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Man appeared.
Man felt comfortable and safe around light sources he could control.
Man felt comfortable and safe for 300,000 years.
Man began to over-illuminate rooms and halls.
General lighting was calibrated for the areas that needed the most light.
Far too many areas received far too much light.
Man felt dazzled and irradiated.
Man no longer felt comfortable or safe.
One of the people affected (a Swede) started reasoning to himself.
What would happen if you softened general lighting,
and used direct lighting where needed instead? A more functional,
more economic, more energy efficient, more flexible and more
aesthetic lighting solution would ensue.
But entirely new demands were made of the new direct lighting.
Man started to experiment.
Man got scent.
Wästberg appeared. |
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Claesson Koivisto Rune w08
A task lamp is a highly technical object. Rotation mechanism, arm reach,
counter balance, degree of efficiency, safety… It must all be there.
How to use it must be self-explanatory to anyone. Hiding all the mechanics
and electronics left a no-nonsense design. This lamp almost designed
itself. Arm, elbow, head. And light.
Claesson Koivisto Rune
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Irvine w08
The theme of the task lamp is one of those design projects which always
has to measure itself with great masterpieces from the past. Hundreds
have been invented over the years. Some of them so brilliant that they
are hard to beat. They are full of springs and knobs and complicated
hinges. Sure, you can design another one of these but my feeling is
that perhaps there is the space for a simplified mechanism. An object
which is calm. It does move, but does not do everything. For me that‘s
enough and maybe for some other people too.
James Irvine
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Massaud w08
It‘s about Light.
It‘s about gravity and non gravity.
It‘s about reduction and competency.
It‘s about simplicity, lightness, effortlessness.
It‘s about synthesis.
It‘s about mood.
Jean-Marie Massaud
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w08
Materials have hidden messages. These create a powerful link to our
emotional psyches and shape our connection to daily life. Our light
is a sturdy friend, unpretentious and always there for us. We have chosen
honest materials that carry clear messages: iron for its feelings of
stability, reliability, trust; wood with its warmth and life, and porcelain
for its intimate glow, as well as its tactility. Then we have put these
three together for a certain oddness. This is because there is an innate
awkwardness in the directional light that we wanted to amplify - rather
as with people this is a sympathetic quality not a sin.
Ilse Crawford
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