With a sleek, modern style becoming the new trend in home design, chandelier makers are turning from the traditional designs to modern light fixtures instead. Not only do they add an elegant and modern piece to the room, but they’re becoming pieces of art in their own right.
The creativity that goes into designing and manufacturing these modern chandeliers is pushing the boundaries on the line that constitutes furniture and works of art. With that said, here are some tips on choosing which modern chandelier is best for you:
Photo courtesy of Covet NYC
Photo courtesy of DelightFULL
1. Get Creative with Material
With any modern chandelier, the material matters. Getting creative with the material used to create the chandelier can add a great addition to the room’s decor. Creativity is proven to go a long way in designing the perfect modern chandelier.
The Botti pendant lamp, inspired by the American trumpet player Chris Botti, adds a fun twist by using trumpets as the main material of the chandelier. While still luxurious in its style and design, it adds personality and a conversation piece to the space. While the chandelier is more retro in its style, using a creative material and thinking outside of the box can be beneficial for whichever style is preferred.
2. The Space it Resides
Both small and large chandeliers can be a great addition to any space. It’s important, however, to consider the type of space when choosing which modern chandelier to include in it. For a foyer or room with high ceilings, look for a larger chandelier to create a major focal point. In spaces like dining and living rooms, a smaller chandelier will still be a work of art, yet it won’t take away from the rest of the design in the space.
Photos courtesy of Muse Residences
In recent years, more and more hotels and apartment buildings are getting rid of the traditional designs and replacing them with modern and sophisticated styles instead. The modern chandelier in this residential building is certainly the focal point, simply for its sheer size and elegance. When visitors and residents walk into the building, they are in awe of its design.
Photos courtesy of DelightFULL
3. The Lighting
In terms of lighting, either a dramatic flair or a softer hue can be a great addition to any space. While the design and material of chandeliers can be similar, the lighting can make a major difference in the atmosphere in the space.
While the first chandelier provides a dramatic light in a darker room, the second provides a more subtle light in a room ample natural light. Both, however, add to the design and atmosphere of the space.
4. A Work of Art
Regardless of the material, design and lighting, it’s crucial to remember the creativity a modern chandelier allows. Whether it’s above a dining table, in the living room as a statement piece or the focal point of the foyer, modern chandeliers aren’t simply light fixtures anymore — they’re works of art.
Photo courtesy of The Alyn
Nature has been inspiration to designers and artists since the dawn of design, from floral prints and handcrafted wood pieces to architectural choices meant to showcase natural light. While these pieces aren’t dependent on natural light, their design and function are inspired by nature and its ever-evolving beauty.
Italian artist and designer Oçilunam founded In-es.artdesign in 2003, to achieve their goal of combining art and design is an art in itself. The lamps from the brand’s Out Collection, through a design that encompasses nuances and varied sensations, create the ideal atmosphere for outdoor dinners, or to enjoy relaxation under the sun or starry sky. After dark you will be able to illuminate the garden or the terrace with a variety of shapes and colors, adaptable to any type of space.
Photo courtesy In-es.artdesign.
Photo courtesy HolzDesignPur.
Traditional Danish company LE KLINT is known for its design lamps. Taking into account new trends and technologies, the LE KLINT luminaires are a symbol of modern Danish design, without neglecting the integrity of the company founded in 1943. In addition to folded lampshades made of paper and plastic, LE KLINT’s latest CARRONADE series will also feature aluminum luminaires with wood in elegant industrial design.
The Nordic design luminaires from LE KLINT receive their industrial charm primarily through the mix of natural materials like aluminum and wood: while the lampshades are made of aluminum, the bracket consists of light oak or dark walnut wood. Laterally set discs of gold-colored brass or silver aluminum round off the design of the CARRONADE lights in style.
For the CARRONADE series, the young Danish designer Markus Johansson was inspired by 18th century ship cannons, which is evident both in the form and in the material selection of the luminaries. All CARRONADE luminaires are also individually adjustable and can therefore be easily adapted to the respective room situation.
“I conclude that design, for me, has to be a perfect combination of function and form, which conveys emotions, that subtly affects us as humans, while simultaneously, enhances our daily experiences,” says Johansson.
The combination of the individual CARRONADE luminaires results in modern lighting concepts. While the CARRONADE pendant luminaires in different sizes illuminate, for example, the dining room table, the floor lamps CARRONADE low and high create atmospheric light conditions in the living room.
With Summer now upon us and gardens in bloom, Fritz Fryer offers the Gorsley Pendant light, a copper rose pendant shade handmade exclusively for Fritz Fryer by a local artist and blacksmith.
Using two sheets of copper, the form is made by hand and is then worked on to create the depth of color that copper can achieve, creating the unique, floral design of the Gorsley. It can add a different dimension sitting above a dining table, or over a breakfast bar; it can be clustered, hanging at different drops for impact; or hang it above a bedside table for a feminine touch.
