Alabaster is the name used to denote gypsum stone in its’ harder and higher quality form that can be worked or sculpted into decorative and functional objects. Because of its natural beauty and translucence, alabaster has been used in such applications as windows in ancient times, to some of the lighting we see today. 

The alabaster that is used for this project comes from alabaster nodules, which are large crystals in the form of very round boulders dug up from the earth. I wanted to take these big round crystals that look just like regular boulders and transform them into smaller angular and faceted forms which would be more recognizable as what we would consider a crystal-like form. Then I put LED lights inside to show off the translucency of the stone.

Each of these crystals was carved and polished from a small piece of Italian alabaster using hand held tools, and copper was added as a decorative element. The shape of each object is not preplanned, but the angles and facets are created during the carving process, allowing for spontaneity and randomness.  A complete light can consist of one individual pendant, or a larger configuration of many pendants.

Vancouver, Canada

to compress in a bend, fold

Tyndall stone is a ubiquitous prairie material featured in both its rural and urban landscapes. The unique appearance of this dolomitic limestone is due to a crystallization process that physically exposes itself as a subtle sawn colored mottling. The organic simplicity of the stone is further complimented in its revelation of ancient marine life captured, compressed and folded within the crystalized pattern. 

The ang[u]ere pendant light is designed to emphasize the distinctive crystallization which defines tyndall stone. The light is angled in order to expose the tyndall stone to the viewer, as the light source gently illuminates the beautiful patterning. Using digital processes, the stone is cut in a circular form and fit onto the luminaire’s copper plated housing, the warm metal complimenting the softness of the stone. The piece is fit with a simple LED vanity bulb. 

In an intent to increase the user’s appreciation of natural processes, the ang[u]ere light creates a discussion around purity of form, color and material.

The ang[u]ere light has a customizable length depending on its application (anywhere from 18-48). There are two sizes depending on users needs including a 14 diameter (with 4 steel light housing); and an 8 diameter (with 2.5 steel light housing). A CNC water jet is used to cut the Tyndall stone which forms the light’s circular shade. The light housing and fittings are custom machined and copper plated steel. The suspension pipe is ¾ or ¼ solid copper fit into a white painted steel canopy.

Winnipeg, Canada

Kaolin, Quartz, Feldspar and Nepheline Syenite combine to create a material unlike none other. The natural properties of this clay body when fired to a high enough temperature result in translucency: a quality that lends itself to an interaction with light. When porcelain vitrifies completely, the material glows warmly when lit and catches the natural light when unlit. Working with thickness of both glaze and porcelain results in varied translucency and shadows from the fired clay. The firing process in the kiln serves multiple purposes, among them to crystalize the raw materials of the glaze that cover the clay. Organically creating distinct form and function out of raw materials allows for unique surfaces full of unpredictable undulations. Crevices fill with glaze, and glaze evenly coats the smooth areas. The crystallization throughout this fascinating, natural process produces functional, fine art.

Individually designed and hand built, each lighting fixture is unique. The manufacturing process builds upon the basic ceramics method of pinch pots and is a direct representation of the hands used to build it. Each piece is made of fine translucent porcelain and glaze, and completed with hand polished metal hardware. The porcelain is fired multiple times to achieve strength and translucency. This particular asymmetrical pendant style is 12 H x 5.5 W, with semi bright hematite hardware, wired for use with an LED bulb and works wonderfully as a cluster (of 5) chandelier.

Cambridge, USA / Boston, USA / New York, USA

The August Pendant is inspired by the natural formation of round terraced pools found near hot springs. These terraces are formed by the crystallization of calcium as the superheated geothermal water cools once it reaches the earth’s surface. The symmetry of these otherworldly pools create a beautiful refraction of light as the sun bounces off of a stepped series of reflective surfaces. It is this duplication of light that has most greatly influenced the pendant’s design as refraction acts like an echo resulting in a perception of something much greater than the sum of its parts.

In order to give the pendant a symmetrical property associated with crystals, a machined stainless steal mold was used to press the glass discs. LEDs were an obvious choice and were selected to compliment the dynamic nature of the light as well as match the environmental and social intent regarding the design. The result is a precise and geometric pendant that pays homage to its inspiration.

It took a number of experienced glass workers numerous trials in order to master the casting of the round discs that house the LEDs. Once poured and annealed, the glass was then sandblasted in order to give it a matte opaque quality. The next task was sourcing an LED driver that was small enough to fit within the housing of the pendant. Powder coated brass and steel make up the structure of the light and laser cut acrylic was used as a reflective mirrored surface as well as a diffuser to protect the LEDs.

Vancouver, Canada

Crystallization produces symmetrical faceted geometry showing the growth of an internal pattern repeated indefinitely. While the study of crystal growth is an important subject in science, it also provides inspirations in art and design. How can we understand form generation as the notion of an ordered complexity, a multiplicity which is governed by some unifying principles? Boreas is designed to challenge this notion of form finding by combining mathematical origami and algorithm based design. When suspended and illuminated, Boreas, named after Greek God of the North Wind, sways into ephemeral patterns of light and shadow, softening their surroundings with crystal-like geometry and natural textures. 

Boreas, is made of lightweight, non-rigid material, and folded and assembled to create a semi-rigid structure. The folding pattern allows the structure to fold in a flat package for shipping. The main material is tear-free Washi paper, which has a three-layer structure, with eco-friendly polyester film as core and Kozo Washi on both sides. Kozo Washi is a type of renewable material that is made from the inner bark of Kozo, a type of mulberry tree. The use of renewable material, coupled with simple fabrication and assembly techniques, Boreas presents a minimal carbon footprint.

Wideth 38, Height: 32

High-tec Kozo, plastic, stainless steel, LED

A truncated origami Waterbomb pattern is morphed between two three-dimensional surfaces paneled in an 8 by 16 grid. The symmetrical design results in a simplified fabrication process and an overall reduction of material consumption. Instead of working with 128 unique modules, Boreas only requires eight unique modules. These eight three-dimensional modules are unrolled into two dimensional shapes and nested onto eight large sheets of High-Tec Kozo for digital cutting. A 360 degree viewing angle LED light evenly illuminates each of origami Waterbomb module into subtle patterns of light and shadow.

