Ron Arad’s folds a printed circuit board inside a transparent Pyrex shade. Arranging more than 200 LED chips in a striped pattern, the inner sheet mixes translucent and opaque areas to create an intriguing graphic effect once overlapped and illuminated.
Rather than trying to master the art of cable management, embraces the chaos of clutter. Granted, the brand’s proves plenty charming, calling to mind an autograph suspended in mid-air. Each cable terminates in an understated lampshade that appears as a cone from some angles and a rectangle from others.
Dutch design studio Vantot’s steadies ceiling-mounted electrified tension cables with counterweights to form a barely-there track. Thin acrylic lampshades are then fastened at the desired height with a pair of metal arms featuring paperclip-like fasteners.
Expanding his eponymous brand’s collection at Euroluce, referenced a common still life drawing exercise that uses cone sculptures to teach shading. His can be oriented up or down in single, double or triple arrangements.
A grooved triangular prism (offered in black, green or silver) forms the central spine of Herzog & de Meuron’s for . Each of its three slots can be fitted with a diffuse or direct lighting tube to create a full range of offerings: horizontal or vertical pendants, a floor lamp, plus wall and ceiling sconces.
Working with , designer Jaume Ramírez pared the typology back to its basic forms — a disc, sphere and cone — all newly rendered in clear (or sepia-hued) glass to evoke “the fragility of the present moment.” A cylinder shines up through the sculptural stack to bring new light to a familiar silhouette.
At its Via Durini showroom, made a major foray into lighting. Architect Tobia Scarpa originally conceived this Tinkertoy-like design language for Treviso’s Ca’ Scarpa cultural centre. His system of lighting bars and metal joints now forms the basis for a .
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