Ten of the latest lighting designs on Dezeen Showroom

An arched floor lamp for Italian brand Miniforms, a pendant light by Stephen Burks and a table lamp by Karim Rashid are among the latest lighting designs to be featured on Dezeen Showroom.

Other lighting products featured in the section include a wall light by British brand Anglepoise, outdoor sconces by Barcelona brand Marset and a number of handcrafted pendants.

Dezeen Showroom is an affordable space for brands to launch new products and showcase their designers and projects.

It features dozens of lighting products by leading designers for a host of international brands. Here we've rounded up ten of them.

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Ozz lamps by Paolo Cappello and Simone Sabatti for Miniforms

Ozz is a range of arched lamps created by designers Paolo Cappello and Simone Sabatti for Italian furniture brand Miniforms.

The range, which is characterised by its exaggerated curved form, includes a bedside lamp with a small ash wood table, a floor lamp anchored with a 40-kilogram concrete base and a wall light with an adjustable lampshade.

Find out more about Ozz lamps ›

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Trypta by Stephen Burks for Luceplan

Trypta is a pendant light designed to help improve spatial acoustics by American designer Stephen Burks for Italian lighting brand Luceplan.

The light is composed of three sound-absorbing panels upholstered in flame-retardant fabric affixed to a cylindrical bar. The panels are available in eight colours including cool grey, mustard yellow and brown, while the bar comes in either a matt-black or aluminium finish.

Find out more about Trypta ›

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Compas Pendants by Atelier de Troupe

Compas Pendants is a series of handcrafted brass pendant lights created by Californian design studio Atelier de Troupe.

The shades are formed by an ellipse-shaped single sheet of brass and is available in perforated brass or a satin-white finish.

Find out more about Compas Pendants ›

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Cyborg light by Karim Rashid for Martinelli Luce

Cyborg is a long-legged table lamp created by New York designer Karim Rashid for Italian lighting brand Martinelli Luce.

The light is available as indoor and outdoor models. The outdoor version is cast in high-resistance concrete, while the indoor version is made from cast and lacquered aluminium.

Find out more about Cyborg ›

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Ginger C outdoor lights by Marset

Ginger C is a collection of circular outdoor sconces designed to light paths, stairs and passageways by Barcelona lighting brand Marset.

The shades of the wall lights are made from rust-coloured aluminium and are designed to diffuse soft light that emanates from their centre.

Find out more about Ginger C ›

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Dew & Drop pendant light by Ocrum Studios

Dew & Drop is a pendant light designed to bear a resemblance to dewdrops before they fall by New York design practice Ocrum Studios.

The light is composed of two bulbous hand-blown glass hemispheres that encompass an LED light mounted on a single fixture.

Find out more about Dew & Drop ›

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Tacoma sconce by Astro Lighting

Tacoma is a wall-mounted light informed by Gothic-style architecture by British brand Astro Lighting.

The light features a mouth-blown glass globe shade that can be rendered in either clear, white, smoked or ribbed glass, while the metal mount is available in either matt black, antique brass or polished chrome.

Find out more about Tacoma sconce ›

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Tamar Wand pendant lights by Shakúff

Tamar Wand is a blown-glass pendant light created by Brooklyn-based design and manufacturing studio Shakúff.

The light consists of a tubular shade with brushed brass and chrome details and is wrapped in thinly-blown borosilicate glass to create an irregular drizzled texture.

Find out more about Tamar Wand ›

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Type 80 W2 and W3 wall lights by Anglepoise

British lighting brand Anglepoise has released two additions to its Type 80 collection called W2 and W3.

The wall lights feature a conical shade connected to an angular arm with flexible joints that allow the light to be pointed upwards towards the ceiling or diagonally down towards the ground.

Find out more about Type 80 W2 and W3 ›

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Dune light by Mayice Studio for LZF Lamps

Dune is a hand-blown pendant light created by Madrid design practice Mayice Studio for LZF Lamps.

The LED rod is contained within a single piece of hand-blown borosilicate glass shade that balloons out into an organic form in the middle.

Find out more about Dune ›

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About Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. 

Want to be included in our upcoming Dezeen Showroom special features? To launch a new product or collection at Dezeen Showroom, please email showroom@dezeen.com.

