Iestyn Davies ᱨᱮᱱᱟᱜ Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ)

Iestyn Davies ᱨᱮᱱᱟᱜ Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ) ᱫᱚ ᱞᱟᱭᱴᱤᱝ ᱩᱛᱯᱟᱫ ᱟᱨ ᱯᱷᱤᱠᱥᱪᱟᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2021 A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱥᱳᱱᱟᱞᱟᱭᱴᱤᱝ· 2021

Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ)

Iestyn Davies ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: Contemporary Chandelier Company

ᱞᱟᱭᱴᱤᱝ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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#113498 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ) ᱵᱟᱵᱚᱛ ᱛᱮ

Translucence ᱫᱚ ᱢᱤᱫ ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱨᱮ ᱛᱤ ᱛᱮ ᱚᱸᱜᱚᱭ ᱟᱠᱟᱱ ᱠᱟᱺᱪ ᱪᱷᱟᱭᱟ (ᱥᱮᱰ) ᱟᱨ ᱢᱤᱫ ᱩᱠᱩ ᱟᱠᱟᱱ ᱢᱟᱨᱥᱟᱞ ᱡᱟᱭᱜᱟ ᱢᱮᱱᱟᱜ-ᱟ᱾ ᱠᱟᱺᱪ ᱫᱚ ᱢᱤᱫ ᱚᱯᱴᱤᱠ ᱢᱚᱞᱰ ᱨᱮ ᱚᱸᱜᱚᱭ ᱦᱩᱭᱩᱜ-ᱟ, ᱡᱟᱦᱟᱸ ᱛᱮ ᱢᱚᱴᱟ ᱟᱨ ᱯᱟᱛᱞᱟ ᱥᱤᱫᱷ ᱦᱟᱹᱴᱤᱧ ᱠᱚ ᱛᱮᱭᱟᱨᱚᱜ-ᱟ ᱡᱟᱦᱟᱸ ᱢᱟᱨᱥᱟᱞ ᱠᱚ ᱥᱟᱯᱲᱟᱣ ᱟᱨ ᱯᱟᱥᱱᱟᱣ-ᱟ᱾ ᱛᱟᱞᱟ ᱨᱮ ᱢᱤᱫ ᱞᱮᱡᱚᱨ ᱛᱮ ᱜᱮᱲ ᱟᱠᱟᱱ ᱮᱠᱨᱟᱭᱞᱤᱠ ᱰᱤᱴᱮᱞ ᱫᱚ LED ᱢᱚᱰᱩᱞ ᱠᱮ ᱜᱮᱨᱮᱫ ᱟᱠᱟᱫᱟ ᱟᱨ ᱧᱮᱞ ᱡᱚᱥ ᱥᱮᱞᱮᱫ-ᱟ᱾ ᱛᱟᱞᱟ ᱦᱟᱹᱴᱤᱧ ᱨᱮᱭᱟᱜ ᱯᱮᱭᱟ ᱨᱚᱠᱚᱢ ᱟᱨ ᱯᱮᱭᱟ ᱢᱟᱯ ᱮᱢᱚᱜ ᱠᱟᱱᱟ᱾ ᱢᱤᱫ ᱢᱤᱫ ᱪᱷᱟᱭᱟ ᱫᱚ ᱛᱤ ᱛᱮ ᱛᱮᱭᱟᱨᱚᱜ-ᱟ, ᱚᱱᱟᱛᱮ ᱢᱤᱫ ᱢᱤᱫ ᱴᱩᱠᱨᱟᱹ ᱫᱚ ᱠᱟᱴᱤᱡ ᱟᱞᱜᱟ ᱦᱟᱹᱴᱤᱧ ᱢᱮᱱᱟᱜ-ᱟ᱾ Translucence ᱫᱚ ᱮᱥᱠᱟᱨ ᱥᱮ ᱢᱤᱫ ᱢᱟᱨᱟᱝ ᱪᱮᱱᱰᱮᱞᱤᱭᱟᱨ ᱨᱮ ᱢᱤᱫ ᱡᱟᱭᱜᱟ ᱛᱮ ᱥᱮᱞᱮᱫ ᱠᱟᱛᱮ ᱵᱮᱵᱷᱟᱨᱚᱜ-ᱟ᱾