USA

The Carre table light aims to represent the nature of crystal formation through the lens of their physical qualities. We saw crystals as elegant solid matter whose transforming states are the keys to life. Crystallization is the resistance to chaos through innate organization of matter. The lamp becomes a model of the perfect balance of materials in solution necessary to grow the crystal lattice. Drawing from the face centred cubic formation of halite (salt) crystals, the lamp can be viewed as resisting the entropy of space, the force of gravity, by intricately organizing elements into a cube. It plays with negative space to evoke two counterparts that yearn to complete their inherent geometry.  In selecting materials we explored what would illustrate liquid and solid properties when illuminated. The tri-faceted vessels are made of recycled paper pulp and resin and lit with 3000K warm LEDs that are softly diffused by the fogged resin. Inspired equally by the process of crystallization and mid-century modern office design, Carre provides functional lighting in for any table or work surface.

Overall dimensions: 300-220-300 mm

Base and shade Dimensions: 150-220-150 mm

Manufacturing & Materials: 

Thermo-casted recycled paper pulp in plaster mould

Casted and sandblasted polyester resin 

6mm square brass tubing soldered at 90°, oxidized

LEDs 

Light Source Specification: SMD, 60/m, 3.5×2.8 mm

Colour Temperature: 3000K warm white

Voltage: 12v (DC)

Power: 3.6 w/m (max) 

Dimensions: width 8 mm, thickness 3.5 mm Length: 150 mm

Current: 0.3 A/m (max)

Power Supply

AC Adapter

Input: 100-240V, ~ 47-63Hz 0.58A MAX

Output: 12V… 2A 24W MAX

Canada

Crystals have very organized atoms and molecules and that is what gives them their well known strength, After Learning aboutthem I embarked on a search for naturally occurring structures that are highly organized but at the same time hidden from the naked eye. 

This lamp was inspired by the internal structure of a Mexican cactus called '' Cylindropuntia fulgida, the jumping cholla''.

With my design I wanted to elevate the bone-like structure of this native plant to look almost like a jewel emphasizing the resilience and strength that comes from the arrangement of the cells in its trunk.

One of the challenges with this design was to create a complex and organic shape that could be 3D printed in sections that would later stack on top of each other. I intend this design to use 3D printing as a method of production and not just as a prototyping method, I believe that 3D printing technologies are now blurring the lines between high volume production and highly customizable products; For this project I wanted to explore what was possible with as little parts as possible and maximum visual effect.

Overall Dimensions: 

24''Hx 6'’Wx6''L

Materials:

Hardware- 3D printed ABS- (injection moulded parts for production)

Internal light tube- Clear Acrylic and Extruded Aluminum square tube.

External shell- The final intended material is 3D printed brass plated in copper, bronze or gold.

The prototype is made from ABS plastic and chrome paint.

Light source- Warm LED strip 12V and 3A power supply.

Mexico

Chīpa is the Hindi word for Oyster.

The hexagon form of Chīpa represents the crystals

In nature the impurity which produces the pearl is covered with nacre, which gives it the unique luster.

Nacre is composed of millions of microscopic crystals each aligned perfectly so that light passing along the axis of one is reflected and refracted by the other to produce a tapestry of light and color which man has not been able to reproduce.

The hexagonal aragonite crystals of CACO3 form nacre, which is deposited to form a pearl. 

The reflective surfaces on the inside out of the hexagon mimic nature to produce a tapestry of light in Myriad hues.

The bulb represents the partially hidden pearl plays hide and seek as it creates geometric patterns all around.

I also created a brass version to represent the rustic natural finish of the Chīpa. The gap represents the point of entry for the impurity, which triggers the formation of the pearl.

The shaping of brass involved handwork and the good old fashioned polishing to bring out the luster. 

The two sided glossy reflective acrylic mirror went berserk as it reflected, multiple times creating a symphony of light.

Height = 250mm

Width = 300 mm 

Thickness= 55mm

Material a: Mirrored glass acrylic (gold) = 6mm

No waste produced, the cut pieces of the laser cut were reused in the lamp itself & stuck with fevi quick

Material b: Brass sheet 1mm thick

Laser cut, spot-welded and polished to bring out the earthy color of brass

Frosted White LED candle Bulb (Syska) is used.

Color temperature 2700k

Power consumption 4W

Life time 25000 hours 

Beam angle 320 degrees

Dimension dia 36 x135

Pros: Dimmable, Mercury and Lead free, No UV & IR,E14 socket

Cord: Transparent electric cable

Mumbai,India

I am experiencing the polyester resin with yarns for several months.

My goal is to create lamps wall molding the resin in different flat forms. The visual result is a bright and colorful design applied to the wall, of the same thickness of modern plasma screens.

My idea is that light takes shape thwarted in crystals of resin: day of the lamp has a very solid structure, instead of night, when the only light source, is as if he lost physicality and matter is transformed into light.

The lamp consists of two panels spaced apart by 2 cm. The rear panel bright consists plexglass opaque strip led inside.

The second panel and made of polyester resin with inside thread of wool and raffia for the heart.

The realization takes place by casting in a mold for the front panel. The rear panel and made with 2 panels plexglass opaque, between the two panels are inserted strip led.

Front panel size 55x30, 8 mm thick

Size 55x30 rear panel 8 mm thick

12-volt power.

