With these modular designs the end is never in sight. By simply attaching each component end-to-end, these pendants stretch the limits of modern illumination while simultaneously creating volume within empty space.
Monorail systems are state-of-the-art configurable lighting solutions that allow custom styling with minimalist appeal. Monorail can be formed by hand into configurations suitable for a wide range of both residential and commercial settings. It can be installed in straight runs, field-bent to create organic shapes, or arranged to follow architectural details.
Louis Poulsen is a Danish lighting company that was founded in 1874. Louis Poulsen is known for several iconic pieces by famous lighting designers Poul Henningsen and Arne Jacobsen. Louis Poulsen’s approach to lighting lies in a very strict and uncompromising product philosophy grounded in simplicity. All elements must serve a light-related purpose.
Pablo Pardo, has been at the forefront of innovative lighting design since he established his eponymous company in San Francisco two decades ago. The Venezuelan-born designer offers an extensive collection of modern floor, table, and suspension fixtures that bridge the gap between timelessness and technological innovation.
The Lightyears brand infuses the natural trinity of light, functionality, and aesthetics into the fundamental creation of beautiful illumination. Founded on a strong Scandinavian legacy, Lightyears pushes boundaries with its progressive designs that renew and innovate traditional Danish lighting with modern interpretation.
Just a few years ago, the design of LED lighting largely mimicked the familiar forms of incandescent lighting. Now, innovative designers are leveraging the unique traits of LED technology—along with the latest advances in areas such as light quality and diffusion—to create distinctive decorative lighting designs.
Outdoor entryway lighting serves several important purposes: it welcomes guests, enables a bright, safe passage towards the door and a way to identify visitors, as well as offering a favorable first impression with a hint of “jewelry” at the front of your home.
To call Jonathan Adler prolific is an understatement. The New York City-based ceramicist and designer long ago moved beyond just vases and tabletop accessories to put his signature cool and cheeky mark on everything from needlepoint pillows to handbags and hotel design, debuting new creations at a fast and furious pace. To produce his latest series of lighting designs, however, he partnered with the esteemed North Carolina lighting company Robert Abbey.
Jason Miller, the founder of the contemporary-lighting company Roll & Hill, has been an innovative force in industrial design ever since he launched his first Antler chandelier in 2003. That piece became a lighting icon in trendsetting venues like the clubby Freemans Restaurant in New York City, and sparked the Back to Nature movement so prevalent today in interior design.
We caught up with Miller in his Brooklyn studio to discuss scalable custom design, the return of chandeliers, and the American aesthetic.
You launched Roll & Hill in 2010, but made waves with your own studio nearly a decade prior. How would you describe your aesthetic?
Jason Miller: My aesthetic is different from Roll & Hill, actually. In the late 1990s I took part in a design show in which I made chairs that looked like they had been ripped and duct-taped together, vases that looked like they had been broken and reconstructed. But they were beautiful objects. Most of my work then, and at my studio still, had a conceptual bent to it. Roll & Hill is really another thing altogether.
JM: I started Roll & Hill with one mission, creatively: to make lighting for the American market. At the time, that was a pretty novel idea. Most contemporary lighting came from Europe—Italy, in particular—and many had a similar aesthetic. All I was trying to do was pick designers and designs I thought would appeal to the American market. Obviously, since I was the one choosing them, it had to do with my taste, but I really was trying to work in a language that Americans can understand.
What would you describe as the American aesthetic?
JM: Americans want something that feels comfortable and rich, not minimal, not alien. The best products for us are ones you can sell to your grandmother or to an office building, in middle America and in New York. One of our best-selling collections is Agnes, which speaks pretty well to that idea.
Did you intend to focus only on lighting?
JM: It became apparent early on that the few lighting fixtures I had made on my own were the most lucrative objects. Decorative lighting has made a big comeback. No one was installing chandeliers in the 80s but now they are everywhere. But more importantly, lighting fits the format of an independent designer very well. There is a lot of room for expression, and you can make them on a small scale. That was really the genesis of Roll & Hill.
Roll & Hill seems like a creative collective. How would you describe the process?
JM: We’re not really a collective. I reach out to designers I want to work with and license from them. The original collection was 12 products from Partners & Spade, myself, Lindsey Adelman, Rich Brilliant Willing, and Paul Loebach. We’re still a handful of designers; I’m not interested in having one piece from a million different designers. I try to get a critical mass from a few that I believe in. We work through the design with the designer, and then we take over everything from that point forward. Because we make everything on such a small scale, every piece can be customized.
Do you think that being made in America has anything to do with your products’ success?
JM: It matters to us. I should say that we do that for a very practical business reason. Because we make everything on demand, working locally and working one at a time is better for our business. There are other companies that do this in a big way these days. And yes, our clients absolutely care. People want it the way they want it. Lighting is the jewelry for the room; it has to be made exactly for that space. And sometimes the object in our catalog is exactly right, sometimes it needs to be bigger.
Your lighting is contemporary. How could you see it incorporated in a more traditional space?
JM: Just because its called contemporary lighting, don’t be afraid of it. Familiarity is the key—the best products, people recognize them as contemporary design and are not put off by them, they are not alienating. I think that is what the Eameses did. They were introducing America to a very new aesthetic, but it was easy to adopt.
Is there a favorite piece in the Roll & Hill collection?
JM: They are all my favorites! However, the Agnes Chandelier with 14 lights is a great piece because it was specifically designed to be used in areas where there isn’t much ceiling height. Often it is hard to use chandeliers in this type of space because they hang too low. This 14-light Agnes extends outward so you can have all the impact of a big chandelier in a small space. Also, the Woody Endless straddles the line between rustic and contemporary, which makes it great for a variety of different interiors from a cabin in the woods to a minimal home in the city. I also like Rudi (the single loop) especially when it’s hung from a very high ceiling, like in a stairwell. It feels like a piece of jewelry.
These days, Brooklyn is ground zero for innovative design—including modern lighting. It started percolating about a decade ago, with the opening of concept design stores like The Future Perfect and Matter, which featured established and emerging talents from Brooklyn and beyond.