Iron Lighting Products and Fixtures Design · 2025
Gala Decorative Lighting
- A' Design Award 2025 Iron Winner in Lighting Products and Fixtures Design
- Awarded April 15, 2025
- CLIENT: Gnt Interior Architecture
- Estimated Number of Design Views: 18,129
- Verification code CE6E3CBC15 · Verify this award
About Gala Decorative Lighting
The rose, as the natural element with the highest frequency, brings its energy into any space in which it resides. Building on this concept, the bud form has been stylized to enable its use across various functions within interior settings. With multiple connection options, it serves both as a decorative object and as a lighting element, utilizing the translucency of its porcelain body. It can be adapted as a table lamp, wall sconce, or pendant light. A concealed light source emits a gentle glow from within the bud. Through handcrafted production, the sustainability of craftsmanship is upheld.
H. Guliz Tavukcuoglu's Gala Decorative Lighting represents a sophisticated contribution to contemporary lighting design that bridges functional illumination and sculptural artistic expression, situating itself within the rich tradition of European decorative arts that recognizes the pendant luminaire as a site of creative investigation and aesthetic accomplishment, the design demonstrates clear lineage connections to the organic modernism that emerged in Scandinavian countries during the mid-twentieth century when designers sought to soften the austere geometries of early modernism through forms inspired by natural growth patterns, botanical structures, and biomorphic abstraction, yet the work engages these historical precedents through distinctly contemporary material sensibilities and fabrication possibilities, the formal achievement of this lighting series resides substantially in the masterful integration of contrasting material languages, the warm burnished brass or bronze finished components establish a visual and haptic warmth that invites human connection while grounding the design in craft traditions of metalworking that extend across centuries of decorative arts production, the alternating use of warm and cool metallic finishes along the suspension rods creates subtle visual rhythm and demonstrates thoughtful attention to how light interacts with varying surface treatments, the most striking accomplishment appears in the blown glass shades themselves which exhibit exceptional sculptural sophistication in their organic teardrop or seed-pod morphologies, each form suggesting natural precedents such as developing buds, water droplets arrested in freefall, or the elegant teardrops of rain striking surfaces, yet abstracted and refined through a design intelligence that understands proportion, balance, and the expressive potential of asymmetrical apertures and voids, the decision to pierce certain forms with vertical metallic rods creates a bold compositional gesture that unifies structure and shade while establishing dynamic visual tension between the yielding organic glass volumes and the rigid geometric linearity of metal elements, the translucent opalescent quality of the glass invites contemplation of how form transforms through illumination, suggesting that these objects exist in dual states as sculptural presences during daylight hours and luminous glowing forms when activated as functional light sources, the compositional arrangement of three fixtures at varied heights demonstrates sophisticated understanding of how multiple elements can create spatial rhythm and visual musicality, the staggered suspension suggesting a gentle cascade or the natural variation found in clustered botanical growth, thematically the work explores the intersection of utility and beauty, investigating how objects designed to serve fundamental human needs for illumination can simultaneously function as sources of aesthetic pleasure and environmental refinement, the design invites consideration of how contemporary makers continue traditions of elevating everyday functional objects into expressions of cultural aspiration and artistic sensibility, how might the experience of daily life be enriched when surrounded by objects that demonstrate this level of material consideration and formal thoughtfulness?
Press Kit
- Unique Properties
- The stylized bud-shaped porcelain body has a different appearance from different angles and has the freedom to use in various functions with different base shapes. It can be used as a decorative lighting, as a pendant lighting, either individually or in groups, on a console or as a wall sconce, depending on the place of use. The thin and light-transmitting feature of the proselene emits a soft light. The Led bulb can be easily changed, and being hidden inside the body provides visual comfort.
- Dimensions & Packaging
- Height 260 mm. Diameter 120 mm. Translucent Audrey Blackman Porcelain. Brass. Led. 3000K.
- Tags
- rose, bud, sconce, lighting, brass, porcelain, decorative design
- Production Technology
- The stylized bud form was created by casting into a plaster mold. The porcelain process includes drying the first clay, biscuit firing, fine wet sanding, glazing and final firing. Transparent cables pass through the brass connection pipes. All the ceiling or wall connections, intermediate connections or holder parts are connected to each other with a natural brass materials countersunk head insert system. The Led bulb is hidden in the light-transmitting porcelain model with a brass socket.
- Design Challenge
- Since the slightly inclined stance of the rosebud and the flow of its organic form that tapers upwards towards the tip are quite difficult to shape by hand in porcelain clay, a 3d model was created and the plaster mold casting method was preferred. The holes where the brass fittings would pass for the desired angle were opened while the clay was wet. It was necessary to adjust the shrinkage rates of the porcelain clay when it was fired.
- Project Duration
- The project started in the ceramics workshop in Istanbul in November 2023. Production work has been ongoing in Istanbul since February 2025 and is planned to be exhibited in June 2025.
- Operation Flow
- This decorative lighting collection is a versatile model. If mounted on the power line, it functions as a lighting fixture. It can be used as a decorative object in areas without an electrical connection. While the transparent glazed surface inside the model sends light upwards, the light-transmitting structure of the porcelain offers a soft light. It can be used on the table, on the nightstand, and you can decorate different areas as a pendant on the ceiling or as a wall sconce.
