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Lamps and furniture are now available in all colors, shapes and materials, they make life more colorful and joyful. This article shows the imaginative play of luminous designers with colors and shapes. Not only luminaires are now available in all colors of the rainbow. The light color can also be varied as desired thanks to LED technology. This possibility opens up seemingly inexhaustible light shadows. It is self-evident that light and color are inextricably linked.
Minimalist design paired with colored light and geometric shapes by Artemide. Light does not only influence the color effect of its surroundings, light is also the decisive factor for the spatial effect. Therefore, both color and light are enormously effective in design. Not to be neglected in this context is the combination of color and light effects with the shaping of the light fixture. Shape and color. The shape of the lamp and its color are interrelated. In the design, one divides colors into two categories, the colors that stand out from their surroundings and those that adapt to their surroundings. A color influences not only the product in question but also its environment and, perhaps most importantly, its viewer. The coloring is therefore an enormously dominant parameter in the design. Color, as well as light, are very effective means to create associations and emotions in the viewer. Colors can influence whether a luminaire rather appears to be heavy, light, filigree or dominant. But the coloring also follows very strong contemporary trends. Colored light Currently the designers not only play with colored lacquered surfaces but also with colored light. Partially, both are also linked.
At the moment, almost everything seems to be permissible with regard to coloring. Powerful colors, coupled with colored light, combined with interactive light controls. But not only young designers dare to combine these types, but also established companies are waiting for the most diverse designs in their product range. The colors are achieved in different ways. Surfaces are painted, materials are stained or coated, and the material itself produces color. Just as colored light can make a white area be bright. Colored material The simplest and most obvious way to lend the luminaire a color is through the material itself. The choice of a material, without wanting to overlap its surface, determines the color of the luminaire inevitably.
An example of the play with color and material are the lamps by David Derksen. They shimmer with a warm copper tone. The metallic surface reflects the light. The folding of the copper plays with reflections and thus creates different gray gradations of the copper tone. The color spectrum ranges from dark brown to red and orange, to almost white-acting color tones. At the same time, the metal influences the light color and thus produces a warm color effect. Apart from the copper, the lamp is also available in brass and therefore in a warm gold tone. Colored paints and coatings
Not only at the booth of the German Design Council could the luminaire Viiva from Nathalia Mussi be seen, but also in Hall 1.1 at the Young Design Areal. The light Viiva by Nathalia Mussi plays with colored varnish. Viiva is a good example of the interaction and at the same time the interplay of color and light. On the one hand, it is based on a minimalist design, but combines it with striking color and the latest lighting technology. Viiva is one of the few new luminaires on the market that rely on OLED as a light source. Because of this very flat, and thus in its form, retaining illuminant, the luminous body is reduced to a minimum and the light effect is in the focus.
At the same time the light can flow through the filigree frame of wire ribs. The wire rack holds the light source almost floating. Due to the two-sided blasting of the OLED, the coloring is additionally set in scene and the different frame shapes vary depending on the color. But it is surfaces can not only be refined by colored furnish. Even unusual coatings create fascinating lighting objects with impressive color diversity. "Iris", designed by Sebastian Scherer, is a luminaire with a very special coating. It is produced by NEO / CRAFT and combines the lightness and color of a soap bubble with craftsmanship and the latest lighting technology.
Sebastian Scherer's lamps look like soap bubbles. The luminaires bear the name "Iris" due to their coating. The surface of the glass balls glimmers in all colors of the color spectrum. The iridescent coating makes the lamp look like a delicate, floating soap bubble. Depending on the viewing angle and light incident, the color effect changes uninterruptedly. The coated surface and the material play with transparency and reflection. Here as well, innovative design is paired with the latest lighting technology. The OLED light source is not only a source of light but also a suspension of the light. It creates a very soft and glare-free light and moves into the background. Colored From a design point of view, Alex de Witte has a similar approach to that of NEO / CRAFT with his shining "Big Bubbles". Regarding the effect of color, however, he takes a more controversial approach. In order to play with the effect of coloring, he colors the material of his lamps. There is hardly any material that would be more suitable for this than glass. His "Big Bubbles", however, are also inspired by soap bubbles.
The sculptural-looking Big Bubbles shine in strong yellow tones, delicate pink and transparent green. Just as being blown into the air at this moment, they seem to float on thin wire ropes. However, the effect of light and color differs enormously because of the play with the amorphous shaping of the glass. The large-format glass lamps, which seem almost sculptural, seem to float in the air. They hang from the ceiling on thin drapes. The cable is guided freely along it. The different curvatures in the glass reflect the light in other ways. At the same time, the coloring of the glass influences the light color and effect of the glass objects. Each item is hand blown and thus a single piece. The light underlines the elegance, lightness and simple beauty of the glass body and thus makes it radiate. Color paired with light is therefore an enormously important parameter in the lighting design. Lighting effect In this context, it is often possible to visualize the light effect of a luminaire. A nice example of this is the "Spaceflower" lamp by Benwirth. Here the colored surfaces seem to light up. This effect occurs because the light source is located in a movable sphere, in front of the coated light box made of cardboard. This is not perceived as such and the surfaces appear to radiate on their own.
The captivating light of benwirth resembles a summer blossoming splendor. The minimalist frame allows the room to radiate with colors and light. At the same time, the light color is influenced by colored surfaces. The Spaceflower light creates a balance between minimalist design and playful elements. It is available in both red and gold. Ben Wirth describes it as a small glowing flower designed for your sideboard. Unusual materials, as well as colored light, create a unique lighting mood without working with colored light. Color reflections The Concentric luminaire by Rob Zinn has a similar effect. By the impingement of white light on colored surfaces, colored light arises. In doing so, the viewer does not even have to face this process. Only the colored light is revealed to him. This is the most important form of "Concentric".
According to the designer, the design is based on a natural phenomenon. The luminaire is designed to emphasize the interaction between light and its color reflections. For the viewer, it appears, in the switched-off state, to consist solely of white, concentrically arranged disks. However, each white pane of the luminaire is lacquered on the back in a different color. The light source radiates these colored areas. In this way white light changes to colored light. During the day, this colored light is hardly visible or perceptible, at night it comes to full effect. The simple shape of the circular discs is in direct contrast to the playful light effects. With these radiant slices, Rob Zinn wants to create an allusion to the sun. The light is available in different colors, warm, cold and neon colors. Color effect and color mixing.
One can influence not only objects in their immediate environment with colored light but also the effect of an entire room. The light can ultimately even affect the human organism. For example, it can affect well-being and performance as well. The Spectral Light by Philippe Rahm Architects for Artemide is dedicated to this complex subject area. It combines the emotional level of coloring and mixing with regards to health aspects. The design is based on the composition of the electromagnetic light spectrum and the wavelengths of individual light colors.
At Spectral Light, 12 transparent glass panels are flooded with different, colored light. This light changes the color of the transparent material. It is passed through the glass pane and meets at its ends on an opaque glass pane. The overlapped area mixes and homogenizes the light of the 12 different light colors to produce the white light spectrum of natural light. In all light colors used, attention is paid to the fact that its different wavelengths do not have a significant impact on human health. The wave lengths of the selected light colors are accordingly aligned to the human organism and have been extended by the other common co-habitants of humans, like dogs, cats and plants. With regards to Spectral Light, only the light colors with the wavelengths that have a positive effect on vision, growth and photosynthesis have been selected. Even the individual light panels and thus light colors, can be arranged arbitrarily. So everyone can mix their own light color.