Floor & Table Lights
Floor & Table Lights collection by COLLECTIONAL Dubai
Salvatori
Urano Table Lamp, designed by Elisa Ossino, is a small sphere-like table light created by hollowing out a cube of Bianco Carrara marble shedding a soft and romantic light. The carving is done by a diamond drill to make a hollow for the light installation. Finally comes the “sanding” step which is done by hand.
Apparatus
Reprise Table is one of the newest pieces in Apparatus ACT FOUR Collection. Reminiscent of Joe Colombo KD27 Boom Microphones, from this globe wall fixture emits a subtle source of light, gracefully resting in a brass armature hand-wrapped in leather case.
Apparatus
Metronome Table Lamp by Gabriel Hendifar for Apparatus evokes the measure and balance of its namesake. A patinated brass sphere perches atop the conical base, which is hand wrapped in suede to provide a lush tactile contrast. A channel in the firmly grounded base reveals an intimate connection between the two forms.
Apparatus
Metronome Floor Lamp by Gabriel Hendifar for Apparatus evokes the measure and balance of its namesake. A patinated brass sphere perches atop the conical base, which is hand wrapped in suede to provide a lush tactile contrast. A channel in the firmly grounded base reveals an intimate connection between the two forms.
Apparatus
Referencing traditional Middle Eastern jewelry while pushing it through a futurist lens, the translucent alabaster planes of the Median Table Lamps—a collection of wall lights by Apparatus—are intersected by a fluted brass form. The stone glows from a light source that remains hidden, illuminating the relationship between the solid and the permeable.
Apparatus
Metronome Reading Lamp by Gabriel Hendifar for Apparatus evokes the measure and balance of its namesake. A patinated brass sphere perches atop the conical base, which is hand wrapped in suede to provide a lush tactile contrast. A channel in the firmly grounded base reveals an intimate connection between the two forms.
Apparatus
The slip-cast porcelain forms of the LANTERN floats 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.
Apparatus
The Axon Table Lamp by Gabriel Hendifar for Apparatus features slumped glass sitting over a brass hemisphere. The scale of the small lamp lends itself to tabletop use. The large version is weighty and oversized, conceived to sit confidently on the floor. Operates via brass turn-dimmer knob.
Jan Garncarek
A lamp was created as a result of a fascination with the possibilities offered by metallurgy. The light exposes what is most beautiful in brass. Here I see beauty in two different forms. The first are various types of dishes or shields. Their phenomenon is the occurrence of irresolvable conditions. The flat sheet is flaccid and prone to deformation. Only after its extrusion and giving its sphericity it gains its constitutionality. The second form is the heavy machine parts, simple and perfectly matched "geometries." Metropolis is a clash of both of these fascinations. The lamp is made by hand with entire brass, using traditional methods of metalworking and other ways, slowly fading into obscurity. An example of which are the plates executed by the metal spinning method.
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
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.
Apparatus
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.