Beautifully organic in shape; the Gorsley is not only a gorgeous looking light but a piece of art in its own right.
Photo courtesy Fritz Fryer Lighting.
With an upbringing immersed in creativity, designer, maker, crafter and artist Jesse Ede has been surrounded by design and art for as long as he can remember.
Drawn to more natural materials, Ede focuses on being completely unique and not fit into any particular aesthetic. This sense of originality is prevalent in his numerous collections of lunar-themed art and fixtures, particularly the “Orbit” collection.
An evolution from his first light piece called “Eclipse,” “Orbit” is inspired by the “beautiful movement of the galaxy’s moons around their planets,” according to Ede. The piece features elegant metals like bronze and brass that add a dimension of color and texture to the moon-like piece.
Ede prefers to “capture the rough nature of organic surfaces,” he says. He does this by manipulating them to expose the contrast between the material itself and the man-made processes that form them into sculptures. Ultimately, he looks to celebrate the rawness of uncontrollable outcomes, from processes that are uncommonly used.
Much of his life has been spent in workshops and studios, allowing him to naturally acquire a vast range of skills. “My father was an artist and carpenter, so I grew up in and around his studio from a very young age,” says Ede. “I often feel as though I was born to do this, as though it was entirely predetermined for me.”
Though he spent eight years traveling and working, even working as a carpenter for an Antiguan boat-building, much of Ede’s main inspiration comes from space and the universe, as well as looking to nature itself.
“It’s so tempting to draw your inspiration from other artists’ work, but I discovered at a young age, the natural world itself provides all the inspiration you could ever need, and you never run the risk of looking like one-of-many,” he says.
With an assortment of other moon-themed pieces, including a new cantilevered bronze and stone coffee table entitled “Venus,” Ede continues to work and display his strength in creativity.
All photos courtesy Jesse Ede.
Making an iconic design statement in a minimal aesthetic, the Dawn to Dusk lighting fixture is the newest product released by the award-winning London-based design studio haberdashery that invites you to experience the magic of sunrises and sunsets from right inside your home.
The intricate design was inspired by the “the memory of the sun” and creating a strong connection with this memory, according to Ben Rigby, creative director and co-founder of haberdashery.
“We want to reach beyond the industry’s current expectations for a lighting product and push for a more ambitious blend of quality, creativity and narrative-driven design all wrapped up in an iconic, useful and aesthetically beautiful design statement,” says Rigby.
To do this, Rigby and other designers chose to work with an uncomplicated design to demonstrate the clarity of a rising sun, as well as identified the perfect color range that would create a strong, emotional resonance.
Available as a table and floor-standing lamp, the diffused circular light source explores a palette of warm colour hues during its transit of the vertical stand, delivering these as direct light, or as a flood of light on a wall.
When at the base the sliding light head sits in an off position, and then as it is moved upwards it activates a low intensity red hue, which transitions into orange, then 2700k white light as slid upwards. This custom LED light array, developed by Rigby and his team, replicates the transition of light from the deep, rich red of the late evening to the white light of midday. The light is also capable of rotating 360 degrees around, providing a range of uses from outward facing task light through to a backward-facing ambient light, creating a subtle wash.
Dawn to Dusk is meant to not only showcase a naturally beautiful occurrence but to also utilize this power to support our natural rhythm throughout the day. The high-quality white light helps users to wake up more naturally, while the richer, relaxing red colors help regulate the circadian cycle and prepare for sleep.
“haberdashery believes light is a transformative power in the world; we challenge what is possible with light, and through our products are defining a new category of contemporary lighting,” says Rigby.
All photos & video courtesy haberdashery.
Recently released exclusively with SUITENY, the design brand Nuura is known for creating aesthetic and select lighting options that reflect the riches and joy found in Nordic nature. With the chandelier as a central focus, Nuura offers lighting collections that enrich the room and complete the interior in both private homes and public spaces. By combining delicate design with state-of-the-art technology, the designers strive to create unique quality lighting that has a positive impact on our wellbeing.
“The meaning of Nuura is light and honour,” says a brand representative. “From our base in Denmark, we are inspired by the Nordic light — an everlasting source of inspiration. We wish that our lighting collections will spread life and joy.”
Elegant droplets and golden warmth are the essence of the sophisticated pendant collection Anoli. The collection is made of metal and mouth blown glass which are hand-painted in a delicate golden color. It ranges from sleek pendants to elegant chandeliers and can be customised for larger projects and private homes.The unique Nordic light combines with the elegant raindrop design in the most elegant way.
