Swedish producer Zero has launched this new wall lamp called 'Stitch' designed by Mattias Ståhlbom.
The construction and the appearance of the lamp are inspired by the construction principle of an embroidery frame. When attached on the wall or in the ceiling it is possible to adjust the frame in different angles.
Arkitekturmuseet presents the first major retrospective exhibition on Swedish-American designer and architect Greta Magnusson Grossman. The exhibition includes architectural commissions in Sweden as well as Northern and Southern California and designs for the many companies she worked with including Barker Brothers, Ralph O. Smith and Glenn of California. The exhibition also includes exemplary pieces of furniture and lighting, prototypes and textiles, original drawings and photographs, film clips as well as a 1:1 reconstruction of an interior.
Greta Magnusson Grossman (1906-1999) maintained a prolific forty-year career on two continents, Europe and North America, with achievements in industrial design, interior design and architecture.
( Portrait c 1950)
In the late 1920s Grossman finished a one-year woodworking apprenticeship in her hometown of Helsingborg, Sweden and was awarded a scholarship to enroll at Konstfack (then known as Högre Konstindustriella Skolan), the renowned Stockholm arts institution. At Konstfack she excelled in her mastery of technical drawing and focused her original design work on furniture, textiles and ceramics. In 1933 Grossman received second place for furniture design from the Stockholm Craft Association , becoming the first woman to receive an award in that category. In 1934 the Swedish Society of Industrial Design awarded her a scholarship to travel throughout Europe and she filed reports of her observations on interior design and architecture for the “Women and Home” section of the Swedish paper Nya Dagligt Allehanda.
In 1933 Grossman and Konstfack classmate Erik Ullrich opened Studio, a store and workshop, at Sturegatan 12 in Stockholm. From Studio, Grossman took on numerous commissions designing unique furniture and interiors, garnered abundant press attention and accolades and exhibited frequently at Galerie Moderne, a cultural mecca in Stockholm at the time.
'Good Design' chairs, USA 1954
The unique approach to Swedish modernism that she brought with her when she moved from Stockholm in 1940 proved to be incredibly popular in the United States. She opened a much-publicized shop in Beverly Hills in 1940 selling her own designs billed on her business card as “Swedish modern furniture, rugs, lamps and other home furnishings.” She attracted celebrity clients such as Greta Garbo, Joan Fontaine and Gracie Allen and began making connections that would lead to a number of projects both from her own shop and from Barker Brothers’ Modern Shop launched in 1947, for whom she was designing exclusive pieces and taking interior design commissions.
'Cobra' table lamp, USA, 1948-49
In the late 1940s Grossman designed a groundbreaking and successful line of lamps for Barker Brothers, later produced by Ralph O. Smith.
'Grasshopper' floor lamp, USA, circa 1947
Over the next twenty years she produced work for companies like Glenn of California, Sherman Bertram, Martin/Brattrud and Modern Line. The work for Glenn of California is arguably her most sophisticated and best known. These pieces were characterized by the materials she used, such as rich, colorful textiles and woods like California walnut paired in surprising and elegant combination with black plastic laminate and wrought iron. The uniquely petite proportions and asymmetrical lines of her furniture also set her work apart.
Desk, USA, circa 1952 - Designed for Glenn of California
Grossman’s most enduring work in Los Angeles came in the form of her built architectural commissions. Between 1949 and 1959 Grossman designed at least fourteen homes in Los Angeles, one in San Francisco and one back in her native Sweden. Of these, at least ten are still standing. The homes were often perched on stilts at the top of a hill, overlooking a canyon, with magnificent views through curtain walls of glass. The homes featured extensive built-in shelving and the uniquely open and free flowing floor plan popular at the time. She worked several times with celebrated landscape architect Garrett Eckbo on the outdoor spaces. Grossman’s houses are designed to the diminutive scale of the Los Angeles based Case Study House program—most of them have a footprint of less than 1,500 square feet (ca 140 square meters).
Her architectural work, as well as her design work, was featured extensively in Arts & Architecture, the magazine edited by Case Study program founder John Entenza.