Italy

The Crystal Ball Wall lamp is a testament to the designer’s exuberant love of process, function and materials, in effect transferring the continuing crystallization of the project to the next owner. Round acrylic crystal balls create reflections and optical illusions that differ in each permutation of the piece, as each individual ball is completely moveable or removable on electrically charged steel pegs. The chocolatey richness of teak is stunning in combination with the functional, modern beauty of the aluminum square tube base, and is offset by the five steel vertical rods that boldly support the crystal balls. Each ball can be simply lifted from its peg and moved to another, or removed altogether, to give the owner a continuing sense of artistry and mastery of design. Each ball houses its own 12 volt bulb, dimmed to 7 volts by the power supply; it is the designer’s intent to create soft, candle-like light with incandescent bulbs for ambient lighting that softens the harshness of steel, complements the sumptuous teak, and adds depth to any room.

24.5 high x 18 wide x 6 deep (at base). D/C power with converter in base. 12 volts bulbs inside each acrylic ball are converted to 7 volts. Acrylic balls drilled with handmade drill bit. Bulb inserted with springs on either side for heat expansion. Threaded couplers glued in and threaded rods inserted on either side with brass end caps. The balls hang on 1/4 inch steel rod pegs affixed to five standing steel tubes. Nuts welded inside each tube for bolting to solid teak base. Open base ends closed with teak to conceal converter.

Canada

The intention of the Sundowner Lighting Series is to make an edition of lights that relate to the circular and inseparable relationship between natural and artificial lighting. The series is in its third stage of prototyping, with changes taking place to the design of the frame and method of pattern making. This current edition, The Dark Hours, is direct result of the theme Crystallize, not as a formal concept but as a ambition of clarity orto give a definite form or expression to an idea . In this case, giving form to the relationship between artificial and natural lighting, or lack there of. The result is #06. 49°N, is a visual translation of a particular locations’ basic daylighting information into an artificial lighting source. The pattern for the lamp is made using the hours of darkness (and light) in the mid-summer month of June at the 49°th parallel North. By focusing on the concept of Crystallize an attempt was made to make the lamp as simple and direct as possible and yet still have the ability to resonate and create potential associations for its user.    `

The 24 diameter lamp frame is made from 1/4 powder-coated steel rod and fabricated in Vancouver, B.C. The woven pattern is made by hand wrapping cotton/linen/hemp thread around the eight outside bars. Opacity and transparency is the result of the spacing and colours of the thread. The lamp is available to be hardwired or plugged into a standard 120v circuit and can be used with a type-A 60W max bulb.

Canada

I asked myself why crystals form the way they do. My research led me to the very core building block of crystals on a molecular scale. The atomic structure of the diamond is this beautiful little standardized building block that repeats itself in 3 vectors resulting in the planar faceted faces. Figuring out how to realize this simple yet complex matrix on a macro scale was a challenge. I ended utilizing a local factory who manufactures industrial screens and fences to produce the strands I need to weave and weld this mesh. To make this structure more dynamic I wanted to vary the thickness of the matrix based on density and proximity to the core of the form. The thickness fades from thick around the LED to thin as it reaches the outside resulting in a object that conceals the lighting source and appears to glow. I developed a special translucent coating and application technique that is applied to the metal skeleton to achieve this dynamic thickness. 

This is a large sculptural chandelier designed for above a large dining/conference table or in as a statement piece for a lobby of a building. I suppose it could stand alone as more luminous sculpture in a gallery. Size is approx 1.5 meter wide x .5 meter tall. The size will conform to the LAMP size requirements. Materials used: Steel, powder coating, translucent silicon, LED. Please see actual test prototype photographs that I have made and renderings of proposed form. 

US

The theme of crystallize concurs images of geometry and articulating surfaces. Inspired by raw precious materials, this multifaceted sculptural piece derives its namesake for the ancient Greek term for 12; and subtle nod to the number of its facetted sides.

At 36 in diameter, this piece is handmade out of mild steel before it is plated with the desired finish. Energy efficient LEDs are its primary light source.

Vancouver, Canada

As Crystalize is the leading theme of the LAMP 2015 International Lighting Design Competition, our challenge to find an innovative way to crystalize our design – in order to reach goals of competition and the essence of design itself - led us to combine simple lines to get geometrical shapes. With combining some simple lines together, there is the possibility of creating different rectangular shapes and countless possible configurations, ranging from a single module to infinite geometric pattern that can be arranged with variants for ceiling surface and suspended mounting. 

Modularity and flexibility in design allow you to create volumes with structure on the ceiling which not only make Dot-Line ideal for residential, commercial or anywhere with high or low ceilings, but also give you a plenty of creative opportunities in terms of being structurally functional and technologically economical. High energy-saving performance due to LED technology, optical solutions, compatibility with accessories and extremely low maintenance costs are another features of this system.

Thanks to modern LED Technology, the brave new world of LEDs presents a better life style to us in terms of consumption, controlling and design.

Dot-Line LED Lighting System

Dot-Line Led LS stands as a lighting concept with infinite artistic configurations, featuring two traditional cylindrical housing which connect one another with an extruded slender aluminum profile in three different optional default sizes with their relevant connectors. The anodizing process gives the opportunity of having optional colors for housings. The lighting module is available for recessing and suspending in ceilings.

All shapes are electrically connected, so a single electrical connection can support all co-created and customized products.

Tehran,Iran/ vancouver,Canada

Hope the light can show fluid water in this subject.

White drops are slice lights, and the transparent drops reflect the white.

Show the transparent、flowing、permeated and penetrative properties of water.

Be a poetry light.

Material: cardboard

Size:15X15CM

Taiwan

Crystallization produces symmetrical faceted geometry showing the growth of an internal pattern repeated indefinitely. While the study of crystal growth is an important subject in science, it also provides inspirations in art and design. How can we understand form generation as the notion of an ordered complexity, a multiplicity which is governed by some unifying principles? Eurus is designed to challenge this notion of form finding by combining mathematical origami and algorithm based design. When suspended and illuminated, Eurus, named after Greek God of the East Wind, sways into ephemeral patterns of light and shadow, softening their surroundings with crystal-like geometry and natural textures. 

