Ambientes

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Solución mural de aparador de líneas limpias y elegantes con multitud de posibilidades de almacenamiento.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Recovering the typology and style of the old wooden chairs, Laclasica redefines tradition with a bath of simplicity and contemporaneity. The silhouette of this chair seems like it has always been with us, and yet it is new and avant-garde. Laclasica is a chair full of curves that continue the undulations of the human body, blending in with them. Its shape is sensual and welcoming.

Characteristics:

• Design: Advanced 3D molded wood technology allows you to create a chair with pronounced curves in the seat and back that adapt to the body. The classic is light and durable. All the wooden pieces are assembled together by means of an aluminum injection piece under the seat, which gives the chair enormous strength.
• Wood: Laclasica is made of ash wood from European forests with sustainable management. The ash is clean and contemporary, and STUA applies a very natural matt finish to it. First the wood is stained, and the color penetrates deep into the ash. It is then protected with an acrylic layer. Both factors give it great durability.
• Stackable: the Laclasica chair can be stacked on the ground up to four units. Rubber spacers protect the seat surface. These studs can be easily removed if the chairs are not to be stacked.
• Seat: the seat has a curved front edge to facilitate circulation in the legs. The seat can be upholstered in any of the fabrics from the STUA Kvadrat collection, in eco-leather or in STUA leather. The foam is thin to maintain the aesthetics of the chair.
• Cleats: Laclasica always has rubber cleats that can be easily replaced by felt cleats. These extra pegs for delicate floors are shipped with each chair.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Striking the perfect balance between geometric and organic shapes, the contoured curves of the seats in this collection offer maximum support, enveloping the body with its slim shell. Offering the kind of seating experience that energizes in the morning, helps connect during the day, and invites relaxation at night, the Harbor chair effortlessly blends into any setting, instantly becoming ideal for a kitchen, office, private dining room or busy cafeteria, and making us feel at home.

pure lines. Materials that are pleasant to the touch. Superior comfort. The Harbor collection was conceived with all this in mind. When a design concept is reduced to the essentials of comfort, utility and aesthetics, it becomes a banner. From its initial concept, it takes on endless forms, adapting its form and function to various needs, while its identity remains intact. Thus began the story of the evolution of the Harbor collection. The result is an infinitely versatile and comfortable collection of chairs and tables for contemporary spaces.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Made from recycled cast aluminium, the Oyster wall lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Designed with an LED light source, the Oyster wall lamp plays with light and shadow to highlight the uniqueness of the material, as well as its organic shape.

Made from recycled cast aluminium, the Oyster wall lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Designed with an LED light source, the Oyster wall lamp plays with light and shadow to highlight the uniqueness of the material, as well as its organic shape.

Made from recycled cast aluminium, the Oyster wall lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Designed with an LED light source, the Oyster wall lamp plays with light and shadow to highlight the uniqueness of the material, as well as its organic shape.

Made from recycled cast aluminium, the Oyster wall lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Designed with an LED light source, the Oyster wall lamp plays with light and shadow to highlight the uniqueness of the material, as well as its organic shape.

Made from recycled cast aluminium, the Oyster wall lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Designed with an LED light source, the Oyster wall lamp plays with light and shadow to highlight the uniqueness of the material, as well as its organic shape.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

Made from recycled cast aluminium, the Oyster table lamp has a decorative and organic shape thanks to its soft and dynamic curves. Evoking shells collected from the beach, the lamp's texture and finish have a distinctive, rough expression due to the casting process, and the interplay between its organic shape and raw surface creates an irresistible contrast. Emitting a soft and cozy diffused light, the Oyster table lamp is a functional as well as sculptural piece that will add a high decorative value to your home.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

This design is based on Poul Henningsen's celebrated three-shade system, created in 1925 to shape exceptional glare-free lighting.
Henningsen's approach to lighting was notable for its scientism and was the basis for the design of many other luminaires. He used the lituus curve as a foundation and achieved a uniform light distribution thanks to the multi-shade system that reduced glare as well as shadows.
PH 80 was created in 1974 in homage to what would have been the 80th anniversary of Poul Henningsen, as its name indicates.

*Currently the version with a high-gloss Chrome finish has a delivery time of more than 12 weeks. All other versions are in stock.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

This vase was the first piece to be designed from the now iconic Échasse collection .

Theresa Rand was inspired by test tubes in a laboratory. Its drop shape gives it an elegance that is compatible with a reception desk, a living room or even a bedside table, whether it contains flowers or not.

In its smoked glass version, available in three sizes, the unique color gradients of the glass give it a depth that contrasts with the clean lines of the brushed brass base.

The small version of the vase is also available with the clear glass and the bronzed brass base, a classic combination to complement any interior, in an ideal size for more compact spaces.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

The Mini Barcelona clock is a piece with refined lines. Reduced version of the successful Barcelona model. Clock made up of a double black fiberglass ring, which combines walnut pieces with metallic details.

The clocks for interiors of the Nomon firm are made using traditional processes. These pieces of great visual impact are perfect for creating contemporary environments with a strong avant-garde accent.

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

La lámpara de mesa PH 2/1 Limited Edition unifica algunos de los elementos de diseño más reflexivos y estéticamente notables de Henningsen. Una obra atemporal concebida para aportar una cálida sofisticación a la vida cotidiana.
Para honrar el legado de Poul Henningsen y su ingenioso trabajo con la luz, Louis Poulsen presenta esta edición limitada especial de la preciada lámpara de mesa PH 2/1.

Esta exclusiva versión presenta unas pantallas de vidrio soplado de color terracota polvoriento con 4 capas de acabado, que acentúan la forma orgánica de las pantallas, combinadas con una estructura de latón envejecido con acabado en laca.
Esta lámpara solo estará disponible desde el 1 de octubre hasta el 31 de diciembre de 2024 inclusive. El número de identificación se encuentra en el interior del marco superior.

La lámpara PH 2/1 Limited Edition se entrega en una caja marrón con una funda impresa especial, dentro de una bolsa de fieltro Louis Poulsen. La caja contiene una tarjeta para obtener 10 años de garantía, si el producto se registra en "Registre su producto".

Ver producto relacionado

Celebre 150 años de innovación con la nueva Panthella portátil Anniversary, una edición especial que rinde homenaje al diseño atemporal de Verner Panton.

Inspirada en la icónica lámpara de mesa Panthella, esta versión compacta y recargable le permite llevar la elegancia del diseño danés a cualquier lugar. Con su forma orgánica y su suave luz difusa, la Panthella portátil crea una atmósfera acogedora y sofisticada. Su base en forma de trompeta refleja parte de la luz hacia arriba, proporcionando una iluminación ambiental perfecta.

Esta edición especial se distingue por su acabado superior de latón metalizado, que brilla intensamente tanto encendida como apagada. El latón metalizado, además de conferir un aspecto elegante y duradero, garantiza que la superficie no se deteriore con el uso, manteniendo su brillo original.

Su diseño atemporal y su calidad excepcional la convierten en una pieza de colección que podrá disfrutar durante muchos años.