Throughout the 1940s and 1950s Grossman’s designs were included in numerous international exhibitions and exhibited at institutions such as The Nationalmuseum (Stockholm, Sweden), Röhsska Museet (Gothenburg, Sweden), Museum of Modern Art (New York, United States), Museum of Industry and Science (Chicago, United States) and the de Young Museum (San Francisco, United States). Articles about her work were published during her career in American, British, French, Italian, Dutch, German, Polish and Swedish magazines and newspapers. In 1952 the United States Department of State distributed an article about her in 75 different countries to present “a true picture…of the American way of life.” In the 1950s Grossman taught industrial design courses at the University of California, Los Angeles and at the Art Center School in Los Angeles. She retired from design and architecture in the late 1960s.
Exhibition: Greta Magnusson Grossman Arkitekturmuseet, Stockholm, Sweden From February 10 to May 16 2010
This elementary lamp is meant to be as simple and solid as a nail or a push pin. As with traditional tool machine lighting, the mechanics are sturdy and long-lasting, with the aim of improving classical industrial elements: the clamp is inverted to offer a better way of using it.
The lamp mixes solidity and lightness: a thin beam joins the two
opposite pieces of the lamp: the heavy cast foot to a delicate shade.
The lamp, called Sempé features I. 8 W LED solution, hand spun aluminum shade and steel beam, clamp or base in cast iron.
The project was developed in collaboration with the Norwegian Design team, Norway Says and encompasses lighting and furniture elements from bollards to bicycle stands through to a bench. The formal concept is carried throughout the range and enables planners to create an esthetically coherent cityscape, something which also convinced the iF Award judging panel.
The judging criteria for the award included, amongst other things, the quality of the design, workmanship, choice of material, degree of innovation, environmental impact and functionality. ewo managed to convince the top-class judging panel composed of international experts with their product range 'Up'.
ewo is responsible for the development of the technology and Norway Says for the design of the product range.
The international expert judges for the iF Award judged 2,486 entries from 39 countries, 778 of which received the label for design excellence.
The Carbon Trust, a United Kingdom-based nonprofit set up by the British government, has awarded $720,000 to Lomox to develop OLED lighting (Organic Light Emitting Diodes).
OLEDs use about half the power of fluorescents for a given light output, or about 1/9th the power of a traditional light bulb.
The OLED materials have a wide variety of potential applications and when coated onto a film could be used to cover walls creating a light-emitting wallpaper which replaces the need for traditional light bulbs.
As well as being flexible, OLED film will require a very low operating voltage (between 3 to 5 volts) so it can be powered by solar panels and batteries making it ideal for applications where mains power is not available such as roadside traffic warning signs.
The Welsh company aims to have the first lighting products using its
technology available in 2012 and also plans to use the same technology
to create more energy efficient television screens.
Danish studio 3XN has designed a street led lamp that uses solar energy with a
specially developed prism. Seven lamps have just been erected at Bella
Center in Copenhagen in conjunction with the upcoming UN Climate
Conference.
The advanced technology results in the street lamps generating more energy than they use. Therefore the lamp is an emblem of the Climate Conference ambitions of lowering global CO2 emissions.
The streetlamps are a result of the close co-operation between 3XN and the lighting firm, Scotia. The goal was to create a sculptural and CO2 neutral street lighting solution. The lamp post is square and integrates upright standing solar cells which are strategically positioned to capture the Nordic light.
"The background behind our design for the lamp stems from ideas of Japanese origami and the natural shapes that emerge from geometry. The luminaire contains folds which in addition to being very aesthetic, are very functional – even designed with respect to the wind. The luminaire works in conjunction with the mast to form a very sculptural expression – with a veiled reference to the lamp’s futuristic LED technology", says Kim Herforth Nielsen, Principal at 3XN.
The seven streetlamps are located in Parking Lot 5 at Bella Center’s main entrance and naturally will continue their role after the Climate Conference.
Continuing in the Scandinavian tradition of working with wood, Tom Rossau is working on the birch veneer prototype of the classic architects light. With this model Tom is demonstrating his affinity for natural materials and his drive to re-think traditional designs. Check out his other designs on his website.
D.light Design has launched the Kiran, a low-cost solar lighting
solution, designed especially for households without access to
electricity. The Kiran retails at USD10, making it affordable for most
low-income families throughout the developing world.
