oser coûte que coûte...

17 Pins
·12y
three lights are on top of a tripod with two legs and one light bulb in the middle
Light objects and lighting design
Frank Buchwald - Machine Light Series - Model n°12
a lamp that is on top of a stand with some wires attached to the base
Light objects and lighting design
Frank Buchwald - Machine Light Series - Model n°09
a lamp that is on top of a wooden stand with two lamps attached to it
Light objects and lighting design
Frank Buchwald - Machine Light Series - Model n°07
an old fashioned machine with two lamps on it's sides and one light turned on
Light objects and lighting design
Frank Buchwald - Machine Light Series - Model n°04
two lamps sitting on top of a table with one light turned on and the other turned off
Frank Buchwald - Machine Light Series - Model n°02
an old fashioned lamp with three lamps on it's legs and one light bulb in the middle
Light objects and lighting design
Frank Buchwald - Machine Light Series - Model n°01
three empty bottles are lined up in front of each other on a white surface,
Fragrance by Alexa Lixfeld | Dezeen
Fragrance by Alexa Lixfeld
a colorful vase with an animal on it's top sitting on a black surface
The Dustcollectors of Sebastiaan Straatsma - Kaboom - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.
a colorful glass vase sitting on top of a white table next to a black background
sebastiaanstraatsma.com
The Dustcollectors of Sebastiaan Straatsma - Akakak - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.
a colorful vase with graffiti written on it
sebastiaanstraatsma.com
The Dustcollectors of Sebastiaan Straatsma - Akakak - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.
a black vase sitting on top of a reflective surface in front of a dark background
The Dustcollectors of Sebastiaan Straatsma - Hidden - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.
a black and white photo of a vase with an artistic design on the front side
The Dustcollectors of Sebastiaan Straatsma - Amube Black - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.
a black and white photo of a vase with an artistic design on the top, in front of a dark background
The Dustcollectors of Sebastiaan Straatsma - Amube Black - Choosing not to get lost in the development of an original form, he opted to work against artistic codes and reinvented an existing product. The vase’s formats are familiar and striking in their use of predominantly brightly coloured epoxy threads resulting in an improbable lightness. Sebastiaan Straatsma realises that the real value of this project is in the study of the limits of form and function.