We've seen drinking vessels re/upcycled into lighting before, but I'm amazed that the simple idea (or brief) to "turn a teacup into a lamp" can yield two wildly disparate results, as in these two recent designs. (Perhaps it is only fitting that one is a glazed white ceramic and the other is a strange yet organic matte black.)
First up is a lamp by Portuguese designer Gonçalo Campos, who creates minimal yet whimsical housewares "in a process that starts from inside of the object towards the outside." I was quite taken with his latest design, the "Nata" lamp, a tabletop ambient light that resembles a tipped teacup (a third handle serves to prop it up).
A ceramic lamp, with gentle curves and a classical look, borrowed from the shapes of table top ceramic wear. It is actually made from a rehabilitated mold, only rearranged... The result is this gentle and familiar shape, that only with slight changes now serves a whole new purpose.
The name "Nata" means "cream" in Campos' native tongue, obviously referring to the lamp's original purpose and its color while obliquely describing certain formal elements as well, i.e. the handles and the scalloped base, which evoke "Nata's" namesake.
Lucrecia Moribunda's "Pagoda" is rather less metaphorical in name, focusing instead on a grandiloquent statement:Again utilizing modern ceramic dishes from the depths of the cupboard, I have fashioned a grandiose, ever extending, seven tiered floor lamp profusely immersed in suede floral at every juncture; the piece intrepidly stretches upward bearing similitude to some decorative tower residing in the the Englischer Garten jostling for the most advantageous altitude. Each tier boasts a right side up cup and saucer pairing while the base coupling projects a more contrasting point of view, the bottom being inverted and "closed" as the top re-establishes congruence proceeding upward in stringent allegiance, "opened."
Of course, the serialized form—which also vaguely resembles a spinal column—speaks for itself: at first glance, I thought the exterior was slathered in rough bronze scales. Alternately, "Pagoda" looks as though it has been thoroughly charred and its skin might eventually flake off to reveal its true form beneath. The ultimate effect, for me, is decay... which is not to say that the lamp isn't beautiful.
(Alas, Lucrecia Moribunda—a pseudonym, obviously—doesn't seem to have a website or online portfolio... any readers happen to have any additional details?)
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