- Research
- Wanting to integrate his professional experiences with his own name, the designer focused on the philosophy of the "rose" and the frequency it emits, based on the meaning of her name, in order to leave a trace in the space, and directed the concepts of "other" and "gaze" in Jean-Paul Sartre's existential philosophy into a stylized form. Our existence is shaped by the gazes of others. The stylized model inspired by this philosophy gains meaning according to the viewer.
- Inspiration
- The rose, a natural product with the highest frequency, carries this frequency to the environment it is in in every form. It represents love and balance. The idea of carrying this high frequency of the rose to spaces and spreading the energy of serenity and love to the human soul has been an inspiration. In the stylization of the rosebud form, the concepts of the "other" and the "gaze" in Sartre's existential philosophy have been guiding, and the freedom to perceive from different perspectives, shaped by the gazes of others, has been the main goal of the design.
- Image Credits
- Resim #1: 3D Artist, İhsan Doğancıl, 2025,
Resim #2: 3D Artist, İhsan Doğancıl, 2025,
Resim #3: 3D Artist, İhsan Doğancıl, 2025,
Resim #4: 3D Artist, İhsan Doğancıl, 2025,
Resim #5: 3D Artist, İhsan Doğancıl, 2025, - Patents
- pending patent number 2024/010946
Colors of Gala Decorative Lighting
Get Gala Decorative Lighting
Grand Interview about Gala Decorative Lighting
To celebrate my 30th year in the profession, I created a collection that bears my name and reflects the meaning of that name. This is how “GÜL’İZ” was born—the trace of a rose. I wanted each design to carry a trace of myself, bringing not only light but also energy and meaning to the spaces it inhabits. The rose, one of nature’s highest frequencies, inspired me with its symbolic elegance. Thus, every piece transformed into a sculptural form that leaves my imprint and resonates with a subtle, uplifting energy in its environment.During this process, Sartre’s concepts of “the Other” and “the Gaze” served as a philosophical guide. An object, after all, is not shaped solely by its creator, but also by the one who looks at it. That’s why I designed my forms to be open to interpretation—layered, free, and responsive. I wanted viewers to project their own emotions and perspectives with every gaze.The resulting stylized, sculptural forms are not merely lighting objects—they are elements of a narrative of existence. Each line carries both a personal imprint and space for meaning. By merging the grace of the rose with Sartre’s questioning gaze, I aim to build an intellectual and emotional bridge between light and space.
The translucent porcelain body in Gala Decorative Lighting represents one of the most technically and aesthetically demanding aspects of our process. Working with porcelain at such a thin level—allowing light to pass through while maintaining structural integrity—requires a delicate balance. The greatest challenge lies in completing the firing without cracks or deformation at this thinness. When porcelain drops below a certain thickness, it becomes fragile and tends to lose its shape in the kiln. For this reason, we conduct many experiments and develop different methods to achieve the desired form.In custom porcelain production, we choose casting clays that best reflect both the intended form and the light quality. We apply a multi-stage, highly controlled firing process; every detail—from ensuring uniform wall thickness in the mold to monitoring humidity levels and kiln temperature—is followed meticulously. While finding the perfect balance takes time, the resulting soft and calming glow adds an elegant touch to the space.
At the very beginning of the design process, I wanted Gala Decorative Lighting to adapt seamlessly to different spaces and lifestyles. Today, living environments are dynamic and multi-functional; users seek lighting objects that are not only aesthetically refined but also versatile and transformable. Gala’s modular structure meets this demand by allowing the same object to function as a table lamp, wall sconce, or pendant. With interchangeable components and connectors, it offers the user the freedom to reinterpret the object over time.This flexibility comes from approaching design not just as a static object, but as a dynamic experience. The effect of light also transforms depending on where the light source is positioned, enabling the user to create distinct atmospheres with a single piece. This philosophy reflects the rising importance of “customizability” in contemporary interior design.
Porcelain and brass are very different from each other in terms of their textures and symbolic meanings, but when they come together, they create a strong balance. The delicate, light-permeable structure and elegant-chic stance of porcelain and the durable, shiny, timeless and luxurious character of brass complement each other. This contrast creates both a visual shine and a sense of balance. Brass details not only serve a structural function; they also have a signature feature that emphasizes the elegance and permanence of the design.What inspired this combination was the harmony of contrasts that we often encounter in nature. I wanted to establish a connection between finesse and solidity, light and matter, fragility and continuity. It was important for it to adapt to interior designs with different concepts with both a luxurious touch and a simple visual line. At the same time, brass ages by gaining patina over time, which gives the object a living, organic identity. From this perspective, I wanted to create an object that transforms with the user, both on an aesthetic and functional level.Porcelain and brass are very different in terms of texture and symbolic meaning, yet when brought together, they create a striking harmony. The delicate, light-transmitting nature and refined elegance of porcelain contrast beautifully with the durable, lustrous, timeless quality of brass. This interplay not only provides structural integrity but also adds a sense of visual brilliance and balance. The brass elements serve as more than just functional components—they act as signature details that highlight the design’s grace and lasting presence.The inspiration behind this pairing came from the harmony of opposites often found in nature. I wanted to build a relationship between finesse and strength, light and matter, fragility and permanence. It was important that the piece could integrate into various interior concepts with both a luxurious touch and a minimalist aesthetic. Over time, the brass develops a patina, acquiring an organic, living character. In this sense, I aimed to create an object that evolves with the user—both aesthetically and functionally.
