'Juicy' by Kasper Salto and Thomas Sigsgaard for Ligthyears
The Danish designer duo Salto & Sigsgaard created this new pendant light for Lightyears. ‘Juicy’ will be presented at this year’s Euroluce from 12 – 17 April in Hall 9, stand C12.
Kasper Salto and Thomas Sigsgaard were asked to design an energy-friendly pendant for the dining table. The result is ‘Juicy’, a highly elegant lamp characterised by a slender shade which is seperated by a thin illuminated gap for the change of the light source. The diffuser is a honeycomb-filter, which effectively concentrates the light while preventing dazzling at the same time.
'Calabash' by Komplot for Lightyears
The Copenhagen based designer duo Komplot developed this pendant light made from spun aluminium with a reflective chrome finish for the Danish lighting manufacturer Lightyears. Inspired by the harmonic shape of the calabash pumpkin which has been used as bowls, water containers, musical instruments, etc. for centuries the designers created a contained but decorative little light which comes in two sizes and works well as a single piece or as a cloud of several.
Cecilie Manz in her Copenhagen studio
“Cecilie is just like her furniture,” a friend of mine who works as a designer told me when I mentioned I was going to be interviewing the Copenhagen-based designer Cecilie Manz. And, indeed, Manz exudes a calmness and composure much like her pared-down, uncomplicated work. It was extremely rewarding to meet her at this year’s Stockholm Furniture Fair in February. Here’s our conversation.
'Mikado' side table by Cecilie Manz for Fredericia
As predicted, this year’s fair features a large number of novelties. It’s amazing just how quickly new products, which all claim good reasons to exist, are developed and produced. How long do you work on an object?
Yes, the mass of new products is incredible, but if you’ve ever spent time on a stand at a design fair, you’ll know that “What are you showing that’s new this year?” is always the first question to be asked. No wonder that manufacturers feel under pressure.
The development time of an object really depends on its complexity. But I can say for certain that, regardless of what type of object it is, it takes no less than a year for development. I’d say, on average, it’s between one and two and a half years.
You work alone. Does that mean you don’t like working in a team?
I’ve always worked on my own. Perhaps because I’ve never found the perfect partner. I don’t know. My work situation is perfect at the moment: I’ve got an assistant, who I value enormously. She questions my designs at critical points in the process. But I always have the last word.
This means that the number of commissions is limited.
That’s right. But I’d find it tough to take on commissions that I couldn’t look after properly. I can get enormousy involved in a project and that’s precisely what I like about my work. I can’t simply hand this intensive involvement over to another person. In this sense, a small, manageable studio is what suits me.
'Mondrian' pendant light for Lightyears
You’ve had your own studio for almost 12 years. How has the way that you work changed during this time?
Naturally, I’ve learnt a lot of practical things. A lot of blind alleys that I used to go down in the design process I now know not to revisit. This means my work is more focused, though it’s more limited, too. Apart from that, I still work in an old-fashioned way: I draw a lot with pencil and coloured pens, build small models. Thank God I can’t draw on a computer…
Your designs are extremely reduced in form. Do you see your work in the context of your Danish heritage?
Definitely. I believe our roots are in our blood and the culture that surrounds us, defines us. We people from the North tend to be quite sober and that shows up in classic Danish design. I try to limit my objects to the essential. In doing so, my work mirrors my temperament very well.
In spite of all restraint, as a designer you are part of a system in which sales figures are a decisive valuation factor.
I’m very aware of this, but I definitely don’t want to create things whose appearance and construction don’t serve their function. Many things are produced and bought, without people having thought about them. There should always be a clear reason for designing and producing a new product. It could be to improve functionality or to rationalise something, such as the use of a material, for example.
continue the interview @ Architonic