Eurus, is made of lightweight, non-rigid material, and folded and assembled to create a semi-rigid structure. The assembling technique allows the light to be flat packaged for shipping. The main material is tear-free Washi paper, which has a three-layer structure, with eco-friendly polyester film as core and Kozo Washi on both sides. Kozo Washi is a type of renewable material that is made from the inner bark of Kozo, a type of mulberry tree. The use of renewable material, coupled with simple fabrication and assembly techniques, Eurus presents a minimal carbon footprint.

Width: 31, Height:16

High-tec Kozo, plastic, stainless steel, LED

A truncated origami pinwheel pattern is morphed between two three-dimensional surfaces paneled in an 8 by 16 grid. The symmetrical design results in a more simplified fabrication process and an overall reduction of material consumption. Instead of working with 144 unique modules, Eurus only requires eight unique modules. These eight three-dimensional modules are unrolled into two dimensional shapes and nested onto eight large sheets of High-Tec Kozo for digital cutting. A 180 degree viewing angle LED light evenly illuminates each of origami pinwheel module into subtle patterns of light and shadow.

United States

This is a new technique that allows me to create organic shapes with plastic resins. Each one is unique and different, and has its own beauty. The material is translucent and the interior LED light shines through the material creating a soft illumination and glow. The work can stand on the floor, a table top or be suspended from the ceiling or attached as a wall sconce. The light shines softly through the folds of the material, creating a beautiful play of light and shadow.  From every angle, the light is expressed in a unique way, and each Frozen Flow has its own distinctive expression.

The dimensions can vary from 18 long, 2 wide to 10' long and 20 wide. The material is a blend of recyclable plastic resins which after being heated and during the extrusion process, the artist is twisting, pinching, pressing the material into unique organic shapes before it solidifies. The base and LED lights are added after the cooling period.

North Hollywood, CA, USA

A dual purpose decorative and functional reading lamp. Modeled in SketchUp and 3D Printed using translucent ABS. Custom designed and manufactured circuit allows a simple white glow or multiple bank and pattern options for decorative purposes using a single button interface. Different interactions with button will power the lamp on/off, modify brightness, control patterns, and pattern speed. Custom programmed firmware using Arduino interface is reprogrammable. Can be modified to run on battery power for a lamp/flashlight hybrid iteration. Adhered to wall using damage free adhesive fasteners. 

Lamps are generally off during the day. This lamp is intended to be left illuminated during daylight hours. The calming and soft animated patterns add depth and color to a room. 

Idea came after searching for bedside lamps for our new home. Browsed dozens of catalogs and stores for something simple and understated. Also I wanted the button on the unit (versus chasing a cord to find the switch). I had previously successfully funded a Kickstarter campaign for an LED device and repurposed the custom circuit into a lamp. 

The translucent ABS plastic along with internal structure perpetuate the "Crystalized" theme while diffusing the LEDs.

Project Specs:

5"x7"x1 3/4" 

Programmable "Sebbo Lights" custom Arduino compatible flexible circuit. 

3D printed translucent ABS housing. 

Tascam 5V/3A power supply. 

Surface mounted momentary power/control button.

Growing crystals is something that is a common experiment and small crystals are even grown in elementary school science classes. My challenge was to experiment with a large scale crystal growing project and to see if it could successfully be made into a beautiful sculptural form and then integrated with lighting.

Various shapes of fine stainless steel mesh up to about 3 feet tall were made until one was selected that had a attractive form. The mesh was submersed into a crystal growing solution and checked periodically until it was agreed that the crystal growth was sufficiently covering the mesh, and that the appearance of the crystals was very beautiful.  Wiring and LED lighting was added to hang the form and to light it up from the inside.

Vancouver, Canada

What do the ideas of sophistication, sustainability, and youth look like crystalized into a concrete form?

Look closely. Deep within its structure, crystalline combinations lead to wood’s strangely solid character that never seems to stop having a sense of motion. We invoke the curves of wood when we imagine organic aesthetics. We worship and protect old trees held high by their hidden crystalline structures. It’s this veneration of age old strength and curvaceous beauty that I wished to bring to mind by using this material.  

Wood is also one of the rubrics for how we measure sustainability. The greatest praise for a man made material is that as waste it becomes valued ingredients for future materials like wood becomes nutrients in soil to grow the next generation of plant life. 

How does one add youth to such a timeless material? Tie a bow. We love the appearance of a bow. Each bow, no matter how precise the method of execution is tied slightly imperfectly. It’s the quintessential symbol of youthful innocence, with a healthy hint of joie de vivre. While wood adds sophistication with a quiet authority, bows do it with a wink.

The bow lamp is made of hand cut veneer bent and wrapped around a laser cut birch plywood chassis. Once the chassis is threaded through the veneer; birch wedges slide into the chassis and hold the lamp together. The shade measures 21 W x 10 D x 16 H. The electrical component can be any plug-in or hard wire cord system with a male screw socket and nut to hold the chassis.

United States

Whether a forged steel sculpture of a tree or hand chiseled marble bust, humans have been using various materials from nature to represent completely different objects for thousands of years.  Designed as a wall sconce, Hexahedra focuses on bringing multiple mediums into one piece that represents an artistic portrayal of a cubic lattice.

Diffused backlighting is delivered through inlayed high efficiency LED strips on the back of a concave wooden diamond. The concave diamond base represents in nature the cave where crystals form.  The base nestles a wire frame lattice with low VOC powdercoat finish and floating walnut cubes suspended throughout the wire lattice. Frontal light is delivered through acrylic in walnut blocks used to portray veins, where embedded LEDs will emit diffused two dimensional bands across the piece.  The incorporation of the wire frame cage of cubic lattice adds an additional layer of material and color contrast while suspending the illuminated walnut cubes inside each.  Each walnut cube has a different pattern of acrylic veins running through them which represents the randomness of nature, juxtaposed with the geometric repetitiveness of cubes.

