It’s hard for me to consider something without contemplating it from an architectural standpoint, even smaller objects have to collide with the principles of structure and form. Originally I thought this was part of the way that I see the world, the way in which my eye follows line and my appreciation for a certain way of doing things. But I now think my viewpoint has been swayed over the last few months, especially after a short trip to Los Angeles where I viewed a lot of modernist and mid-century architecture.
One person that I didn’t think would affect me in the way that he did was American architect Frank Gehry. I’ve seen many of his buildings in pictures and books, but never in person. I tended to think that his works were brash and forced, standing out a bit too much, but seeing them in person is a different experience altogether. I was intrigued by the way that he combines different shapes and materials, also using perception and flowing forms to intrigue and amaze. Since being back I’ve spotted this influence across the board. For example the Bauhaus and their use of circular, square and triangular forms that overlap and intertwine, alongside the bold primary colours. This is probably what drew me to these playful geometric lights by Danish designer Vibeke Fonnesberg Schmidt.
The lights that I picked out are from her SETTANTA and DICIOTTO series, both made from plexiglass and assembled in a brass construction. Some of the lights are scaled bigger, others slightly more complicated, but overall I like the idea of this changing composition. Not only when it’s hung, but also the light shining through at different stages in the day. It’s almost like it’s a living thing. I’m sure everyone will have an opinion regarding the colour combinations, but I’m more concerned with the actual concept and the fluidity of the piece, I think she’s got a great platform for new experiments with such a formation. For more works from Vibeke Fonnesberg Schmidt head on over to her website via the link below, you can also check out her page on Normann Copenhagen highlighting her other wooden version of this geometric light titled BAU.