Gala was born as a symbolic expression of my 30th year in the profession. It is not merely a design; it marks a turning point for me—a moment of self-reflection. Over the years, my relationship with form, function, and material has grown more nuanced. In my interior architecture projects, I have always valued how identity reflects in space, and I wanted this principle to resonate throughout the collection. Today, I find it essential to embed emotional and intellectual layers into my designs. Gala is the result of that evolution. Through every detail, I wanted to express that design is not just an object—it can carry traces, memories, and energy.Each object that enters a space becomes part of the lives and stories of those who inhabit it. That’s why Gala’s contours tell a personal story. It’s a piece completed by the viewer’s gaze, whose meaning deepens over time. A design that unites the trace of the rose with Sartre’s philosophy, forming a bridge between my past and present. This delicate balance gives it both a personal and a universal language.
Gala’s organic and gently curved form was a challenge in itself when crafted with traditional porcelain techniques. Porcelain is a fragile material that struggles to maintain its shape at high temperatures. Curved surfaces that are difficult to balance are especially prone to deformation during firing. At this stage, we introduced 3D modeling technology. From the earliest sketches, we created digital prototypes to test how the balance and center of gravity would behave.However, technology alone wasn’t enough. Collaborating closely with our skilled artisans, we carefully translated each digital form into physical reality. The mold-making process demanded millimeter-level precision, as even the smallest proportional error could cause the shape to warp after firing. To preserve the form, we employed a combination of experimental techniques. This hybrid approach — blending digital accuracy with handcrafted expertise — enabled us to create a product that is both technically robust and aesthetically refined. This fusion of tradition and innovation deeply shaped Gala’s character.
The rose is a very powerful plant both symbolically and at a frequency level. It has been a symbol of beauty, love and spiritual elevation throughout human history. At the same time, research shows that the rose has one of the highest vibration frequencies in nature. With the idea that the rose carries its highest frequency to the space it is in in every form, Gala's rosebud-like form was born. This form represents not only an aesthetic preference, but also the desire to carry positive energy to the space.I stylized and abstracted the rose form; in this way, it both gives a familiar feeling and evokes a universal sense of beauty. The soft spread of light passes through this form and spreads into the space. This provides both visual and emotional comfort. My aim was for Gala to be felt not only as a lighting object, but also as a sculptural object that balances the energy of the environment it is in. In this respect, the design carries an intention beyond aesthetics: to establish a connection with people, space and emotions at a frequency level.
The hidden LED lighting system we used in Gala is one of the most essential elements, serving both the spirit and the function of the design. Light is not only for seeing—it has the power to shape atmosphere, set the mood, and transform spatial perception. That’s why I approached light intensity and distribution by asking: How should someone feel in this space? I envisioned a light that softly filters through the rose form—gentle on the eyes and evenly diffused.The idea of lighting as a kind of breath inspired me—not too intense, not too faint. Soft, but perceptible. The concealed LED source adds a poetic dimension to the experience: the light itself is invisible, yet its presence is deeply felt. At the same time, LEDs support this choice on a technical level with their low energy consumption and long lifespan, aligning with sustainability. The result is a lighting experience that offers both emotional resonance and physical comfort.
During the design process of Gala, Jean-Paul Sartre’s concepts of the “Other” and the “Gaze” became guiding principles for me. According to Sartre, a person becomes aware of their own existence only through the gaze of another. Inspired by this idea, I wanted Gala to carry a meaning that shifts and transforms depending on who is looking at it. Each viewer brings a unique interpretation through their mood, experience, and perception.That’s why I shaped the forms to be open-ended, avoiding any fixed or absolute expression. The stylized and sculptural pieces reveal different meanings from every angle. Gala is not a static object; it comes into existence through the gaze, redefining itself with every look. In this way, the design transcends its physical presence and takes on a philosophical dimension. Each observer is given the opportunity to rediscover a part of their own existence through the object.
Gala, as the first piece of the “GÜL’İZ” collection, holds both a symbolic and guiding meaning for me. Carrying the trace of the rose, this collection has evolved beyond pure aesthetics to embrace a deeper sensory and philosophical dimension. Whether used alone or together, Gala and the other pieces create a sense of presence—a subtle but meaningful touch within the space. Each object should tell a story, not merely provide light, but build an emotional connection with its surroundings and stand as a sculptural form even when the light is off.This approach is leading me toward more interdisciplinary and conceptual explorations in both current and future designs. I want to create products that are not only functional, but also metaphorical—blending art, philosophy, craft, and technology. The interest and fulfillment that Gala has brought affirmed how meaningful this journey truly is. From now on, I will more boldly seek ways to leave a lasting trace with every new design.