hobby quickly evolved into a passion, leading her to document her intricate lampshade-making process through videos shared on Instagram and TikTok. Her online presence rapidly cultivated a significant following, captivated by both the soothing nature of her process videos, often set to old-timey music, and the visual appeal of her finished products. These creations are characterized by unique color palettes and opulent combinations of silk, lace, beads, and fringes, drawing inspiration from Victorian, Art Deco, and Art Nouveau aesthetics, yet with a modern twist. Her work is also recognized for its meticulous, slow craftsmanship, a refreshing contrast to the fast and inexpensive production common in today's market. Karlsgodt's approach to learning the craft was largely self-taught, building upon her extensive professional background in sewing and hat-making techniques. She utilized instructional DVDs by Mary Maxwell for foundational knowledge but largely developed her own methods. She emphasizes that while her videos are crucial for business growth and exposure, she only records a fraction of her work, prioritizing unique or particularly ornate commissions due to her heavy workload. The recording process, although sometimes disruptive, is deemed worthwhile due to its impact on her business success. She notes that the formulaic nature of her videos and efficient editing help mitigate the time commitment. Her design process is iterative, often starting with a specific frame shape, fabric, or color combination, then building the rest of the design around that initial inspiration. She utilizes an iPad for detailed drawings, comparing various material and color options before finalizing a design and sourcing supplies. When working on commissions, she offers clients extensive involvement in the design process, often presenting multiple versions for their selection. Materials for her lampshades are sourced globally, including custom-made frames from LA, wholesale fringe and braid from Spain, and fabrics and trims from NYC's Garment District, Etsy, and eBay. She also prioritizes the reuse of vintage materials, such as old dresses or embroidery, to create unique lampshades. Karlsgodt expresses surprise at the unexpected evolution of her hobby into a full-fledged business, a path she had not initially envisioned for her career. Her proudest moment to date involved her work being licensed for Stevie Nicks' concert backdrop, a significant full-circle experience given Nicks' influence on her style. This unexpected journey highlights the power of combining traditional craftsmanship with modern digital platforms to build a successful and personally fulfilling enterprise. #LampshadeDesign #HandmadeCrafts #SocialMediaMarketing #HomeDecor #MaximalistDecor #DesignProcess #CostumeDesignInfluence #VintageGlamour #ArtisanEntrepreneurship

Hungarian designer Zsuzsanna Horvath has created the Illan Pendant Light for Italian lighting company Luceplan, utilizing a unique process of laser-cutting birch plywood. The lamp's design was first showcased as a prototype at Salone Satellite during the Milan Furniture Fair, capturing the attention of Luceplan. The name 'Illan' is derived from a Hungarian word signifying something temporary or fleeting, a concept that Horvath aimed to embody in the delicate and minimalist aesthetic of the lamp. The core of the design involves precisely scoring equidistant lines through a thin sheet of birch plywood using laser-cutting technology. This intricate cutting method allows the material to take on a new form, responding to the forces of gravity when suspended. As Horvath explained, the idea emerged from her experimentation with laser-cutting techniques applied to various materials, where geometrically cut sheets of paper and wood acquire novel characteristics under their own weight. Upon suspension, the plywood naturally drapes into a distinctively curved lampshade shape, contributing to its ethereal and artistic appeal. Inside the elegant plywood structure, a warm-toned LED light source is integrated. This light gently permeates through the fine slats of the plywood, producing a soft, golden, and diffused illumination. Horvath highlighted that the simple, concentric cutting motif transforms the wood into a three-dimensional sculptural object. This object is not static but dynamically responds to even the slightest air movement, adding a subtle, living quality to the design. The warm glow of the light further enhances a relaxing sensation, reflecting beautifully off the wooden surface. The designer views the Illan Pendant Light as a bridge between art and design, successfully balancing functional utility, aesthetic appeal, and a touch of magic that enriches everyday life. This perspective underscores the lamp's ability to transcend mere functionality and become an engaging piece within an interior space. The Illan Pendant Light is available in three different sizes, with the largest version capable of reaching up to a meter in width. This variety in size offers flexibility, allowing the lamp to be used either as a singular statement piece or as part of a grouped cluster of varying dimensions, catering to diverse spatial and aesthetic requirements. Horvath, who is both a designer and architect, operates her own studio in Copenhagen. The Illan Pendant Light has received significant recognition, being shortlisted for the prestigious Dezeen Awards 2020 in the lighting design category. It was nominated alongside other innovative lighting solutions, including a bedside lamp designed to read to children and a rotating ring light. The article also references other examples of plywood designs in lighting, such as laser-cut plywood lamps by Italian studio Bjørne and a modular lighting collection by Tino Seubert and Theodora Alfredsdottir, underscoring the growing trend and versatility of plywood in contemporary design. #PlywoodDesign #LaserCut #PendantLight #Luceplan #ZsuzsannaHorvath #BirchPlywood #LEDLighting #InteriorLighting #DesignAward

Ross Hansen's ongoing series of ethereal lighting fixtures redefines assumptions about design and function by blending natural inspiration with innovative materials. The Los Angeles-based artist and designer crafts unique sculptural floor lamps from a combination of hemp, bio-resin, and aluminum. These creations evoke natural forms such as marigolds, prairie clover, and milk thistle, drawing on Hansen's background in landscape design and his appreciation for organic textures and shapes found in nature. The lamps are characterized by their otherworldly appearance, reminiscent of larger-than-life fungi or microscopic organisms. This effect is achieved through Hansen's meticulous process: strips of cloth are enrobed in a plant-based resin to provide rigidity, and the illuminated bulbs are diffused within the fabric, creating a soft, glowing light that emphasizes the sculptural qualities of the pieces. The use of bio-resin highlights a commitment to sustainable practices while contributing to the unique aesthetic and structural integrity of each lamp. His recent exhibition, titled *Of Human Feelings*, at Volume Gallery showcased these distinct creations. The installation featured clusters of these lights, transforming the gallery space into an immersive environment that blurred the lines between art, design, and natural phenomena. The exhibition highlighted the interplay of light and material, inviting viewers to reconsider the functional and aesthetic potential of lighting fixtures. Hansen's work challenges traditional notions of what a lamp can be, transforming it from a mere functional object into a captivating art piece. The organic shapes and glowing diffusion of light contribute to an atmosphere that is both serene and thought-provoking. His innovative approach to materials and form demonstrates a unique vision that bridges the gap between art and industrial design, creating pieces that are both visually stunning and conceptually rich. The artist's designs will also be featured at the upcoming Felix Art Fair in Los Angeles, providing another opportunity for a broader audience to experience these imaginative lighting sculptures. Through his creations, Hansen continues to explore themes of nature, art, and human perception, offering a fresh perspective on contemporary design and the potential of unconventional materials. #RossHansen #SculpturalLamps #BioResin #HempArt #LightingDesign #ArtExhibition #VolumeGallery #FelixArtFair #OrganicForms