CRYSTAL BEAT PRECIOSA LIGHTING
Preciosa uses traditional Bohemian glass-making techniques to create contemporary crystal lighting centrepieces. Crystal Beat was an immersive light and sound installation specially created for the exhibition in Milan.
The handcrafted bubbled crystal tubes – soda ash is added to the glass
to create the bubbles – are made at the company’s production facility in Crystal Valley, Czech Republic. Each LED module can be controlled independently, which also enables dynamic light scenes. The Euroluce installation measured 4.9m by 14.5m and involved 810 crystal tubes with 1620 LEDs.
preciosalighting.com
PEAKS MICHAEL ANASTASSIADES
Anastassiades excels at exploiting the possibilities of geometry while keeping it simple. Peaks, a family of pendants comprising a string of elongated cones in diff erent configurations, plays with light and shadow. The artificial light source is moved around to create diff erent lighting eff ects so that, accordingly, the cone is perceived diff erently.
DREISPITZ ARTEMIDE
There’s a whiff of the 1980s and the Pompidou about the Dreispitz system. Designed by starchitect Herzog & de Meuron, it has a triangular central core with light diff user tubes on three sides to provide a soft, even light. It can also be combined with a cylinder element which further controls light emission to avoid glare, particularly in of ice environments. As well as the ceiling fixture, there is a floorstanding luminaire and a wall version that comprises two diff user tubes and a minimalist fixing structure on the third side.
The system allows many configurations. The ceiling version alone can be surface-mounted or suspended, both horizontally and vertically. The system also enables a modular approach with 90cm,120cm and 150cm elements, which can be linked together, including at angles. Dreispitz also has eco credentials, including using partially recycled, recyclable and easily dismantled materials. Lighting control can be operated through the Artemide App.
artemide.com
Euroluce is a biennial
exhibition held from 18–23 April as part of the Salone del
Mobile in Milan. The next
exhibition will be in 2025.
salonemilano.it/ en/exhibitions/ euroluce
The graded shading on the curved surface of each cone is as much of a feature as the projected beams emitted from each cone. The shading always occurs on the curved surface connecting the apex with the base. When the cone is directed toward the light, all its curved surface is light and the base is shadow. It can be displayed as a single, double or triple arrangement, pointing up or down depending on the preferred direction of light. An identical inverted cone acts as a rose attached to the ceiling. ‘When the light is off , the forms appear very schematic, as if borrowed from a geometric still life,’ says Anastassiades. ‘When on, the shading changes, as light casts along the curved surface.’
michaelanastassiades.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117