One of these exclusive collections include Miira, a simple and timeless design that includes fixtures that complement each other and help create a unique Nordic feel. The Miira collection is designed with the chandelier at its centre and expands into a complete series of light. These lighting arrangements can be used everywhere, from private homes to large exclusive interior decorations. Miira means “beautiful vision” and is designed by the awarded Danish lighting designer, Sofie Refer.
Rooted in the Scandinavian design tradition, as a respect for nature and the beauty of simplicity are two of the most valuable qualities in Refer’s designs. With esteem for the tradition, she likes to challenge the perception and with curiosity and eagerness to explore the riches, generosity and extravagance of environment interprets these in her lighting designs.
“I am truly inspired by light in the Nordic. I strive to balance simplicity and grandeur, and create light that has a pure yet sensuous expression,” Refer says.
All photos courtesy SUITENY.
Professor and author Mary Guzowski has a new architectural book debuting this summer entitled The Art of Architectural Daylighting. She recently sat down to discuss her interests in daylight as a building material and its importance in the architectural industry.
How can light affect the way a building is designed?
Lighting in buildings is dynamic, changing, and responsive… it’s not static. The building allows people to engage with it depending on how it’s designed — maybe walls open and close, or maybe sections of the home shut down depending on the season. Light is a literal building material.
What was your goal when writing “The Art of Architectural Daylighting?”
In the last decade there’s been a lot of new guidelines and standards, in particular a lot of new metrics around daylighting design that is more analytical. There’s a risk of ignoring the poetic aspect of daylighting. I wrote the book because I feel that it’s important to balance both.
I interviewed 18 architects and selected 12 interpretations of how to bridge the practical and poetic sides to daylighting. Each had different priorities, but there were patterns that I saw from interviews, which I structured into different categories in my book.
What about the process of putting this and the other books you’ve done do you enjoy?
I always write a book about things I want to learn about or don’t know. The most wonderful thing is talking with architects and engineers and learning how they do what they do. I love looking at patterns and trying to discern what other ideas might inform people and how I can be a channel for these patterns.
What lessons do you want readers to take from the book?
It was unanimous from all the architects that to study and understand daylighting it’s good to use physical models and put them outside, to understand the phenomenon of natural light. Many of the architects would start with small models and look inside to see how the light changed, experiment with texture and colors, then make mockups of full-scale spaces.
Guzowski has written other books regarding sustainability, including Towards Zero Energy Architecture: New Solar Design and Daylighting for Sustainable Design. She is a professor in the School of Architecture and helped design the MS in Sustainable Design at the University of Minnesota, as well as a co-author of the Carbon Neutral Design Project. The Art of Architectural Daylighting will be available for sale June 25th.
Contemporary designers around the world are transforming lighting fixtures from basic utility into artistic bling.
By Roger Grody
Diamond Ring by Christopher Boots. Photo by Christine Francis.
Talented interior designers compose seating, flooring and window treatments to complement each other like a wardrobe, requiring a delicate balance of fashion and functionality. Lighting was once viewed as mere utility, but the fixtures produced by today’s premier designers represent the jewelry that sets off an outfit.
Drew McGukin, a New York-based designer with a national clientele, reports that although dramatic lighting can sometimes short-circuit budgets, its value should never be underestimated. “I think of lighting as an extension of the art in a space — a real opportunity for functional sculpture that immediately lifts a room,” says McGukin, who welcomes the myriad of innovative products currently available. Among the lighting designers he favors are fellow New Yorkers Lindsey Adelman, an industry leader, and Stephen Antonson, whose work is distinguished by his creative use of plaster.
Top: Bubble Burst in oil-rubbed bronze with clear globs by Lindsey Adelman, photo by Lauran Coleman; Bottom: Alex Pendant Chandelier by Fuse.
“I’ve always surrounded myself with handmade things, art and antiques. They make good company because the maker seems to be present,” reports Antonson, who wants his chandeliers to evince this feeling and eschews polished, silky finishes. “No two are alike and you can actually see my hand in every one,” he explains. Indeed, Antonson’s plaster has a tactile, organic quality in which you can almost make out the artist’s fingerprints.
Adelman is the darling of world-class interior designers and architects, and her work—an extraordinary fusion of art, whimsy and electricity once reserved for Manhattan penthouse dwellers — has found a global clientele. She is as much a movement as a designer, and Adelman-inspired knockoffs are so ubiquitous that even suburban homeowners are unwitting fans of the designer.
At Lindsey Adelman Studio, the founder surrounds herself with a staff of metalworkers, architects and philosophers, all dedicated to pushing the limits of lighting design. Adelman says of her craft, “It’s structural and sculptural and you can test it immediately.” She also appreciates the unpredictable dynamics of anything that hangs from a ceiling, suggesting a chandelier’s relationship to gravity is far more seductive than that of static sofas or tables.