Materials used:

Walnut, 1/4 square steel rod, Low VOC Powdercoat, 1/4 Acrylic sheet, High intensity 5mm LEDs for diffused acrylic lighting, LED strips for back lighting

Manufacturing processes used:

MIG welding

Powdercoating

Traditional and CNC woodworking

Acrylic polishing and fabrication

Dimensions:

Width 48 inches

Height 18 inches

Depth 10 inches

USA

There have been made many decorative items such as chandelier crystals or hand carved and polished craft items that are both made from crystal glass, and that have shapes somewhat mimicking natural crystals. However, handmade crystal seems to be a style that has gone out of fashion, and there are probably not many workers in this craft anymore. My goal in making these lights is to rework some of the designs of traditional every day crystal objects of bygone days into modern pendant lights through the process of glass blowing into molds. 

My exposure to glass blowing has been limited to stopping to watch for a few minutes while passing a few glass blowing shops on the street. The challenge in the making of these lights was to learn what would be required for me to make the molds, to design a clamping system that would allow the molds to open and close quickly, and to make a mold that would stand up to repeated insertion of the hot glass. Although the glass blower who helped on this project has decades of experience, this was his first time blowing into a fully enclosed mold, and the process required much experimentation.

The high temperature molds were clamped onto a molten bubble of glass removed just a second or two out of the furnace by a glass blower, leaving the impression on the glass. Once completely cooled, the top of each form was ground to remove the neck where the glass had been connected to the blowing pipe. A brass neck, wiring and a LED light was added to turn each glass piece into a pendant light. In the prototype four different glass designs were used. This light can consist of only one pendant to many pendants combined.

Since the process of combining concrete with other materials is quite new, the project development included a search for possibilities and appropriate components. The result was a combination of polymer-concrete with an additional material – coco fiber net, which visually achieves more natural appearance. The hardest part was to make materials work together, because once the polymer-concrete sets, there is no possibility of changing the pattern of the coco fiber, adjusting the thickness, flowability or hardness before the crystallization process starts (and it takes only about 15 minutes). In the end a new and innovative material was created, which has not yet been a part of Latvian or world design market.

Overall composition of the objects can be described as a contrast between the smooth and sterile external surface and the rough inside. As a result, the more illuminated inside surface becomes the dominant and most engrossing. The simple form highlights the character and materiality of the fixture – concrete that has crystalized in-between the unique ornament created of coco fibers.

Type: Indoor PENDANT

Materials: concrete, coco fiber net, fittings, light bulb  

Object dimensions: Hemisphere shape - diameter 500 mm, height 250 mm

The work process resulted in a significant experience in working with polymer-concrete, its contents, the production of molds and treatment techniques. The resulting object can be regarded as successful, the newly invented material has potential not only for the production of light fixtures, but also for use in other interior objects and wall and floor finish.

Latvia

We live in a time of frenetic changes, in which new models and ways of doing come to be, thus replacing old practices and establishingthe pillars of a new society. In this context, the concept of crystallization does not apply only to new aesthetic tendencies in the shape of products, but, above that, it can be seen under the perspective of the structuring process of those new business models, modes of producing goods and delivering services. And a key technology in this new reality is 3D printing.

Lump is a pendant lamp that takes advantage of the characteristics facilitated only by the use of 3D printing, such as a differentiated morphology, whose application would be extremely onerous using ortodox manufacturing methods, such as polymer injection; rational use of raw material throughout the product; and the use of PLA (Polylactic acid), a biodegradable and eco-friendly material.

Lump is a crystallization of the new ways of producing, a way to communicate to the public, in a tangible and intuitive way, the broad formal and functional possibilities of the technologies that are yet to crystalize.

Lump measures 6 x 6 x 6,6 cm and wheights about 28 grams. It is produced from 3D printing in PLA (Polylactic acid), for its low cost and other beneficial characteristics, such as its biodegradability. Still, a wide range of other materials can be applied, such as, for example, nylon (poliamid). It is recommended for use with LED lamps, do to its lesser heat emission and overall greater performance and durability.

Porto Alegre, Brazil

Everything that exists is composed of molecules, but the molecular arrangements of crystals are unique. I thought rather than try to portray the molecular structure of a crystal I would take a molecular structure and “crystallize” it, or give it a symmetry and a feeling of a crystal. This translated into a design that is not a sticks and balls type molecular structure commonly seen, but a flattened geometric and angular design that reminds the viewer of a crystal which has clearly defined angles and reflective facets. 

From the outset I wanted to make this light stand out from most typical lighting by giving it a unique design element, which was to eliminate internal wires as the way of delivering electricity to each of the lights. The means to achieve this was by utilizing the metal frame of the light as the low voltage conductor. One side of the frame is used for positive and one side for negative to illuminate the LED strips sandwiched between each of the metal sheets. Also, since there does not need to be any single entry point of the wiring, this light can potentially be hung from an endless amount of connection points.

The light frame is composed of two sheets of water jet cut metal, and each of the lenses are made from water jet cut acrylic into which 12V LED strips are inserted. Since all design work was done on a computer it would be very easy to make changes to the design such as altering the bend configuration, increasing or decreasing the amount of light segments, or scaling the whole lamp larger or smaller.

Crystallization: a natural phenomenon of formulated mineral crystals precipitated from solutions such as mineralized water or copper sulphate

For my lamp concept, I wanted to make something that's unique, aged, designed to last and makes an impression that appreciates the antiquity of old civilizations and their discovery and use of materials (bronze armory and plates).  

Viewing stalactites as an array of mineralized overhanging sculptures, I chose this design opportunity to utilize these ancient shapes to fabricate an upside down village filled with organic pores of seeping light.

In reflection of the theme: crystallization, I was enamored by the idea of beautiful green patina naturally crystallizing on rocks and copper pennies.  Patina, like rust, are signifiers of our past and believed if applied in the context of bronze creates a sense of yearning and appreciation of our ancestry as well as history of light.  In mirror of modern thinking, the global village (of internet) and age of information, this lamp is designed to create a sense of slowness, introspection and reflection.

