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The table lamp Light Drops Big was developed by the design agency e27 Berlin and produced in cooperation with the manufacturer Pulpo. This is a lamp in a vintage design, which has modern attributes during processing. The table lamp Light Drops are available in two different size versions, Light Drops Small and Light Drops Big, the latter has a diameter of 32 cm and a height of 14 cm. The body is made of glass and is smoke in the colors gray, turquoise or purple commercially available. This special glass case is made and mouth-blown by hand.

The top of the table lamp is perforated and can be optionally selected in shiny copper or powder coated metal in white-gray. By perforating the copper or metal lid, the light falls in a very special manner on the environment in which the lamp is located. Due to the vintage look of the table lamp Light Drops Big this is easy to combine with all kinds of interior styles. The base of the lamp is encased in cork and the electric cable with gray fabric. The table lamp was designed in 2013 and first produced, and is nominated for the German Design Award 2014.

With modern displays, people don’t need as much ambient light in the workplace, although most offices are still oppressively bright, seeming more like dorms, hospitals, or bus stations than a place of contemplation, or calm interaction. I bet we will see a transition to offices more like libraries, or quiet cafés. And of course, modern research demonstrates that people are much more creative when the lights are turned down.

Those are a few of the reasons that I admire the design sensibilities of the Light Drops lamps from e27 Berlin.

Also, this incorporate the new rejection of stainless steel and the fascination with copper and matte, powdered metals: the decline of industrial aesthetics in the postnormal.

Steelcase Global Posture Study

Technology is the single greatest force driving the changes in the way we work, live and behave. 

The multiple devices we deploy throughout our work day allow us to flow between tasks, fluidly and frequently. And the user interface of these technologies are increasingly intuitive and responsive to the gestures of the human hands and face. 

But what about the interface between the rest of the body and the place in which the device is being used? What about gesture recognition for the human body? 

While our technologies have continued to advance, no one has designed for the impact of these technologies on the human body, or for the physiology of how work happens today. 

Until now. 

Steelcase studied how our devices are changing the way we sit: the connection we have with our devices, desk, and chair. The system interfaces where out arms, core, and seat touch and push against the chair.

The result is the new Steelcase Gesture chair, which I would like to try for a week or two. (Are you listening, Steelcase?)

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