His installation of lampshades, his drawings and his three small books revealed an intense study of geometry and form. Visually breathtaking, Lacham’s ‘lampshades’, twist and turn in mid air.

Lacham explains the background to his work.“...It was just a few days before my flight, and my friend asked me to come over to his place. He wanted to show me something – it was a wonderful lampshade from Italy, and it was the biggest lampshade I had ever seen.

The scale of it was extraordinary; the shade was one and a half metres high and the stand was created from timber. It made everything in the room feel smaller, including me.

I was staring at the cardboard box that it came in; it was bigger then the lampshade. I was thinking about the long journey of this box, travelling from Milan, Italy, all the way to my friend’s flat...

“I started thinking about the journey of a lampshade in a cardboard box.

I investigated current methods of manufacturing lampshades, and I used the same methodology in my design process. My thought was to use local industries and materials.

These were the guidelines that gave my work consistency throughout my journey. It was here where I started my journey. I called this journey... The Identity of a Lampshade.

I investigated the contradiction inherent in the word ‘lamp’ and ‘shade’. There is a gap between the lamp and the shade, through which a conversion and my design is conducted.

I divided my work into three books, The Trapezoid Story, The Identity of a Lampshade and Twenty Four Frames Per Second. I began searching for early examples of lampshades, and became interested in the Tiffany lampshade. It led me to the archetypal form of the trapezoid. It was here that I started my journey.

The Trapezoid Story is about exploring a single identity, and demonstrating the result of viewing it from different perspectives. The sketches in this book, made of paper cuts, illuminate different narrative possibilities.

The Identity of a Lampshade is an exploration of my design process. It illuminates the identity of a lampshade from the perspective of design theory, and studies in form and rhythm.

It is a link between my first book, The Trapezoid Story, and my third book, the catalogue of my lampshades, Twenty Four Frames Per Second. It is also where my thoughts and ideas are generated, a place of translation between stories and objects.

Twenty Four Frames Per Second is a catalogue of twenty four lampshades. My lampshades are objects – they represent the outcome of my journey.”  

comments powered by Disqus

More Articles

Lights and brights

Lights and brights

Three members of the colour and trim team at General Motors Holden in Melbourne spoke to Curve’s Belinda Stening about local and international trends in automotive colour.

Play, Share, Work
Fabric of sustainable society

Fabric of sustainable society

Nature and the landscape are key issues for Gabel, a fabrics brand that produces its textiles in five plants located in three different regions throughout Italy.

Share
The democratic design 
of Yves Béhar

The democratic design of Yves Behar

Yves Béhar and his San Francisco design studio fuseproject are well known for the design of the XO laptop for the not-for-profit One Laptop Per Child (OLPC) program, formed at the Massachusetts Institute of Technology by architect and computer scientist Nicholas Negroponte.

Share, Work

A twist on shade

Nenufar Sunshade, by Yonoh for Samoa Design in Spain, is designed to be flexible in outdoor spaces, with the natural symmetry mimicking the shape of a lily pad.

Rest