Click here for Part I of 'Lux Redux: Euroluce 2013'
With the power that lighting has to shape architectural space, mediating our experience of it, it's little wonder that architects continue to engage in the design of lighting products themselves. It's also unsurprising that the typical design language of their large-scale projects finds expression in these smaller-scale objects, given the holistic way in which the architectural mind can view the world – and, of course, the desire to ensure a legibility of architect-designer authorship, not least in terms of branding.
Renowned architect Zaha Hadid brings her office’s distinctive parametric style to bear on her ‘Aria’ pendant light for Slamp, which is formed of 50 layers of a material called Cristalflex, a techno-polymer patented by the manufacturer itself
Famed for his ‘cuts’, the incisions in the skin of his built projects that function among other things as fenestration, the form of architect Daniel Libeskind’s new ‘Paragon’ table lamp for Artemide echoes this signature design language
Gubi continues its mission to reissue some of the 20th century’s finest designs with architect Louis Weisdorf’s ‘Turbo’ pendant from 1965, inspired by the archetypal Japanese paper lamp
And his work lives on. Legendary architect Le Corbusier’s 1954 ‘Projecteur’ lamp, originally designed for the Chandigarh High Court, has been reissued by Nemo, thanks to a profile drawing of it held in archives of the Le Corbusier Foundation
In a relatively short space of time, LED as a lighting technology has come to rival the compact fluorescent lamp, the latter being heralded upon its launch as the obvious successor to the now decommissioned incandescent light bulb. Indeed, LED has leapfrogged over CFL and is set to become the long-term standard lighting source for the future. No wonder then that Euroluce’s high-end lighting exhibitors presented an enthusiastic adoption of this fast-developing technology.
Part lamp, part sculpture, each of Ingo Maurer’s new, literally titled ‘Knot’ LED lamps, made of polyamide, steel, aluminium, is produced individually by means of 3D printing
Konstantin Grcic’s ‘OK’ lamp for Flos innovates in terms of both form and technology. The German designer has created an ultra-flat LED surface, whose light can be directed in over 360 degrees
The latest in LED technology meets centuries-old glass-making techniques with Barovier & Toso’s new family of ‘Pandora’ chandeliers with 5, 8 and 10 arms, and a matching two-light wall lamp
Especially designed for the vertically challenged, frauMaier’s ‘superslim’ circular, powder-coated-steel LED light is ideal for indoor environments with low ceilings
Carsten Gollnick’s new ‘Sarto’ LED pendant lamp for Anta mixes its object types, introducing a form and material (fine, perforated leather) normally associated with accessories into the high-end lighting design
Although no longer with us, celebrated designer Gae Aulenti’s iconic ‘Pipistrello’ table lamp for Martinelli Luce, first launched in 1965, is born again with a new, more modest size and LED retro-fit
Super pared-down ‘Supernova F’ floor lamp by Delta Light features a slim, semi-transparent disc fitted with LED elements, which can be positioned according to its user’s illumination needs
Nahuel Mattias Vega’s ‘Light to Me’ table lamp for Ilide uses coarse natural salt as a means of refracting the piece’s cool LED illumination, creating an always unique play of textured light and shadow
Making its first appearance in 1965, Miguel Milá’s ‘Cesta’ and its smaller sibling ‘Cestita’ (shown here), simplicity itself in formal terms, have been given a new lease of life by Santa & Cole with an optional LED light-source fitting
‘Cubismo’, as the name might suggest, is a wall-mounted LED light, designed by Luta Bettonica and Mario Melocchi for Cini&Nils, articulated as a series of 3D cubes, some of which are designed to reflect light, while others dissipate it
The material combination of solid wood and Pyrex glass forms the basis for Dresslight’s ‘Etna’ LED pendant light, which makes a strong, linear statement
Having become somewhat of a classic since its launch in 2006, Marc Sadler’s ultra-linear ‘Twiggy’ floor lamp for Foscarini is back, this time fitted out for the LED times we now live in
Pure geometry: reduction of form to one of its simplest expressions, the circular 'Sorry Giotto 1' LED table lamp by Catellani & Smith is fabricated from blue, hand-painted copper
18 Power-LEDs sit within a solid aluminium body to form ‘millelumen sculpture’, an expressive floor lamp by Dieter K Weis for millelumen
Ah, the great outdoors. As the trend for a more ‘designed’ experience to spending time outside continues to grow – the garden, for example, being thought of increasingly within a private context as an additional room to the house – so the offering by lighting manufacturers of robust and contemporary lighting products designed specifically for external use increases. This year’s Euroluce was a showcase for a number of innovative designs.
There’s something pleasingly anthropomorphic about Fabio Schiavetto and Riccardo Furlanetto’s new cast-iron ‘Keirei’ outdoor LED light for Torremato, taking as it does a bow
‘Versus’, designed by Pepe Llaudet for Faro, is a formally reduced lamp – in essence, it is formed of two cones, joined together – for both outdoor and indoor usage
Designed by LEDS-C4 in collaboration with DIBA design studio, ‘Kap’ is described by the manufacturer as outdoor ‘chill-out light’. Don’t worry. You’re not seeing magic mushrooms, just the result of some quality roto-moulding
Inside out: Fausto Dalla Torre’s ‘Fiordo’ lighting family for Il Fanale playfully borrows from the archetypal form of an indoor lamp and shade and applies this to a series of robust outdoor lights
The synthetic-fibre, handmade baskets that make up Alex Fernández Camp and Gonzalo Milà’s ‘Amphora’ collection of freestanding outdoor lighting for Bover reference the form of traditional garden terracotta ware
Click here for Part I of 'Lux Redux: Euroluce 2013'
Read more about LED lighting on Architonic here