the light fantastic

by:EME LIGHTING     2020-01-06
The number of people visiting Tate Modern to experience the artificial sun of Olaf Eliasson shows our desire for light, not only to illuminate a particular task, but also for overall well-being.
However, until recently, most lighting designers are still struggling with how to provide a light source for a particular activity, not to mention checking how it makes us feel, and not knowing how much it forms
But everything is changing now.
The new generation of designers is concerned with the impact of light on the environment, environment and emotions.
They are interested in the possibilities offered by new materials and processes that enable them to play the form and nature of light.
Lighting has become a new \"must do\" for any designer who deserves their salt \".
From established designers like Ron Arad to newcomers like Paul Kochi and Shanzhong and Hong, everyone is turning to it.
Many of their experimental works are produced in small batches, but their works are increasingly being produced in batches: a good way to buy designer works at a relatively reasonable price is cheaper than investing in designer furniture.
While some of the pieces will undoubtedly become design classics, those that do not have will still make a statement that there will not be much investment to throw away when declaring palls.
Jane Pavitt, curator of brilliant, explains the appeal of light: \"lighting is a poetic medium of work.
Light itself has countless connections, and the physical nature of light gives them great power.
Lights radiate with energy, and when turned on, they transform the position or face, both to eliminate the shadow and to produce the shadow. They are hot -usually -
But need to be touched and keep them as objects when closed.
\"Brilliance is an opportunity to see how designers react to new ideas, materials and techniques about light.
Tord Boontje, who developed the gorgeous pattern Wednesday\'s lamp as a wreath etched in stainless steel (
Now it\'s made of nickel.
Brass plating for habitat)
A crystal chandelier was designed for Swarovski, a classic example of a designer blending technical experiments with romantic and poetic aesthetics.
His work usually creates shadows and patterns instead of direct lighting.
Ron Allard plays a similar theme in his IPCO sphere: a light bulb shines through small needles on the surrounding Earth, casting a fascinating pattern.
Blood-drawn lamps can also be used by ingor Maurer-
Master Lighting Design-
Tiny LEDs are embedded on the glass table and look like a mini star constellation.
Yamanaka, who recently graduated from RCA, is concerned about expressing \"the essence of light itself.
He makes a balloon lamp.
Full of helium, measuring across a metre-
It gives off a soft, surreal glow and moves around according to the amount of gas inside.
He also created the outline of a light bulb in a length fiber, and then sandblasted it to release light along its length.
Many designers like to play this game on traditional lighting images with new technologies.
One of the most radical is Arik l é vy, whose work is led by experiments.
He said that it took me about time to find interesting new materials and often to find them in strange places: military fairs and scientific conferences.
It may sound impractical, but his design is sold by leading retailers.
Four times his strange quality.
According to Pavitt, the type structure of cables and wires is \"a play to the basic topology of lighting --
Bulbs, plugs, sockets and flex.
The effect of his use of them is so strong that it presents a surreal form.
The cable forms an umbilical cord connection between the power supply and the bulb, bringing life to the lamp.
Levy himself asserted: \"The image of the bulb is used to bridge all our knowledge of light and light history.
Gitta gschwendowski used her figure 8 to study the image of the light in a more domestic way, which is an ironic but practical understanding of traditional light and shadow: it is a double-sized curved shadow lamp, can be manipulated to fold and illuminate other objects.
The most ironic thing is Jurgen Bey\'s lampshade, a remake of a traditional chandelier.
The version of Bey is a translucent mirror film smooth tube that closes traditional pendant lighting equipment.
The object inside is exposed when the light is turned on, but when it is turned off, it is hidden.
This has to do with another lighting theme that is popular with designers: transforming industries and waste.
Georg Baldele specializes in the production of hi-lightstech, heat-
He manipulated it into a cone to provide industrial adhesive tape for soft and warm lighting.
Another Cocksedge, who recently graduated from RCA, used the polystyrene coffee cup he contracted in the oven to create a sphere that spreads soft light.
He tried a variety of techniques, including his floating glass sausage, which is filled with neon lights and gives off a weird red color when it is turned on. Using hi-
Technology materials can be in a softer form.
Sharon Marston makes use of fiberglass optics, combined with PVC and nylon monofilament, in special candy with cascading colors and light that fold, iron and stitch.
They look more like glowing giant gold light, offering less and more domestic light.
Marston is currently making clothes lights.
Pure glory.
Glory is in V & (
SW7) Cromwell Road
From ten o\'clock A. M. to 5 on the 25 th of February 12-4.
Close at 45 every day except Wednesday and the last Friday of the month at ten o\'clock P. M.
Free admission.
Call 020 7942 2000 or visit www. vam. ac.
Further details UK.
Light of Midsummer
Manufactured by Artecnica Inc)
V & A stores are available during the exhibition.
There are wreaths in habitat.
See www for more information. tordboontje.
Com or call 020 7732 6460.
ENGO Maurer: info @ Engo distribution details-maurer. com.
Paul Kochi: order, e-commerce
Paul Cocksedge\'s email message. co.
Uk or call 07966 790998.
Georg Baldele: studio production of office @ georgbaldele.
Com or call 020 7482 2032.
Arik lèvy: please contact @ ldesign for more information. fr.
Sharon Marston: see www for more information. sharonmarston.
Com or call 020 8691 8881.
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