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Alexis Christodoulou sells Instagram-famous architectural renderings as NFTs

Alexis Christodoulou has become the latest 3D artist with a cult social media following to sell his renderings online as part of an NFT auction.

Under the title Homesick, the sale encompassed nine looped, animated videos of different dreamscapes that merge the built and natural environment.

Each was linked to a non-fungible token (NFT) to verify its authenticity using blockchain technology.

The collection sold for a combined total of nearly $340,000 via crypto art marketplace Nifty Gateway, with the most expensive virtual artwork fetching $17,000.

Top: Backyard was among the auction's one-off pieces. Above: 3AM will be sold as a limited edition of five pieces.

The news comes shortly after fellow Instagram-famous rendering artist Andrés Reisinger put ten pieces of virtual furniture under the hammer as NFTs last month. Together, they sold for almost $70,000.

NFTs effectively act as authenticity certificates that are linked to virtual artworks and recorded on a blockchain, much like a cryptocurrency transaction, to confirm their origin and ownership.

 

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The technology is making it possible for renderings like Christodoulou's, as well as art or fashion that only exists in the digital world to be collected and traded, sparking a flurry of high-profile auctions.

Last week, Christie's became the first major auction house to sell a purely digital NFT artwork – a jpeg collage by American artist Beeple that went for $69 million and became the most expensive digital image ever.

Saunders Rock is a surreal rendering of the titular beach in Christodoulou's native Cape Town

Elsewhere, a single gif of the early internet Nyan Cat meme recently sold for nearly $600,000 while musician Grimes auctioned off $6 million worth of NFTs via Nifty Gateway, the same platform used by the two 3D artists.

"This space is super new and it's gone absolutely bananas in the last week," Christodoulou told Dezeen. "I think there is a notion of absolute disruption in it that makes people want a piece of it."

 

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Traditionally, 3D artists like him have had to rely on commissions from brands in order to monetise their work, as for example with the virtual backdrops he created for Bower Studios to show off the company's Melt Mirror collection.

But now, crypto art has opened up an unprecedented way for digital designers to sell their work directly. NFTs can even be programmed with an automatic royalty system, allowing creators to receive a portion of the profits whenever their work is sold on to someone else.

Weekly Wash was sold as an edition of 150 for $500 each

"I think it's such a great opportunity to do something without a client that can potentially pay for itself," Christodoulou explained.

"Some people are making millions but for me, I see it as an opportunity to do some much-needed R&D between all the commercial briefs and work we are doing in the studio."

Grandad shows a pink folding chair on a glacier

His debut NFT sale included three one-off pieces while the remaining artworks were sold as limited editions of either five or 150 pieces. Coming in at a fixed, entry-level price of $500 each, the limited editions of 150 brought in the most money – a combined total of $225,000.True to its title, the collection explores the concept of home and the desire to frolic in the great outdoors while being stuck inside.

"My wife and I recently moved from Cape Town to Amsterdam while the world started to lockdown again. We both feel quite homesick but mostly we are really just sick of being at home," the artist explained.

 

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Among the one-of-a-kind pieces is one called Deadlines, which shows a remote working set-up complete with desk, chair and laptop transplanted onto an ice floe and offset against rolling, pastel-coloured clouds.

Others feature a couch sunken into a black, volcanic mesa, a pool between towering rockfaces or an impossibly pink wetland with a tub at its centre.

West Coast National Park is a homage to the nature reserve near Cape Town

Some digital artworks including Reisinger's furniture can be integrated into open-world games such as Minecraft while virtual fashion like Buffalo London's flaming platform trainers can be "worn" by the buyer in pictures and shared on social media.

But Christodoulou's renders do not lend themselves to this same level of interactivity.

"I suspect some will be traded, some will be kept and some will be lost along with some bitcoin wallet passwords," he predicted. "I hope to be able to create some more immersive spaces in VR and such to be minted in future and hopefully the owners will be able to integrate those directly into applications."

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Neri&Hu contrasts tactile brick podium with minimalist office blocks at Schindler campus

A podium made of recycled grey bricks links three clean-cut office blocks on the campus that Neri&Hu has created for elevator manufacturer Schindler in Shanghai, China.

Named Schindler City, the 32,400-square-metre complex in the Jiading district unites all of the company's departments in one place, having previously been scattered throughout Shanghai.