My project will comprise of sculptural thin layerings of pour over molten bronze in which to form a running compilation of bronze droplets that will cool & harden on the surface.  The molded shape of these pieces will be in form of a slim concave or drapery (to resemble stalagmite). 

Cubric nitrate and chloride will then be artificially applied onto the bronze and heated with a flame torch to conjure a rusted mixture ofgreenish blue hue. Light fixture will comprise of warm incandescent light tubing floating inside the bronze casing and will be transcended upon a thick sturdy wire.

Vancouver, Canada

The Okenite Lantern is made of iridescent material: it transforms light into a myriad of colours when viewed from various angles. The lantern does not passively dampen light like a traditional shade; instead, it actively converts light into diverse hues and geometric shapes. During the day, Okenite responds to the colours of its surroundings. When illuminated, Okenite fills a space with such colour and intensity that the rays seem nearly tangible.

Through careful design iterations, Okenite embeds both structure and immersive effects into one single layer of material. The amorphous form is designed and calibrated using parametric software, and manufactured using digital fabrication with manual assembly. Sheets of acrylic laminated with a highly reflective, color-bending film are laser cut into individually unique strips with tabs and slots. Each ring is folded and friction fit together to create the self-supporting shell. The sheets are flat-packed, saving shipping costs and lessening environmental impacts.

Like a split geode, the inside of the lantern is as spectacular as its exterior effects. Gleams and sparkles bounce from the inner structure and transmit through to the outside. The Okenite lantern is both a fascinating art object, as well as an apparatus for utterly enlivening a space.

The Okenite lantern’s nebulous shape measures approximately 10 x 10 x 10 (L x W x H). The shell is made of laser-cut 1/16 clear acrylic laminated with Dichroic Film. The laser-cut strips are assembled using a system of friction fitted slots and acrylic keys to produce the overall form. Okenite uses a 110 V Halogen Capsule that produces a crisp white, bright light.

Toronto, Canada

Phidias born from the desire to create a simple, elegant and clear object. The essence of the lamp is fixed in a pure geometric shape, regulated and crystallized by the golden ratio. Nothing can break free from this ratio or the whole system would fall apart. The materials used for the construction of the lamp, concrete and metal, remain consistent to the given theme: the passage from the liquid phase to the solid phase that characterizes the two materials is the perfect example of crystallization. The choice to avoid any joint that allows to adjust the lamp emphasizes the perception of a crystallized structure. Avoiding any stylistic preconceptions, an archetypal and materials-oriented object is crafted, through which light shapes and models everything that surrounds us.

The lamp is 60 x 37 cm and weighs about 6 kg. It consists of a single metal element, welded in angles of 90 degrees at the points where the geometry changes. The base of the lamp, a concrete cube of 14 x 14 x 14 cm, is poured into a wood formwork (which will be subsequently removed) so as to incorporate the metal rod at one of the corners. No glues or other fixing materials are used. The power cable passes through the rod; the bulb is fixed so as to hide the lamp holder inside the rod.

Valenza, Italy

Assembled from intricately laser-cut birch panels, the Phi Pendant explores the interplay of mathematics and aesthetics, in the unique geometry of the dodecahedron.   

In the modern era, this perfect 3 dimensional form has been found to be at the heart of many complex systems – notably in the braiding of the crystalline structure of all living DNA. 

Aesthetically, the Phi Pendant offers its homage to this study of crystallography by utilizing a cage-wound Edison bulb.  The bulb emits multiple points of light, which pass through each of the lamp’s ornate faces, creating overlapping shadows upon the surrounding surfaces, very similar to the interference patterns that crystallographers use to decipher the structure of matter on the smallest scale.

The design aspects of the Phi pendant utilize a traditionally crafted arabesque ornamentation (an homage to Islamic design), this ornamentation is then digitally manipulated to create the appearance of perspective and a self similar image of a dodecahedron at the center of each face.  This quality of self-similarity is another feature of quasi-crystals, and natural patterns of growth throughout the world.

Balanced between ancient and modern, aesthetic and mathematic, the Phi Pendant illuminates one of the most compelling forms of our emergent world.

The lamp presented is 26 wide, and is constructed out of laser-cut birch panels.   Birch is chosen for its strength, light color (which when finished with natural shellac takes on a rich warm tone), and its sustainability as a fast growing renewable wood source.  

The panels are connected via polyethylene connectors, specially designed to be laser-cut flat and folded to achieve the dodecahedron’s complex interior angles.  Panels are connected via aluminum or brass 3/8 screw-posts.

The design is scalable from 10-48, and while presented at LAMP as a hanging pendant, is also easily modified as a table lamp.

Vancouver, Canada

Concrete sets as a chemical reaction – it does not merely dry. In essence it crystallizes, becoming pure as in the scientific purifying process of crystallization; and in fact concrete contains crystals such as ettringite and silica. The timelessness and raw function of concrete in today’s plastic world render this versatile medium a thing of true beauty, helping us to build, purify, crystallize our world. The designer’s unusual pairing of concrete and copper (normally corrosive) with protective sleeving allows a juxtaposition of warm, malleable metal with pure concrete. A row of frosted bulbs mirrors the structural concrete pillar with a rounded, glowing softness. The copper tubes become increasingly discordant between these two opposing pillars, as each tube must bend at a more significant angle than the last to create a linear pillar of light. A dimmer ensures soft, candle-like lighting from this reimagined candelabra.

20 high x 18 wide x 6 deep (base). A/C power. Pure concrete pillar with variations on the surface left by forms. Steel plate base. Ten malleable copper tubes at varying degrees of curvature to accommodate a straight line of round frosted bulbs. Heat shrink sleeving over copper tubing protects from corrosion. Sockets screw into brass fittings soldered onto tubing. In-line dimmer. Single strand wires finished with classic black bakelite marettes over brass fittings. Drilled and tapped holes in steel plate base and screwed in two threaded rods. Built forms and positioned copper tubing; poured concrete with tubing in place.

