While it is generally the case that the development, evolution, of product design is dependent on the development, evolution, of technology, such is particularly the case in context of lighting design: ever since a burning stick was first employed to create a relaxing evening atmosphere in a neolithic cave, technological developments have been the driving force behind the development of lighting design, be that formally, functionally or technically.
The nature of Light + Building Frankfurt, the fact that it is much more of case of “Light in and around Buildings”, means that the majority of the projects presented are about technical lighting in architectural contexts, and in terms of technical evolution most manufacturers are atop of the game: demonstrating technical competence being a key element in any lighting manufacturers’ self-image. Does however by necessity mean that often the required functionality is largely pre-defined by the very specific nature of the usage, while the form is in many cases irrelevant.
A small section of Light + Building does however present objects of more freer nature, and there one does/could find a few design led projects which in addition to adopting technological innovation approach new formal and functional solutions and thus new understandings of what lighting can/should be. As ever we’ve not seen everything, have invariably missed one or the other gem, apologies all-round, but with that in mind, and in no particular order, our Light + Building Frankfurt 2018 High Five!!
One of the early highlights of our 2017 #campustour was the Arc Collection by Marie Hesseldahl & Nanna Neergaard created in context of their Diploma project at Design School Kolding.
Consequently it was a particularly pleasing mødes igen with the Arc Collection at IMM Cologne 2018 where it was launched as a product family by Danish manufacturer Le Klint.
Modular lighting is a seldom encountered genre, and when it is encountered, then invariably in a very technical form, a form that implies the computer software has taken a greater role in the creative process than the designers understanding of form-giving,
There are however exceptions…..
The German designer and silversmith Christian Dell is arguably best known for the numerous lighting designs he realised during the 1920s and 1930s.
Christian Dell was however also one of the pioneers of plastic design. If all too briefly.
Being principally an office furniture fair NeoCon doesn’t really attract “fringe events” the way home furnishing focussed trade fairs do;
As the name implies the Light + Building Trade Fair in Frankfurt is largely about architectural lighting rather than domestic
In his Letter of Reference for Christian Dell on the occasion of his departure from the Kunsthochschule Frankfurt, the school’s
In the famous Thonet Card Catalogue from 1930/31 the image of the B 9 side table and B 25 lounge
At Bratislava Design Week 2014 Jakub Pollág and Václav Mlynář a.k.a. Studio deFORM re-premièred their Transmission light family; “re-premièred” because
For some 200 years Wiener Silber Manufactur have produced the finest silverware. Exquisite cutlery, table services, coffee pots and sugar
As older readers will be aware one of our all-time favourite products is the table family Tints by Jason Miller.
“In a best case scenario, and when the technology is advanced enough, the opaque cover can be replaced by an
Although, according to our strict definition of “design” the work of Leipzig ceramicist Claudia Biehne must be considered handwork, we’re
It’s Dumfries Show on Saturday. That won’t mean much to the most people, but for us it is a sure
The Top 5 Lamps from the smow design spring. In no particular order. Kete by David Turnbridge. One of the