The Kiran is five times brighter than a kerosene lantern and can be fully charged in a day under the sun. It provides bright, 360-degree illumination for working, studying, or traveling. There are two light settings, which offer up to 8 hours of light on a full charge. With an integrated solar panel and a multiple-setting handle, the lantern is extremely flexible and easy to use. For households with access to grid electricity, the Kiran can also be AC-charged with a standard Nokia phone adapter.
Recent market tests establish the Kiran as a viable and desirable alternative to kerosene. Customer feedback consistently praised the product’s ease of use, durability, and bright light. According to Niwrtti Jawane, a welder from Miraj Village in India: “The Kiran has benefitted us in several ways: It is portable, has good brightness, and prevents the harmful effects of kerosene fumes. This purchase has been a good one-time investment. As there are no costs for recharging, it will be economical over time. We are happy with our purchase as it is a definite improvement over the emergency lights, kerosene lamps and candles previously used.”
In 1921 Bernard-Albin Gras designed a series of lamps for use in offices and in industrial environments. The Gras lamp, as it was subsequently called, was astounding in its simple, robust and yet very ergonomic design. There are neither screws nor welded joints in the basic form.
In 1927 the Ravel company purchased the patent and started production of the Gras lamps. Bernard-Albin Gras was one of the most innovative designer of the 20th century. The functional esthetic of his lamps and especially the design of details such as those of the arms, stems, brackets and bases were truly original and far ahead of his time.
Early on Le Corbusier was seduced by the modern design and user-friendliness of the lamps and became one of Bernard-Albin Gras' most enthusiastic supporters using the lamps in his own offices as well as employing them in numerous architectural projects all over the world. Others such as Robert Mallet-Stevens, Emile Jacques Ruhlmann and Eileen Gray followed this trend as well. Furthermore, such well-know artists as Sonia Delaunay and Georges Braque also used these lamps in their studios. For the first time in history, a lamp was equally popular in professional as well as in residential applications.
Today, the Gras lamp has become sought after a collector's item all over the world, most notably in France, in the United States and in Japan. Bernard-Albin Gras's talented and visionary design has proven to be timeless.
French producer DCW, created in 2008, has acquired the exclusivity of the rights to reissue the Gras lamps.
Lace in Translation is a new exhibition of contemporary work inspired by historic lace. Lace in Translation explores the intersection of luxurious hand-craftsmanship with modern, mass production. The Design Center’s historic Quaker Lace Company collection is the inspiration for three artists and designers reconsidering conventional notions of lace. European designers Tord Boontje and Demakersvan, and Canadian artist Cal Lane have created installations specifically for TDC’s unique and intimate space — a 1950s era, Hollywood-style ranch house, one of the first in Philadelphia, and situated on the edge of Fairmount Park.
Cal Lane, partially cut oil tank
Oil tank drawing by Cal Lane
Cal Lane prepping oil tank
Cal Lane working on oil tank (Photo by Kerry Polite)
1000 gallon oil tank, Oxy-Acetylene cut and welded steel, paint, burnt lawn, Cal Lane, 2009
Quaker Lace inspiration for Cal Lane's work; from the collection of The Design Center at Philadelphia University
From the intricacy of a handwoven raffia curtain, to the industrial art forms of laser-cut fabrics, a welded filigree oil tank, and a lace chain-link fence, Lace in Translation plays with the concept of lace, utilizing unexpected materials and new technologies to transform the Center’s grounds and galleries.
A special exhibition website is available at www.laceinstranslation.com which invites visitors to preview the exhibition and to submit their own designs and handwork.
A short film running at the exhibition explores the history of the Quaker Lace Company and its role in transforming lace from luxury product to mass market consumable, as well as the creative processes of Boontje, Demakersvan, and Lane. The film features historic footage of Quaker Lace being manufactured, the designers’ contemporary production techniques, and interviews with the designers and curators. Directed by Glenn Holsten, the film will also be available online.
Grass Hair Piece by Tord BoontjeRafia sample by Tord Boontje
Sofa, Aramide and Dynema fibers; powder-coated steel, Studio Tord Boontje, 2009 (Photo by Beth VanWhy)
Original lace inspiration for Tord Boontje's work, collection of The Design Center at Philadelphia University
Ten Lighting Fixtures, Raffia, Studio Tord Boontje, 2009 (Photo by Kerry Polite)
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