Canada

One of the most intriguing of all crystalline structures is the humble Pyrite. It seems to defy conventional expectations of a crystal – completely opaque, with a brassy metallic lustre, it’s often dubbed ‘fool’s gold’. It’s a slight indictment of human valuation that we considered this aesthetically worthless (machining rarer stones to force beauty out of them) while commonplace Pyrite naturally forms interlocking cubic crystals of astonishing complexity. It is this sense of organically geometric intrigue that has inspired the form of this concept light.

Indulging the designer’s love of a bad pun, ‘Pylite (2015)’ is a modular luminaire element that behaves as an individual crystal prism, combining in cuboid or planar arrays that can become table, pendant, wall lights, or even walls ‘of’ light. Using multi-angle connection points that incorporate electrical routing, and cunningly hidden onboard transformers, ‘Pylite’ can scale dramatically to become far greater than its discrete elements. The carefully crafted shape uses triangulation to gain maximum strength from minimal thickness steel, while also obscuring the connectors and ultra-efficient LED lightsource from direct view. The result is a soft indirect halo of light that turns the brass plated finish a brilliant gold… foolish or not.

Single Unit: 400x400x120mm

Cubeform (Table/Pendant): 400x400x400mm

 Planar (Wall/Pendant) - Variable e.g. 1250x960x120mm for 3x4 array

Lightsource (each): Tridonic Stark LED strip ring (⌀200mm) // 8.3W // 1080lm // 3000K(WW) // 240+120V Converter can be integrated per unit or remote for whole array depending on application

Material: Stamped 1mm Steel Sheet (shape enables initial small runs to be produced by brake press folding and seam welding until sales justify stamp tooling)

Finish: Brass Plating (cosmetic plating at a modernised electroplater is more environmentally and economically sustainable than solid brass, which has inferior stamping properties and worse mining impact than steel)

Melbourne, Australia

Inspired by the physical beginnings of crystals, we sought to break the specimen down to its multifaceted structure and unique ability to manipulate and reflect light in a playful way, while remaining a solid form. The materials that we selected imitate these same properties. 

Constructed from solid maple hardwood, the base allowed for a multifaceted shape of transparent plexiglass and mirrored acrylic to be built upwards — mimicking the formation of crystals and their protrusion into one another. LED lights illuminate the plexiglass and are reflected by the mirrored acrylic, creating countless visual illusions and beautiful shifts from light to shadow. 

reflektere is both functional and aesthetically pleasing. It is a table lamp with subtle accent lighting, a mirror, and a sculptural object.

3/8 X 8 1/2flexible led strip with ac/dc adapter 12v

3/4 maple hardwood:  11 x 5 1/2 R

2 3/4D x 11 W

3/8 slot 

1/4 plexiglass:         

3 - 8 1/2 D x 23 1/2 H 

with 1/4 x 12 slot  

1/8 mirrored acrylic:    

11 w x 24 h with1/4 x 12 slot

plexiglass & mirrored acrylic to be cut with laser cutter

solid maple to be cut with cnc

4-  3/8 dowels

flat pack shipping 

consumer assembled

Vancouver, Canada

With the proliferation of 3-dimensional representation and the ability to quickly create forms of geometry of unbound complexity due to rapid prototyping and desktop manufacturing, this project asks how we might derive form and meaning through making? Shade-conc is the result of a series of explorations of the form/formwork relationship in casting processes: in which a liquid becomes solid due to an exothermic reaction. Consistent in the initial plaster cast experiments was a notion of large removable aggregates - material which can be removed upon the completion of the curing process. This allows pockets to open up in the otherwise opaque material for the transmission and diffusion of light. The geometry of the refined white concrete variation is a cellular-solid lattice due to the self-organization of the aggregate. Due to the flexibility in the process (size and number of aggregates versus the volume of concrete used), each individual cast is geometrically unique from any other and completely indicative of its own moment of creation. Suspension of clusters of the lights allow the individual differences to be observed, while the consistent visual language allows a larger spatial occupation.

The casting process involves casting white concrete into a formwork which utilizes a variable number of small latex balloons (aggregates) that are placed within a single larger balloon contained (formwork). The cast is allowed to cured while suspended to minimize any disruption to the form within. Each individual object is approximately ±6 inches in diameter. A custom 3D-printed socket house a halogen bulb (with 1 diameter glass diffuser) with a tripod mounting pads for mounting and suspending the shade.

Winnipeg, Canada

Southdinavia is a lamp inspired in the Nordic design, but designed and produced in the south, more precisely in Uruguay.

By taking in consideration the textures and colors used in the north, the point was to crystallize one idea, once concept, into a product.

Using ash and hanex, Southinavia sums up the nordic design, in one minimal lamp.

The hanex is treated with a cnc machine and thermoforming.

The wood is treated by a carpenter and with matte varnish endings.

Dimensions: 30x40x170cm

Uruguay

The Spicule Mini Pendant celebrates the geometric growth and crystallization of calcareous sea sponges. Sponges grow by excreting spicules through their sclerocyte cells. As the spicules crystallize, they form a mathematically perfect pattern. However, mathematic perfection belies reality as external forces cause natural blemishes, permanently individualizing and uniquely branding the sponge.

The manufacturing process for the ceramic pendant grasps at capturing this geometric perfection, while respecting the naturally occurring blemishes. A single spicule is used to create a module; the module is then patterned by a series of rules. Next, the form is 3D printed with a low resolution and large nozzle revealing an evident grain. While the geometry of the 3D print is flawless, the print itself can, and will be, affected by external forces leaving behind minor imperfections. The printed part is then cast in rubber, transferred to a plaster mold, and cast in white earthenware slip, where it is glazed and fired. Each step captures its own blemish or mark, permanently individualizing the piece.