Adelman is inspired by the work of renowned architects Santiago Calatrava and Shigeru Ban. And although one can see the influence of those masters’ daring sculptural expressions in Adelman’s cantilevered fixtures, she humbly characterizes her personal style as simply “combining the practical and sensual.”
Her studio’s first product was a modest version of Adelman’s now-signature Burst, an explosion of hand-blown globes and spikes inspired by vintage French jewelry and Medieval flails. The Boom Boom Burst, a spectacularly oversized edition of that inaugural piece, is priced well north of $100,000.
“I think that, more than ever, designs are driven by self-expression,” states Adelman, who notes this is still a nascent trend for products designed for mass-production, but quite prevalent among independent designers who self-manufacture. “Lighting is the perfect medium for this kind of expression,” she insists.
Across the country is Los Angeles-based Fuse Lighting, where founder Kevin Kolanowski uses semiprecious stones to elevate lighting fixtures into an haute couture of electricity. “Designing lighting has really been an ongoing exploration for me,” says Kolanowski, who, like Adelman, is influenced by Calatrava, as well as architects Carlo Scarpa and Zaha Hadid.
“I appreciate all types of design, but have such a passion for lighting because of how it can completely transform the mood of a space,” says Kolanowski. His work is a testament to how a thoughtful selection of materials and forms profoundly influences how light radiates through a room. “Lighting is art, atmosphere, structure, and function all in one,” says the designer, who has always been fascinated by jewelry.
“I wanted to play with this idea of adornment using organic materials in my lighting design, but with a contemporary twist,” says Kolanowski. The designer began incorporating semiprecious gems into sleek geometric forms, calling his work “jewelry for the home.” Like a jeweler, Kolanowski manipulates natural materials into art, using citrine nuggets or amethyst chips to suffuse and refract light in different ways. Fuse’s Alex chandelier features a curtain of stone surrounded by a metal frame, and a particularly compelling combination of finishes is amber-hued carnelian nuggets juxtaposed against dark oil-rubbed bronze.
Kolanowski contends the industry’s embracement of miniaturized and flexible LED bulbs has encouraged the use of new materials and a wider variety of intricate shapes in lighting design. He states, “The forms that I’m working with now usually follow architecture and are more fluid than ever.”
Unlike some commentators, Jason Miller, founder and creative director of New York’s Roll & Hill, does not believe lighting has yet completely morphed into art. “Design is design. Art is art. The goals are different,” he insists, but concedes, “I do think it’s fair to say that lighting has become more expressive, which opens up a whole new world of opportunity for interiors.”
Miller has assembled a team of designers — including his celebrated crosstown peer Lindsey Adelman — that emphasizes the sculptural qualities of lighting, customized to clients’ specifications.
The Brutalist movement-inspired Gridlock pendant from Roll & Hill, created by Philippe Malouin, is a handcrafted, symmetrical assemblage of brass trusses, something that might have been created from a very sophisticated Erector Set. In addressing new trends, Miller states, “I think there is a group of young designers working right now whose work has more in common with Memphis or design from the ’80s than other periods.” He notes, however, “That work is usually rejected as being ‘ugly.’”
“I’m very inspired by nature,” explains Gulla Jónsdóttir, who adds, “There are no straight lines in the human body so why should we live in square spaces?” The Icelandic-born designer is a successful hospitality industry specialist whose chic Parisian restaurants and serene Mexican resorts reflect her organic, seductive imprint. She also authors collections of furniture, including some distinctive lighting pieces. Her Nest chandelier — the fixture’s outer shell is a collection of “twigs” crafted from salvaged rebar, while an inner shade surrounding the bulb is created from polished tubular steel — reflects the designer’s penchant for reimagining nature.
Alexander Chandelier by Stephen Antonson.
Among her peers, Jónsdóttir admires prestigious Italian furniture maker Henge — its polished silver-brass rings, seemingly floating in air, present an alluring minimalism — and Australian industrial designer Christopher Boots. The Sugar Stick pendants from Boots’ collection are delicate crystalline sculptures whose inherent energy is amplified through the flip of a switch.
Like Jónsdóttir, Boots looks to the natural world for inspiration. “From the formation of natural crystals and minerals over time to the molecular structure of organic matter, I’m always exploring the world outside the Anthropocene to drive my design practice,” he states. “I try and insulate myself from trends to allow my own visual language to develop without external pressures,” says Boots, who focuses on combining new technologies with traditional artisanal processes. He cites his quartz crystal-studded Diamond Ring and Prometheus chandeliers as reflecting his signature pairing of the unfinished or textured with highly polished edges.
From the perspective of an interior designer, McGukin offers, “There’s something beautiful about reaching to turn on a single lamp, or hitting a bank of switches and watching a room burst into a perfect glow.”
Nest Chandelier by Gulla Jónsdóttir. Photo by Jesus Banuelos.