What was the inspiration for »Emily«? How did the idea emerge?


The source of inspiration for Emily was a photograph by Andreas Gursky. In his »James Bond Island« series, he shows a digitally arranged group of islands in Thailand that appear to be floating in the ocean. Of course, these are actually only the tops of mountains. While the shapes of these islands are quite heterogenic, together they form something of a family. Through the organic, pyramidal shape, the islands appear to be connected. From a distance, the ocean seems to be a hundred percent flat plane, which ›cuts off‹ the bottom of the islands. The idea was to lift out these islands from the ocean, and to make lampshades that float in space. If they hang at the same level, it should be possible to create the vague impression of a mountain landscape that has lost contact with the ground.

How would you describe your style?


I don’t feel obligated to any particular style, and dogmas were always alien to me. Variety in creativity is the most important thing. Also, atmosphere and intensity play an important role in lighting design. I want my designs to move people (and of course also myself). If the response to my products is an indifferent shrug, then I have definitely failed to achieve my goal.

What do you associate with the Berliner Zimmer?


My first apartment in Berlin had a kind of Berliner Zimmer. Unusually, it was the entrance area, which was connected to an open kitchen. In the end, the layout meant that most of the life that happened in the apartment took place in this rather dark room.

In which part of the Berliner Zimmer do you envisage your product? Where would place your product and why?


The larger versions of Emily have the effect of defining a space, above a large dining table, for example. For this reason, they fit very well into the darkest area of a Berliner Zimmer, facing away from the window. They are able to lend character to this very gloomy corner, and of course to give light.

In your opinion, how important is design for society?


This point is generally completely underestimated. Just a few examples: Beautiful places are rarely afflicted by vandalism. They have a positive, gracious influence on people. Intelligent and well-designed automats don’t cause frustration, and prevent long queues. Efficient, networked transportation systems save time and bring us together more easily. All of this is design, and its importance is enormous.

When are you impressed by design?


If it has a position and character, and at the same time has been implemented intelligently. In contrast, repetition and arbitrariness are extremely boring.

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