The first products from new Danish design brand Herman Cph include a series of side tables with oak tops and slender steel legs (+ slideshow).
Danish designers Jonas Herman Pedersen and Helle Herman Mortensen founded Herman Cph so they could design and produce their own products, retaining complete control over the entire development process.
“We have a vision to create furniture [designs] that are simple, honest and quality conscious and follow them all the way from the drawing board to the finished product,” explained the designers.
“We are convinced that people feel most comfortable if they are among good and honest intentions, and this philosophy forms the basis for Herman Cph,” the designers added. “Great materials are moulded over time, which means that they only grow more beautiful and unique as the years progress.”
The Frisbee tables by Herman Cph combine powder-coated steel legs with oiled or black stained round oak surfaces.
Available in three different heights, the configuration of the table legs is intended to leave maximum room for manoeuvre below the surface.
The tables are delivered flat-packed and can be assembled by the customer using a single screw to join the metal legs.
A dining table from the same collection seats three to six people and is supported by steel legs with a square section and wooden feet that slot into the ends.
The brand is also launching a range of fabric products including limited-edition cushions and bedspreads made from recycled wool fabrics, and a wall-mounted storage pocket with leather detailing.
The duo design the pieces at their studio in Fredriksberg and contract the manufacture out to Danish companies.
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Partendo dalla Riolo Parish Church di Alvar Aalto, Federico Babina ha illustrato famose architetture adattandole a quasi tutte le lettere dell’alfabeto. Vi posto qui le prime quattro lettere di questo ottimo lavoro, il resto delle opere le trovate qui.
The buildings of 26 prolific architects are transformed into letters of the alphabet in this series of detailed illustrations by graphic designer Federico Babina.
Entitled Archibet, the collection of images works its way though the alphabet from A to Z, so that each character is represented by an architect whose name starts (or ends) with the same letter.
Federico Babina started with Alvar Aalto’s Riolo Parish Church, before working his way thorough an assortment of buildings that include Walter Gropius’ Bauhaus school, Louis Kahn’s Phillips Exeter Academy Library and Mies van der Rohe’s Barcelona Pavilion.
The series concludes with Zaha Hadid’s Library and Learning Centre in Vienna, but also features Jørn Utzon’s Sydney Opera House, Oscar Niemeyer’s National Congress of Brazil and Gerrit Rietveld’s Schröder House.
As well as producing individual images for each letter, Babina has compiled all 26 into a single poster image to create street scenes made up of groups of letters.
“The idea was to build a small microcosm of imaginary architecture on realistic foundations,” the designer told Dezeen.
“Each letter is a small surrealist building that becomes part of an imaginary city made up of different shapes and styles, all speaking the same language of architecture,” he added.
Babina created the images using a mixture of different techniques, from hand-drawing to 3D computer modelling.
“When I create the illustrations I always use a collage of different techniques and programs,” he said. “These different ingredients allow me to achieve the desired atmosphere.”
According to Babina, the most challenging part of the process was choosing which architects to feature.
“The choice was often guided by an inspiration rather than the importance of the architect,” he explained. “Many letters may be represented by other designers, but I chose the ones that best represented my imaginary.”
An alphabet is a standard set of letters which is used to write one or more languages based on the general principle that the letters represent phonemes of the spoken language.
Architecture is an “international language”, a system of communication. Its complex structure affords a wider range of possible expressions and uses.
The idea on which the Archibet project is based is to find a way to express through 26 illustrations the heterogeneity of forms and styles that make up the architecture.
Each letter is drawn according to the interpretation of an architect’s style. Each letter is a small surrealist architecture that becomes part of an imaginary city made up of different shapes and styles that speak the same language of architecture.
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East London design brand Hulger has launched a second design for its award-winning Plumen low-energy lightbulbs.
The Plumen 002 produces a softer light than the original design that’s more suited to ambient lighting.
Like the original Plumen design, which won Design of the Year when it launched three years ago, the new product is a compact fluorescent bulb that replaces the usual prongs and whirls of a standard energy efficient bulb with a sculptural shape that means it looks attractive in light fittings where the naked bulb is left on display.
Whereas the first Plumen bulb was created by drawing with looping tubes of glass, this new design involved shaping the form of the fluorescent tube itself.
The sculpted tube takes on the profile of a traditional light bulb from some angles but the form has been cut away and pierced to leave swooping curves, straight edges when viewed from the side and a oblong void in the middle.