Above: Neri&Hu has created the Schindler City campus. Top image: a tactile brick podium runs across the complex

The campus comprises offices, showrooms, factories, warehouses, and a research facility, which local studio Neri&Hu has linked within the monochromatic office towers and their continuous, low-lying brick base.

The minimalist finish of the three office blocks nods to Schindler's Swiss origin, while the contrasting base of recycled bricks pays homage to traditional Chinese architecture and the local vernacular.

Three monochromatic towers extend from the base

"The resulting design is both firmly grounded in local cultures and building traditions while celebrating the innovative and forward-thinking corporate culture of Schindler," Neri&Hu told Dezeen.

"The podium featuring grey brick, a common building material in China, is a nod towards the material heritage of the project's locale," it explained.

"For the glass boxes above, translucent channel glass sections, interspersed with white metal-framed window slots, compose a building facade that is bright, minimal, and elegant – a subtle reference to the company's Swiss background."

The minimalist design of the tower nods to Schindler's Swiss origin

Neri&Hu's design was the winning entry in a competition for Schindler City. While providing space for all of the company's departments, the studio had to include office blocks within the design as permission had already been granted for these on-site.

However, the studio decided to challenge typical office block typology by combining them with the podium to create a "unified whole" – avoiding creating a series of isolated structures.

Grey brick references traditional Chinese architecture

The podium, aided by the surrounding landscape and several courtyards both inside and outside the complex, also ensures that the blocks are unimposing and human in scale.

"The multiple office blocks were a given part of the initial brief, due to planning approvals already in place when we took on the project," the studio explained.

"So the challenge as we saw it, was to find a way to integrate all these separated units into a unified whole," it continued.

"We felt it needed a strong architectural element to tie everything together in a way that landscape alone could not – the brick base brings continuity and transitions seamlessly from interior to exterior spaces, so that people don't sense they have exited and reentered a different building when they move between the blocks."

The brick base also helps make the campus human in scale

The three towers are positioned at one end of the site and contain open office spaces for 800 people, including meeting rooms, lounges, a showroom, and a training centre.

Each of the three buildings also incorporates a multi-story atrium that is designed to visually and physically connect the different departments. Within the atriums are crisscrossing escalators, designed by Schindler, which Neri&Hu inserted to showcase the company's products.

A fortress-like boundary at one end contains a research facility. Photo is by Dirk Weiblen

Other notable elements in the Schindler City campus include a tall, slender white tower, which functions as a lift shaft to test the company's new products.

At the north-east end of the site, opposite the office towers, the podium rises in height to create a "fortress-like" boundary that contains a research facility. Its impermeable look is intended to reflect the private work conducted there.

The brick facades are arranged with a tactile finish. Photo is by Dirk Weiblen

Founded by Lyndon Neri and Rossana Hu in 2004, Neri&Hu is a Shanghai-based architecture and design studio. Other recent buildings completed by the studio include the Aranya Art Center in Qinhuangdao and the Junshan Cultural Center near Beijing that features angled aluminium louvres and reclaimed brick walls.

The practice is also known for furniture design, such as its art deco-inspired collection, as well as products including lamps that emulate morning sun.

Photography is by Annika Feuss unless stated.

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Project credits:

Partners-in-charge: Lyndon Neri, Rossana Hu
Senior associate-in-charge: Nellie Yang
Associate: Lina Lee
Design team: Begona Sebastian, Herman Mao, Jinlin Zheng, Davide Signorato, Evan Chen and Kelvin Huang

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Taller Sintesis creates kindergarten with vaulted rooms in the Colombian Andes

Architecture firm Taller Sintesis has completed a series of brick volumes with arched roofs for a large kindergarten in Colombia.

El Porvenir Children Center is located in Rionegro, a town about 30 kilometres southeast of Medellín. The campus sits along the edge of a dense, middle-class neighbourhood.

An aerial view of El Povenir Children Center

Taller Sintesis, a Medellín-based firm started in 2008, was charged with designing a new facility to replace a smaller one that did not meet the public kindergarten’s current needs.

The firm conceived eight distinct structures for the kindergarten, which is located on a verdant site bordered by a ravine. In total, the 2,620-square-metre facility can accommodate up to 400 children.

The buildings are made of red brick

At the core of the complex is a central, bar-shaped volume that stretches across the site. Perpendicular to this volume is a staggered row of seven barrel-vaulted pavilions, which project toward the ravine and a newly planted forest.