ᱢᱟᱱᱟᱱ

A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ) ᱫᱚ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱟᱨ ᱥᱩᱱᱫᱚᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Translucence ᱯᱮᱱᱰᱮᱱᱴ ᱞᱟᱭᱤᱴ (ᱦᱟᱠᱟᱣ ᱢᱟᱨᱥᱟᱞ) ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: Each individual pendant light can be viewed as a unique bespoke object, each subtly different from the next. The laser-cut acrylic detail to the centre creates focus and further enhances the light source; emulating the same material properties of the main body yet offering precision, detail, and durability; not properties readily associated with glass on such a small scale. There are three variables of the intricate central section and the pendant has been designed to operate as a stand-alone design or within a multi-array feature chandelier. Future design considerations will include a wall light and a desk top version.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: Small - w: 120mm x d: 70mm x h: 120mm - approximately 100 lumens.
Medium - w: 170mm x d: 95mm x h: 170mm - approximately 100 lumens.
Large - w: 220mm x d: 110mm x h: 220mm - approximately 130 lumens.
Available in 2700K, 3000K or 5000K.
Materials: Glass (hand blown from 0% lead crystal,
Acrylic (housing for cob tape) LED cob tape
Mild steel threaded bar 2 x decorative lock-nut
Decorative cast acrylic laser-cut detail to centre Mirrored acrylic centre
Switch: customisable (via 12volt driver from mains supply) and mains dimmable.
ᱴᱮᱜ ᱠᱚ: Light, Pendant, Chandelier, glass, optical, aesthetic.
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: Firstly, we experimented with how to package the LED cob tape, creating the core of the design. We produced countless acrylic laser-cut variations whilst exploring numerous hot glass forms, at the furnace side, using different optic moulds, reheats, shapes and proportions. We then explored different shapes and thicknesses of the delicate laser cut centres that sit immediately around the light source. All components were then brought together and, several iterations and months later, we were finally satisfied that we had captured the required aesthetic.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: As a lighting designer/maker, I strive to create something that does not already exist elsewhere; ultimately encouraging the observer to hopefully question how is this made or even where the light comes from?
In this project I wished to explore how to produce around 100 lumens emanating from the smallest light source, creating an exciting aesthetic based around energy economy and longevity. The design became a balance between aesthetics and function.
The greatest challenge, however, is how to ensure what is essentially a handmade item can be fully reproduceable in volume. The glass shade is a bespoke element, relying entirely on the skills of the glassmaker to repeat what is intrinsically, a non-conformist process. The answer is to use due care and diligence, and two sets of callipers.
ᱜᱚᱵᱮᱥᱚᱱᱟ: We wished to design a luminaire around our own dedicated low energy light source. We generally prefer to hide the light source wherever possible and use its effect through the various substrates to provide illumination. When you shine light through a clear substrate, it passes straight through unless it hits an ‘interrupter’. In this design we use the thicker and thinner cross section of the glass to catch and transmit the light; when you blow a hot, round glass bubble into an optic mould, the glass blows into the vertical grooves forming thicker vertical stripes.
ᱯᱨᱮᱨᱚᱱᱟ: Iestyn Davies is both a glassmaker and lighting designer; inspiration came from wishing to reinstate the traditional craft-based technique of hot glass to a bespoke contemporary process rather than that of mass production. The goal was ultimately to combine this singular material with the emerging LED cob technology, even though the light source was hidden from view:to explore the unique properties of variable thickness optical glass and experiment with the interplay between two interactive glass surfaces, natural and integral light and ultimately explore a luxury aesthetic.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: This project started in June 2020 in London, with a series of glassmaking trials and lighting tests. It then moved to the Contemporary Chandeliers’ main studio in Shropshire, in August 2020, as part of an ongoing investigation into sculptural glass components.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: The LED cob light is rated at 50,000 hours and can be changed by removing the rear locknut and drawing out the assembly from the front. The cob unit can be disconnected via two screw terminals and another unit be introduced by reversing this process.
ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ: Designer : iestyn Davies
Technical Director: Simon Mewett
Technical Manager: Dan Nore
Glass Maker : Elliot Walker
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Image 1 - Photographer, Simon Bruntnell, Translucence 1, 2021
Image 2 - Photographer, Simon Bruntnell, Translucence 2, 2021
Image 3 - Photographer, Simon Bruntnell, Translucence 3, 2021
Image 4 - Photographer, Simon Bruntnell, Translucence 4, 2021
Image 5 - Photographer, Steve Parry, Translucence 5, 2021