102 LIGHT + TECH
THERE ARE few materials that haven’t been used to make luminaires – even, unbelievably, dried cod skin and cow’s innards. Probably best to draw a veil over those, but in more conventional mode, everything from concrete, wood and marble to porcelain, paper and plastic have been used in light manufacture.
Some go in and out of fashion – polycarbonate seemed ubiquitous at one point – while others, glass and fabrics, remain classics because of tradition, cost and qualities for light transmission. While chrome and brass have played a literal support role for decades, in recent years metal has broadened its remit, with copper becoming fashionable. It has obvious reflective properties, but as the following luminaires, both new and old, demonstrate, it has enormous potential as a sculptural material and for artisan individuality. Textured or shiny, malleable and versatile, it manifests in all forms, from ethereal paper-thin leaves to solid tubes and chains.
AUTOMNE COLLECTION Lighting design: Larose Guyon
French Canadians Audrée Larose and Félix Guyon founded their design studio in Verchères, Quebec, in 2015. Their designs are complex, romantic and intricate, flavoured by natural forms, and made by local artisans using traditional techniques. For their latest collection, they have created three handcrafted and hand-assembled sculptural works, each in a limited edition of 16 pieces.
The Duvet des Chardons has the fragility of a cobweb. It carries its scale lightly: spanning nearly 2m, its 350m of gold-coloured chains are bound together by a 24 karat gold-plated solid brass structural core. The specially designed light source is encased in the cylindrical base and the centred, hand-blown glass globe, providing soft, intermittent
illumination to the chains and producing subtle plays of shadow and light. The Fleur de Velours recalls the antler-like branches and burnished red colours of the autumnal Rhus typhina, or staghorn sumac tree. Its solid brass structure sprouts handcrafted brass-fibre leaves, and hand-blown glass diffusers decorated with ornamental 24 karat gold-plated pieces.
The Valse au Crépuscule features hundreds of brass fibre leaves hanging from a handwoven net of golden chains, warmly lit by suspended translucent hand-blown glass diffusers and 24 karat gold-plated ornaments. The most time-consuming to make of the three artworks, each one takes more than 120 hours to create.
laroseguyon.com
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