“The geometry of the Plumen 002 creates interesting resonances in the square and oblong spaces they will usually inhabit,” said Hulger founder, creative director and designer Nicolas Roope. “The effect is particularly strong when used in series and when played off against walls and surfaces.”
The concept was to blow the glass tube like a bottle, which still maintaing the loop required for the technology to function. “This approach hadn’t been done in any mainstream bulbs before, but the team believed it was plausible,” said the designers, who enlisted the help of Texan neon sculptor Tony Greer to advise on the different lighting effects and intensities that various shapes would achieve.
“We looked for the right balance between an integrated and disintegrated construction, between organic and geometric form, something that would present a certain dynamic while remaining gentle,” said designer Bertrand Clerc.
“The work of modern sculptor Barbara Hepworth really helped us in creating an interesting relation between this hollow space and the surface of the outer body,” he added. “The transfer between these two elements also establishes an elegant connection between the rather contemporary inner silhouette, and the more traditional appearance of the outer silhouette.”
The new design is a 7W bulb giving off the equivalent of a 30W incandescent light source and the low brightness means it doesn’t need shading.
They also hinted that an LED Plumen bulb could be on the way.
Hulger created its first series of sculptural low-energy bulb prototypes in 2007, coinciding with the phasing out of inefficient incandescent light bulbs and aiming to reinvent the ugly compact fluorescent lamps as a beautiful product.
Maritime gas lamps were used as a reference for these pendant lights created by Danish studio Space Copenhagen for design brand &tradition.
To create the Copenhagen Pendant, Space Copenhagen modernised the form of the old lamps once used to illuminate the Danish capital’s piers.
The studio’s design for Danish company &tradition consists of a lacquered metal shade, which is clamped to the cord with four arching plated steel tabs where the curving shape narrows at the top.
“The starting point was to create a design that would allow us to use various metals, but also that the design works from a purely sculptural point of view, with a monochrome finish,” said Space Copenhagen founding partner Peter Bundgaard Rützou. “Depending on the purpose and space it’s used in, the lamp can do both.”
Light is directed downward through a wide hole in the base of the shade.
“The pendant is widest in the middle and narrows at the open top and bottom to ensure that the lamp has a substantial body, while still protecting you from looking directly into the light,” said the studio’s second partner Signe Bindslev Henriksen.
The lamps are available in three sizes and five matte colours. The two smaller designs are made from steel and the larger model is formed from aluminium.
&tradition launches the Copenhagen Pendant light by Space Copenhagen
In their second collaboration, following the success of the Fly lounge series, &tradition collaborates with Space Copenhagen on a new elegant pendant light.
“We are very pleased to be working with Space Copenhagen again,” says Martin Kornbek Hansen, the Brand Manager of &tradition. “They have an exceptional eye for detail and surface texture, and a unique way of combining the classic with the contemporary.”
An exercise in contrasts, the Copenhagen Pendant combines the classic and the modern, the maritime and the industrial. Its matte lacquered metal lampshade disperses the light in a subtle but spectacular way resembling the classic gaslight feel of the bleak Copenhagen piers.
“Over the years we have made several bespoke light pieces for our interior projects,” says Signe Bindslev Henriksen of Space Copenhagen. “So the biggest challenge in designing the Copenhagen Pendant was to meet our own expectations in making an equally sculptural and functional light.”
Originally, Space Copenhagen designed one version of the pendant, but it expanded into a series of three sizes: 200 millimetres, 350 millimetres and 600 millimetres in diameter, and five matte shades: blush, moss, slate, black and white. “The starting point was to create a design which would allow us to use various metals, but also that the design works from a purely sculptural point of view, with a monochrome finish. Depending on the purpose and space it’s used in, the lamp can do both,” says Space Copenhagen’s other founding partner, Peter Bundgaard Rützou.
The flexibility and attention to detail of the Copenhagen Pendant is a careful consideration inspired by Space Copenhagen’s experience as interior architects. Even the flow of light was carefully planned from the start. “The pendant is widest in the middle and narrows at the open top and bottom to ensure that the lamp has a substantial body, while still protecting you from looking directly into the light,” says Bindslev Henriksen. The downwards light is even and solid, while the subtle uplight is diffused, adding to the atmosphere of the ceiling.
Sketches of the lamps
“The Copenhagen Pendant is a perfect example of a classic typology of light reinvented in an innovative and contemporary way, qualities that we value highly at &tradition,” says Kornbek Hansen.
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