Bold forms challenging conventional light
This pendant light is the result of a collaboration between Centrsvet and Karim Rashid, a collection of slender, elongated, and curved objects that, with glossy colors and a scratch-free surface, aim less to solve a lighting problem and more to redefine the physical presence of a light source in space. At first glance, the familiar signs of Karim Rashid’s design language are evident: twists, soft yet alien forms, synthetic colors, and polished surfaces rooted in his idea of “digitalizing emotion.” But does this language still hold meaning in the context of a professional lighting product?
On a technical level, the use of the DIM DALI 2 protocol for controlling light intensity shows that performance and adaptability to architectural lighting systems have been considered in the design. This choice, instead of simpler control systems, indicates a more serious approach toward functional and project-based spaces. But the more critical question is what kind of light these pendants actually produce, and what their use is. Given the shape of the design, the light distribution area is highly limited, a focused beam with a narrow reflection angle exits from the end of each module. This means no ambient light is produced, and the goal is solely to highlight specific elements in space: a surface, a table, or an object. This focus, if consciously used in interior design, can be effective, but if mistakenly used for general lighting, it fails at the very first moment.
Looking at the overall structure, there is a kind of controlled freedom in choosing the modules. Each of the pendants can be used independently or in combination, and this capability, in theory, increases design potential. However, in practice, such a form of freedom without guidance or spatial logic results in visual chaos. This design requires a professional user, someone who knows where to use a vertical module, where an angled one, and where a split form. The forms, despite their differences, do not share a common language, and this is precisely where the responsibility of decision-making falls on the project designer, not the product manufacturer. This can be both an advantage and a weakness: an advantage if in professional hands, a weakness if chosen merely for its aesthetics without understanding.
But the most important point is Karim Rashid’s design philosophy itself. He is among those designers who do not aim to respond to conventional market needs, but rather seek to create forms inspired by digital experience, new consumerism, and abstract formalism. In his view, design is a psychological process, not an engineering one, and for this reason, many of his works are closer to visual language than to problem-solving. This same view is visible in these lights: a form that, before thinking about function, thinks about its presence in space. This choice, in the context of functional design, only succeeds if it does not sacrifice performance. If the end user is looking for a lighting tool, this design is overly flashy, but if the goal is to create a conceptual, exhibition, or luxury space, it can fit well in that role.
In conclusion, this product is for those who do not see design as merely a function of performance and are ready to manage risk in a project. Its advantage lies in the identity it carries, an identity not necessarily successful or flawless, but clear and recognizable. This clarity of design, in an era where most lighting products seek imitation or neutrality, is a respectable quality. However, it should not be forgotten that this clarity does not work in every project, and only in spaces capable of absorbing it can it find meaning. It is neither a universal solution nor a purely decorative product, but something in between, which becomes a real tool only in the hands of a professional designer.
Brand : Centrsvet
Designer : Karim Rashid
Prize: LIT Lighting Design Award
