Floor Lamps
Floor Lamps collection by COLLECTIONAL Dubai
Nader Gammas
Created to project light into her living room. The design called for a long cantilevered arm to provide such a throw. Articulated structure and crystalline-like shade distribution both recall organic forms. LAMPING: 120V (9) E26 Base 8W G16 Bulbs 240V (9) E27 Base 8W G16 Bulbs Phase Dimmable
Jan Garncarek
The O11 floor lamp evokes the balance of two forms: globe and glass tubes. O11 lamp is made out of raw brass and frozen glass. Light passes through a delicate glass vertical form. A brass globe is a solid base for this object.
Jan Garncarek
The lamp is an effect of the designer's search for new, unique design paths, which resulted in an object qualified as conceptual design. The designer aimed to create a thing that would surprise with its scale, an unusual combo of materials, and extraordinary usage. Even though it sheds light, the design doesn't resemble anything defined as a 'lamp.' It enables the user to perceive structure and interior planning from a new perspective. The designer experimented with the object's scale, weight and movement and used them unprecedentedly. The result is a marble stone with a cut surface in which a brass ring is placed. When touched, it turns out to be a cylinder that slides out of the stone. The cylinder has walls made from glass that cast warm light. When connected again, the light turns off, and the cylinder slides back in. The usage of the object is out of the ordinary. The size and weight of the lamp may seem ungrounded. Being around it is an entirely new, almost surrealistic experience.
Man of Parts
Mainkai, designed by Sebastian Herkner. Mainkai, or Main River Quay in English, is the riverside boulevard in Frankfurt, Germany, close to where designer Sebastian Herkner grew up and still calls home today. The spherical fishing floats and mooring buoys that bob along the river with an ethereal glow at night inspired the Mainkai's lamps' design.
Man of Parts
Takayama, designed by Yabu Pushelberg, is an Edo-era mountain town in Japan’s mountainous Gifu Prefecture, is famed for Ukai fishing. The Fishermen employ a 1300-year-old technique using trained Cormorant birds. The birds swoop in and catch fish using the light of burning baskets hung on rods over the edge of boats to see their prey. The arc of the Takayama floor lamp by Yabu Pushelberg bears an uncanny resemblance to the fisherman’s friend..
Man of Parts
Ginza Floor Light, designed by Victoria Wilmotte. The Ginza floor lamp pays tribute to the sharp lines and creative concrete forms found in Japanese architecture. A sculpture from any angle, Victoria Wilmotte's design is a brutifal statement on or off. Warm light and detailing balance the concrete’s austerity embraces the ying and yang.
Gabriel Hendifar
The slip-cast porcelain forms of the lantern series float along a rigid brass structure. Their glow is punctuated by finely incised fluting, connecting to the essential element of historical lanterns – light passing through a delicate protective form. Repeating spheres act as a counterpoint to the sizeable shades. A dimmer ball sits on the base.
Jan Ernst
The fossil floor light was inspired by my fascination with shells, exoskeletons, and stone imprints. The coastline of South Africa varies from rugged and dramatic cliffs crashing into the oceans to sandy beaches that are gentle.
Kettal
Bela Lamp, designed by Doshi Levien, is lovely lamp . It was designed in 2017 as a new outdoor material for Kettal’s material palette. designed primarily as a textile material to be used on Furniture, Doshi Levien saw an opportunity to illuminate the 17 different colors of Bela ropes by creating lamps for outdoors. The aim was to make a lamp with a continuous length of rope in a form referencing the texture and lightness of traditional handwoven lanterns. Every year in India, there is a kite festival, and the streets are lined with enormous spinning frames wound with colorful kite strings. These light wooden structures gave Doshi Levien the idea for the frames or spools onto which the Bela ropes are clipped.
Kettal
Bela Floor Lamp, designed by Doshi Levien is lovely lamp. It was designed in 2017 as a new outdoor material for Kettal’s material palette. designed primarily as a textile material to be used on Furniture, Doshi Levien saw an opportunity to illuminate the 17 different colors of Bela ropes by creating lamps for outdoors. The aim was to make a lamp with a continuous length of rope in a form referencing the texture and lightness of traditional handwoven lanterns. Every year in India, there is a kite festival, and the streets are lined with enormous spinning frames wound with colorful kite strings. These light wooden structures gave Doshi Levien the idea for the frames or spools onto which the Bela ropes are clipped.
Manu Bañó
OBJ-01 is an understandable simple gesture, an object that needs no explanation. At a glance, it reveals its material, its manufacturing process, its function, and its use. A plate of raw brass material cut by laser and assembled by hand with a rubber hammer and no welding joinery, Its size responds to the modulation and format of the material in its commercial standards. Pure geometric figures build the lighting fixture; a rectangle, a circle, and a cylinder at the back which contains the LED light spot. The circle, then cut out, adopts the function of a screen and can rotate 360 degrees to direct the light at will. OBJ-01 is the first solo work by the Valencian designer, resident in Mexico City, Many Bano. It is part of an open collection of simple objects based on the purity of raw materials, industrial processes, and simple gestures that cause a specific function.
Manu Bañó
OBJ-01 is an understandable simple gesture, an object that needs no explanation. At a glance, it reveals its material, its manufacturing process, its function, and its use. A plate of raw steel material cut by laser and assembled by hand with a rubber hammer and no welding joinery, Its size responds to the modulation and format of the material in its commercial standards. Pure geometric figures build the lighting fixture; a rectangle, a circle, and a cylinder at the back which contains the LED light spot. The circle, then cut out, adopts the function of a screen and can rotate 360 degrees to direct the light at will. OBJ-01 is the first solo work by the Valencian designer, resident in Mexico City, Many Bano. It is part of an open collection of simple objects based on the purity of raw materials, industrial processes, and simple gestures that cause a specific function.
Michael Anastassiades
This collection of fixtures uses the standard unit of the light tube as a measure. Through the alternation of 1m and 0.5m modules, it creates a rhythmic language of recording space. The designs evolve as a parallel progression of rods, combining five variations of standard linear LED bulbs and metal tubes of the same diameter. With this series, Michael Anastassiades expands the compositional possibilities of some of the most structural elements of lighting, engaging the viewer in a rigorous yet playful exercise in measuring.
Michael Anastassiades
This collection of fixtures uses the standard unit of the light tube as a measure. Through the alternation of 1m and 0.5m modules, it creates a rhythmic language of recording space. The designs evolve as a parallel progression of rods, combining five variations of standard linear LED bulbs and metal tubes of the same diameter. With this series, Michael Anastassiades expands the compositional possibilities of some of the most structural elements of lighting, engaging the viewer in a rigorous yet playful exercise in measuring.
Michael Anastassiades
The Mobile Chandeliers are delicate structures balanced in perfect equilibrium. Constructed following the principles of a mobile, these are arrangements of linear tubes, geometric light sources, reflective surfaces and counterbalancing weights. The pieces rotate freely and delicately, creating an ever-changing lighting configuration unique to the space they occupy. Each Mobile Chandelier is individually tailored to ensure the balance of its approximately 200 hand-crafted patinated-brass components. Every piece is unique in its dimension and compositional balance, due to the varying weight of the mouth-blown opaline glass.
Michael Anastassiades
In Between is a powerful, fully dimmable uplighter consisting of two identical aluminium discs separated by a transparent glass tube. The upper disc appears to be floating as it elegantly projects the light upwards. Running along the middle of the tube is a thin cable that expresses the power source of the light – a subtle reference to the famous Bauhaus table lamp designed by Wilhelm Wagenfeld in 1924.
