Herman Miller Leaf Light | 叶鞘LED台灯

Herman Miller,美国家具商的巨头,他们的产品见证着美国设计的发展。Leaf Light是他们近期新推出的一款LED台灯(LED不再是趋势,而是潮流),在ICFF 2006上展出,设计者为著名的Yves Béhar以及他领导的fuseproject

Leaf Light的两片铝制叶子通过一个简单的铰链连接,顶端三排突起的孢子形状安装了20个LED灯,每个突起中有一个细孔为灯泡提供散热(不需要风扇),头部和颈部也有散热通道让热量可以传递到底座上得到散发,由于这种高效的散热设计,你可以随时操作这个灯。底座有一个调光器,在Leaf Light的专门网站上有效果演示,可以调整光的亮度和颜色(冷暖色,操作感觉如同iPod的飞轮一样),当然,可以根据个人的喜好来更换灯头。Leaf Light比普通灯泡节约40%左右的能量,寿命为10万小时,售价$525.

Yves Béhar也是一个很会说故事的设计师,“我认为设计的目的不仅仅是给我们看到未来,而是把我们带到未来”,Leaf Light和Yves Béhar其他一些让人着迷的设计一样,有一种非常恰当而舒适的平衡,商业化和原创设计之间,技术和形式之间,相对缥缈的品牌文化和可触及设计吸引力之间,清新和性感之间……一样是优雅苗条流线型,可以和Ross Lovegrove为Yamagiwa设计的


Leaf Light是 Herman Miller和Yves Béhar合作四年的结果,businessweek有一篇文章 A Lamp to Light the Way介绍,家庭办公,散热,节能,LED,外形等等。(metropolis不久前也介绍了Yves Béhar–All About Yves),摘录以上文章一部分:

    “I believe design’s purpose is not only to show us the future, but to bring us the future。”

    “When working with clients, my philosophy is to connect emotionally through ideas and content rather than style,It’s less about this or that aesthetic and more about meaningful conversations where people come to agreement in terms of approach and direction.”

    “More people are taking work home, and at the same time, offices are becoming like home,” he says, referring to the ever-increasing length of American workweeks. “But there aren’t too many products truly adapted for work in the home.”

    “What we did was look at tech not as tech but as way to keep things simple and intuitive,” Béhar says. “We want to convey that tech is at the service of the human, setting up mood and feel. It enhances our lives.”

    “I said it first. In 1999 I said, ‘Design brings stories to life,’ and I don’t think there were a lot of people talking about narrative then, at least not in industrial design.”

    The final storytelling component, the thing that makes the tale worth telling, Béhar says, “is how people intuitively understand this story and complete it with their experience of the product.”

    What I wanted,” Béhar says, “was to give somebody the ability to modulate light and to allow the light to consider the different emotional needs that the human would have.”

    “I can apply something that probably every European designer thinks of–this emotional connection, designing from the inside out, creating great space–but I can push it further by using technology as an asset rather than a constraint.”

    “The only thing I was good at in school was writing–not drawing–and doing work in the theater.””[On stage] it’s the content that always drives the style,” he says. “There’s more humility in the theater because you’re subservient to the text.”

    “gives a completely different meaning to the work. A lot of people think it’s bullshit, but that’s how I do the work. I can’t go back. I have a story to tell pretty much about everything I do. That’s where I find meaning. Without it, it would be just a job.”