Zaha Hadid, the starchitect behind this sand-dune inspired headquarters in the United Arab Emirates, a high-design billboard in London, a parametric casino in China, and these uncomfortable-looking high heels, has introduced a new line of lighting fixtures for the Italian lighting company SLAMP. It's being called "Aria Transparent" and the fixtures take the form of icicles, or as Hadid's people put it—a dematerialized volume "where illumination and lightness blend, defining natural design, becoming almost aquatic." Yes, it is very Hadidian. The chandeliers, which come in small, medium, and large, have 50 transparent, droopy surfaces positioned on an axis to each uniquely catch the LED glow. In the video below, which be forewarned has some funky sound issues, Patrik Schumacher, a partner and director at Zaha Hadid Architects, explains that the line is intended to have a "beautifully filigreed, lacy sensibility." So the pieces definitely take Hadid's signature swoopy shape, but they have a much, ahem, lighter materiality than most of her built work around the world. Take a look at the video to learn a bit more. https://vimeo.com/129005669
Posts tagged with "Chandeliers":
While a chandelier is typically a balancing act between its various arms, Boston-based Matter Design has debunked the typology with a 3D-printed, asymmetrical brass chandelier. Founders of the award-winning design studio, Brandon Clifford and Wes McGee, both professors at MIT, based their design on two calculations to reposition the light fixture’s center of gravity and offset the lack of symmetry. The first calculation generated a relaxation of a string bundling, resulting in a 3D branching network comprising nodes of varying lengths that stabilizes the system. “This positions geometry as reactive and non-authorial,” Matter Design claims on its website. Each unique node is 3D-printed and then connected to brass tubing. Craft, sequence, labor and method are the keys to a non-skewing, 3D-printed chandelier. According to the design studio, which aims to re-engage architecture with the nuances of matter in the digital era, the name Knotta is a play on words. “Knot: intersections, nodes and networking. Knotty: a tangled mess that could also be read as ‘naughty.’ When pronounced, it also reads as NADAAA, the location of the exhibition.”
High intensity design coupled with low energy consumption makes these new lighting fixtures worthy candidates for inclusion in a full spectrum of environments: hospitality, office/commercial, retail, and residential. Some are unabashed focal points, others play a supporting role in the design, but all of them boost the aesthetic wattage of any interior. Global Lighting Zero Beam Pendant A mounting stem facilitates directing the 26W CFL lamp, which is shielded behind a matte acrylic diffuser. Made of painted aluminum, in white, black, or red. Designed by Johan Carpner. Antonio Lupi Riga As a suspended fixture or a wall-mount installation, this minimalist light is made to measure. Offered in satin grey aluminum. Designed by Massimo Broglio. USAI Lighting BeveLED Small yet powerful, this fixture delivers more than 1,000 lumens at 20 watts from a compact 1½-inch optical aperture. LEED and Title 24 eligible. ILEX Architectural Lighting Chroma This bulbous pendant by Christopher Poehlmann continues his work in organic modernism. In polished aluminum and several matte and glossy painted finishes, it is offered with several lamping options. Blackbody Envol Designed by Camille Paillard, this Organic Light-Emitting Diode (OLED) fixture consumes only 90W of power. The lamps are ultra-thin (.08 inches/2mm) and are heat and glare free. Flos String Lights Suspended overhead, the cord plays with interior space, while conical or spherical luminaires mark points in the air. LED lamps. Designed by Michael Anastassiades.
INABA's inverted chandelier comprises a steel frame clad with aluminum tubes and activated by LEDs.Both simple in its geometry and intriguing in its illumination, a massive new lighting installation in Stavanger, Norway, aims to activate the lobby of a concert hall and create a welcoming civic gesture. Designed by New York-based INABA, the cylindrical structure responds to its setting in a variety of ways. Cutaways in the cylinder reveal views out for visitors inside the concert hall and also reveal slices of the dynamic LED lighting inside the structure to people outside the concert hall on the plaza. Jeffrey Inaba, principal of INABA, calls the installation Skylight, and refers to it as an “inverted chandelier.” The light is reflected within the rings, rather than out. The outside is coated in glossy white to reflect the warmer daylight and ambient light in the building. The design of Skylight is meant to function as a recognizable figure for the building, which was designed by Oslo-based Ratio Arkitekter. In order to make the maximum impact given the constraints of a public art budget, Inaba and his team worked closely with the well-known Argentinian fabricator DAMTSA, which fabricated the exterior panels at Neil Denari’s HL23. By keeping the geometry simple—just a cylinder with cutaways—Inaba was able to standardize the curvature of the installation, which simplified the process of rolling the hollow tube steel frame. One-inch-square-profile aluminum tubes clad the exterior of the cylinder, connected to the frame with standardized attachment details. DAMTSA and INABA worked together on several prototypes before ultimately settling on the cladding system. INABA designed Skylight in Rhino and collaborated with Buro Happold on the steel structure. The 22-foot-by-38-foot permanent installation, which weighs 6.5 tons, is suspended from the ceiling by a double pin connection. The angle at which it hangs is determined by the weight of the structure. It aligns with the angle of incidence of the sun, which allows the structure to have the fewest possible shadows throughout the day. The LED lighting scheme, animated by New York–based MTWTF, within the rings changes for intermissions, curtain calls, and when the hall is not in use. INABA decided to use pure white and aqua marine light so as to differentiate the installation from the warmer house illumination and the famed Nordic light. Mezzanines surround Skylight on three sides, giving concertgoers numerous vantage points to view the piece as well as the landscape beyond. For INABA, the piece suggests a way to move forward in their approach to architecture. “We’re interested in how do you take the constraints of costs, construction techniques and turn that into a conceptual framework,” Inaba said. “Skylight is not a piece of architecture, but it shows how we are pursuing architectural practice.”