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This story began at a stone company where Filip discovered a huge pile of redundant scrap stone like marble and travertine, in theory unusable for any natural stone project and destined to be destroyed. Mesmerised by the patterns and imperfections in the marble and travertine pieces, Filip took some of them home and imagined this lamp. The material was beautiful by itself, with all its imperfections. So the specific design of “Lunair” brings those imperfections to light.
At the top of the marble plank, two 45° miter corners form the hood of the lamp housing the cable and the LED-strip. The LED strip embedded in the stone acts like a lamp over a painting. “Lunair” diffuses a soft light like the sun that lights the moon. The natural stone is not treated, so no hazardous substances have to be used. The fabric cable is pinched in a slit that runs down at the back of the lamp. The transformer is cased in a small untreated wooden box. All parts can be separated in a quick and simple way.
Born January 29th 1964, Belgium Formed as a Latin and History teacher. Self taught furniture and interior designerFilip Janssens first started designing modular made to measure furniture for his own home. In 2008 he opened his own design studio in order to develop his personal approach to product and furniture design and art projects. Filip Janssens also collaborates with design editors like Per Use and Serax.Filip Janssens brings out his own designs like the modular Flex collection. The past years he is exploring the use of waist materials like scrap wood, redundant scraps of travertine and marble both for the sustainable character and the real aesthetic qualities. This resulted in the reclaimed Lunair lights that won a Henry Van De Velde Award in 2020 in the category design-led crafts.
Recently he is working on Trinity, a design project in collaboration with Circular Matters using local waste materials that are 100% plant based. These materials are made from rescued beer grains and from brand and both can be 3D shaped like plastics through the use of moulds. Trinity will consist of a series of bowls made from these natural residue streams. Trinity will also be available in a reclaimed marble and a reclaimed ash wood version.
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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