Height:         90mm without bulb

            185mm with bulb

Diameter:     55 mm without bulb

            80mm with bulb

Cord:         5M UL listed 18-3 SVT fabric wrapped cord

Plug:        15A 110V NEMA 5-15 angle plug Leviton UL       listed

Bulb:         Frosted G25 Halogen 40 watt

Socket:        Heavy duty grounded porcelain socket Leviton UL listed  

Pendant:    Low fire glazed ceramic matte black test finish shown – still exploring glaze content ratios and color bodies  

Hardware:    Brushed solid brass with clear matte finish – also exploring satin nickel, and matte black oxidized finishes

Kearney, United States

An unique shape of the lamp-shade called STONE is a result of developing affordable product with low-cost production, eco-friendly, optimized for logistics and aesthetics.

The aim was to fit the lamp-shade in the envelope. Flat packaging dramatically decreases logistics costs what reduces CO2 emissions.

The proportions of the lamp are based on natural geometry of crystals.

Designer has put a great deal of effort into creating harmonious proportions.

The lamp is lightweight and can be installed in a very short time on the most of electric fittings.

We decided to use thin plywood as the material gives a warm and natural color to the light. A light of this lamp is shining through the wood, which makes the structure of the wood visible. At the same time polypropylene elements with his unique luminous qualities underline the geometric shape with its white sharp light.

STONE combines two opposite materials - plywood and polypropylene leaves - which made us very creative in developing the connection of them by only mechanical parts, easy to asemble by the user.

Functionality: Plywood parts are coated with white paint inside what casts plenty of light downwards.

Polypropylene pieces difuse the light around the lamp.

Dimensions: Diameter = 32 cm Height = 27 cm

Weight: 290g

Materials: Birch Plywood / recyclable Polypropylene

Light source: any E27 Bulb. We recommend LED bulb 360 degrees.

Fabrication techniques: Manufacturing Process: It's made by local producers in birch plywood, which is a recyclable material. One side of plywood is painted white, then laser-cut. , Polypropylene leaves could be created by cutting mold in mass production or by cutting plotter.

Krakow, Poland.

Taking it back to the very basics. This lamp is a combination of a traditional oil burning lamp toped with a hand thrown porcelain shade. 

Each shade is measured, and precisely thrown to fit exact to the lamp body itself. When the lamp is at a max light level the porcelain glows in full body. Exemplifying the truest, and greatest characteristic of porcelain.Translucency.

Combining one of the oldest crafts; wheel throwing, with the oldest concepts of 'the lamp' the Stoneoil stretches, bends, and changes the way we view one of the oldest methods of lighting.

Height: 17 1/2 Inches

Diameter: 4 Inches

Greece/ USA

The verbs crystalize and crystalizing, led me to focus on the notion of something becoming crystal-like in nature. In addition, while reading the concepts that inspired this years theme, the word 'dissolving' resonated with me. This led me to seek, materials that could be explored in various dimensions. Thus reminding me of a visit to a metal fabrication studio a few years ago, were I noticed multiple bins of brass scraps by the back wall. These brass scraps, set aside for the recycling process, left a strong impression on me; as I was quite intrigued by its existing granular texture. 

I chose to work with brass, due to its sustainable nature and its ability to go from fragmented pieces to granular bits. I aimed to represent this sort of disintegration in an organic yet controlled manner. Resin resolved the challenge of working with the loose brass scraps, as it would be mixed in with the brass to give it a definite form. 

In addition, this lighting fixture is multi-functional, it can be hung elegantly like a pendant light and the void in the middle was intentionally designed to allow the users to mount it as a sconce if desired.

The main materials for this piece is resin and varying forms of brass. Cast resin would be poured into a mold to achieve the desired structure, and brass scraps would be strategically embedded into the mold. The LED light would be a separate component from the resin structure and would be attached last, to fit into the resin grove following its shape. The proposed height for the fixture is 12 while the width is 14.

Lagos/New York/Toronto

In Oaxaca, Mexico where this lamp was made Tamala means pumpkin. It’s hard to imagine a more familiar and universally accepted food. Pumpkins have been cultivated in this area for more than 7000 years. The Aztecs prized them for their seeds and the Mayans for their oils and the shells for drinking vessels. Today their ingenious use continues, in soups, sweets, sauces, snacks and more.

Inspired by the form of the pumpkin, Tamala has been brought to life by the designer and a dedicated group of skilled artisans in a boutique lighting studio in Mexico. Utilising a uniquely formulated recycled glass designed to remove colour and impurities and allow malleability to the glass, each piece is skilfully blown into a carefully prepared metal frame crystallizing into reality in a gentle and controlled manner. The lamp is then carved by hand with precision to specific dimensions, just like the fruit, no two are the same. Once alight the surface affords a unique optical effect crystallizing upon the surrounds in a deep, warm and intimate light.

Tamala hang well by themselves in an intimate residential environment or equally as a group in a commercial environment. Tamala: available in eight colours and transparent.

The Tamala pendant lamp has been crystalized skilfully into reality in a glass blowing studio in Oaxaca, Mexico.

The colour for each lamp is heated by hand and dropped over a freshly formed crystalline bubble. More glass is then gathered, hand formed and expertly blown into a specially designed metal frame. When cool, each piece is then individually cut, carved and polished by hand to exacting dimensions (H. 225mm D. 250mm). 

The Tamala is complemented with a contemporary pendant lighting system including a metal canopy, cord-set, and E-26 socket allowing the Tamala to illuminate warmly with all lamp options.

Canberra, Australia

The TRIM floor light is part of a series of light fixtures which explores the volumes created when slicing away sections of a geometric body. The planes created from single points are the source for illumination. The sum of the points, lines, and planes create a solid form, as in to crystallize. 

TRIM refers not only to the process to create the form, but also to the lamp's dimming function, carried out by a simple trimpot, or potentiometer; to trim both form and light.

Proposed dimensions: 19w x 11d x 36h.

Materials: brass tube, LED, solid-surface / stone base.

Custom-machined brass tubes, CNC-cut base.

Hand-assembled in Brooklyn, NY.

USA