These have walls formed of red brick and roofs sheathed in white metal. The team incorporated floor-to-ceiling windows and sliding glass doors, which enable occupants to feel connected to the outdoors.

Each volume has an arched roof

This connection is strengthened by the presence of grassy courtyards between the pavilions.

"These allow not only adequate ventilation and lighting but also enable a direct relationship between the children and nature, giving the landscape a permanent presence in the educational spaces and enabling the effective integration of the classrooms with nature," said the firm.

Grassy courtyards connect children to nature

The central volume encompasses a range of spaces, including offices, services for parents and students, a sheltered waiting area and an auditorium that opens to the exterior. There also is a canteen that doubles as a large, covered courtyard.

The arched pavilions hold classrooms and play areas. Bright colours, including vibrant shades of blue and yellow, give each room a particular character while also allowing for easy identification.

Colourful floors act as playful wayfinding devices

Many elements were designed with the size of children in mind, such as carved-out spaces for reading and playing.

"Niches, windows and furniture are arranged at their height, allowing them to build their own landscape, only available to them," the team said.

Other educational facilities in Colombia include a preschool in Santa Marta by El Equipo Mazzanti, which features modular units arranged around triangular courtyards.

Photography is by Mauricio Carvajal.

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The Ranch Mine creates board-marked concrete home in Phoenix for a ceramicist

Board-marked concrete, creamy stucco and weathering steel form the facades of Foo house in Arizona, designed by US firm The Ranch Mine for a ceramicist and her family.

Local studio The Ranch Mine designed the home to be a suitable environment for creative activities and a growing family on a half-hectare property in Phoenix, a sprawling metropolis in the Sonoran Desert.

The Arizona home is informed by pottery

The studio created an airy house that encompasses 5,795 square feet (538 square metres) with a design that was influenced by the ancient art of pottery and the contrasting qualities inherent in ceramics.

"Foo is a house designed to be rigid in structure while malleable in use, precise in form while imperfect in texture, and varied in volume while limited in materials," said the studio.

Eclectic facades are formed from various materials

The home's name is derived from "Fu," the Chinese character for good fortune and luck, and is meant to honour the clients' Chinese heritage.

It is composed of three blocks that wrap around a rear courtyard. The central block houses the main living spaces while adjoining wings contain sleeping areas and a garage.

Exterior cladding

For exterior cladding, the team used materials that can withstand the harsh, desert environment, such as board-marked concrete, hand-troweled stucco and pre-rusted steel.

"Each material is unique in texture and finish, changing over time with help from the weather, and composed in ways to contrast and complement each other," the studio said.

The home has a spacious rear courtyard

The front facade has a limited number of windows, while the rear facade has large stretches of glass that usher in daylight. This rear elevation faces north, where direct sun exposure is limited. A roof overhang provides extra protection.

"Sunlight almost never touches the glass on the north, other than early in the morning around the solstice," the studio said.

The interior has bright rooms and a fluid layout. The central volume contains an open-plan kitchen, dining area and living room at ground level, and a loft space up above.

The sleeping wing encompasses a master suite and three additional bedrooms, two of which have lofts.

Foo boasts a large, open-plan kitchen

Throughout the residence, the team used neutral colours and a mix of earthy and industrial materials.

In several areas, concrete floors and walls are paired with wooden finishes and decor. A fallen tree was used to fabricate a custom table in the dining room, along with the treads for a staircase leading to the loft.

One of the home's standout features is the outdoor space in the rear, which was designed for both "pleasure and production", the team said.

Guests can gather around the fire pit

A covered patio is adorned with a grilling area and sunken fire pit. Just beyond is a swimming pool with an integrated hot tub and "Baja shelf", which is an extended top step that is well-suited for kids.

The property also has a chicken coop, raised garden beds, and groves of citrus and stone-fruit trees. The landscape design was overseen by local firm The Green Room.

The home's large swimming pool by night

Established in 2010, The Ranch Mine is led by the husband-and-wife team of Cavin and Claire Costello. Their other residential projects in Phoenix include a courtyard house designed for a musician, and a family dwelling with a facade inspired by the ribs of a saguaro cactus.

Photography is by Roehner + Ryan.

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Project credits:

Architect: The Ranch Mine
Builder: Identity Construction
Landscape architect: The Green Room Landscape Design

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