Tag Archives: desk lamp

Nevi Brings a Little Playfulness to the Serious Desk Lamp

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There is something oddly comforting about an object that can lose its balance and find its way back. Nevi takes that small, almost childlike pleasure and turns it into a sculptural desk lamp. Inspired by the classic roly-poly toy, it borrows the familiar idea of wobbling, recovering, and returning upright, then translates it into a much quieter and more refined design language.

At rest, Nevi feels calm and almost architectural. A rounded stainless-steel base anchors a slender vertical stem, creating a silhouette that feels minimal without becoming cold. But the lamp is not meant to simply sit still. Give it a gentle touch, and it begins to sway, moving smoothly before gradually returning to its upright position. That subtle interaction gives Nevi a personality that most task lights never attempt to have. Instead of being an object that disappears into the background of a desk, it responds to the person using it.

Designer: Andrei Ananenka

The movement is deliberately restrained. Nevi does not perform tricks or demand attention. Its appeal lies in the small moment of interaction: the slight push, the controlled oscillation, and the satisfying return to equilibrium. It makes something as ordinary as a desk lamp feel tactile and surprisingly alive.

Material plays an important role in that experience. The lamp is made from AISI 304 stainless steel and finished entirely by hand. The lower portion of the spherical base has a satin-brushed finish that feels soft and durable, while the upper section is mirror-polished. When Nevi moves, that polished surface catches fragments of the room around it, making reflections shift across the base as the lamp rocks from side to side. The combination of brushed and reflective metal gives an otherwise simple form a sense of depth and movement even before the light is switched on.

For all of its sculptural qualities, Nevi remains a functional desk light. Its focused beam is designed for activities such as reading, writing, and working, with high color fidelity that keeps illuminated surfaces looking natural. The lighting itself is kept intentionally precise rather than flooding the surrounding space, which suits the lamp’s controlled and disciplined character.

Much of the complexity required to create that simplicity remains hidden inside. The designers had to carefully balance the lamp’s internal weight so that its tall, slender body could move freely without ever feeling unstable. The proportions, center of gravity, and duration of each movement were all studied to make the oscillation feel smooth rather than awkward or mechanical. Even the stainless-steel body quietly performs another role by helping manage the heat created by the light source, allowing the clean silhouette to remain uninterrupted.

Perhaps Nevi’s most interesting idea, however, arrives before the lamp itself is even revealed. Its packaging was designed with the same self-centering behaviour as the product inside. Rather than becoming an elaborate box that is admired for a few minutes and then stored away or discarded, the high-grade aluminum package has a second life as an ambient light.

After unboxing, a wireless warm LED illuminates a CNC-milled silhouette of the Nevi lamp on the lid, turning the packaging into a small illuminated object for the interior. It can also rock and return upright, echoing the movement of the lamp itself. The package therefore becomes part of the product story rather than an accessory that immediately loses its purpose.

That approach makes the sustainability thinking behind Nevi feel particularly natural. Instead of asking the user to feel responsible for disposing of premium packaging correctly, the design simply gives them a reason to keep it. The box becomes another useful and visually considered object within the home.

The research behind Nevi focused heavily on movement and perception. The designers explored how far an object could tilt, how quickly it should recover, and how long the motion should continue before returning to stillness. Optical studies helped refine the quality and direction of the light, while material experimentation informed the contrast between the satin and mirror-polished finishes. Each decision seems to support the same broader idea: making the lamp feel calm, responsive, and almost instinctive to interact with.

Nevi is ultimately compelling because it brings emotion into a category that is usually defined by utility. It does not reinvent the desk lamp through screens, smart controls or complicated technology. Instead, it uses something much simpler, the pleasure of touch, movement, and return.

There is a quiet metaphor embedded in it too. Push Nevi away from its natural position, and it does not fight the movement. It follows it for a moment, sways, adjusts, and eventually comes back to where it belongs. What began as the behaviour of a childhood toy becomes the defining character of a sophisticated lighting object, turning balance itself into part of the experience.

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This Limited Edition Desk Lamp Has Four Legs and Looks Like It’s Alive

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The line between product design and sculpture has been blurring for years, but most objects still declare their purpose plainly. A lamp looks like a lamp. Its form is a familiar enough gesture that it becomes invisible, something you reach for and forget. The more interesting territory is what happens when a designer begins with something alive and works backward into a functional object.

That’s what Hazel Villena did with the Bean Lamp, a limited-edition desk light designed in Brooklyn in 2026 that functions as a light source and a quietly unsettling presence at the same time. Villena started with the creature first and then solved the engineering around it. The legs exist to hold the disc of light. That they read as limbs is entirely deliberate.

Designer: Hazel Villena

The body is cast copper with a chrome finish, sculpted into a low, wide stance on four tapered legs that curve and splay at angles borrowed more from biology than furniture. A polished aluminum ring joint at the center holds the matte polycarbonate diffuser in place, and the integrated LED disc inside throws a soft, contained pool of warm light across the surface beneath it.

At 10.5 inches long and 4.5 inches tall, the Bean Lamp is compact enough to sit on a desk or shelf without dominating the space, though it tends to hold the eye. Proportion was a significant part of the design process, giving an elementary silhouette more gravity than its simple form suggests. The chrome catches light, the matte disc diffuses it, and the four curved legs suggest something caught mid-pause.

There’s also how it comes apart. The Bean Lamp is mechanically assembled rather than bonded, which means it can be fully disassembled when needed. The shade and LED unit can each be replaced or upgraded independently, extending its life beyond any single component. At the end of its life, the copper body and aluminum ring separate cleanly into existing metal recycling streams, a quiet argument for longevity built directly into the object.

The lamp runs on a 12V cord with an in-line switch, keeping the operation uncomplicated. Plug it in, turn it on, and it does what a lamp is supposed to do: lights a small, deliberate area of wherever you’ve put it. What it also does, and what takes longer to resolve, is sit there looking like it might eventually decide to move on its own when nobody’s watching.

It reads differently across the room than it does up close, and differently still once it’s switched on. Villena’s stated goal was an object that sits in a deliberate blur, familiar enough to understand, strange enough to stop you. The Bean Lamp lands there without apology and seems to have no intention of clarifying itself further.

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This Moon-Inspired Lamp Has No App, No Cord, 100% Recycled Aluminum

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The lamp has gotten interesting again. What was once a fixture relegated to task lighting and matching living room sets has turned into something more intentional, especially among people who care about how their spaces feel at different times of day. Cordless, portable table lamps have become a genuine category of their own, offering the kind of flexibility that hard-wired fixtures simply can’t.

Designer Rahi Seyedi’s Monir, developed for Rey Studio, slots right into that world while carrying a concept that goes a bit further than most. The 29cm cordless lamp is inspired by the way moonlight sits between the sky and the earth, and that idea drives every decision in the design, from the shape of its dome to the materials holding it all together.

Designer: Rahi Seyedi

The form reads pretty clearly once you know what it’s referencing. A dark, grounded base anchors the lamp below, standing in for the weight of the earth, while the translucent dome above lets the LED ring scatter light in a way that mimics the gentle diffusion of moonlight. Nothing about the design is there for decoration alone. Every detail serves the concept, and you can tell.

Using it is about as frictionless as a lamp can get. A tap switches it on, and gently rotating the upper section moves through three brightness levels. That’s it. There’s no app, no remote, and nothing to configure before you can actually use it. You just pick it up, place it where you want it, and adjust the brightness until the light feels right.

On a desk, Monir keeps things steady without being intrusive. The diffused glow is warm enough to take the edge off the contrast between a bright screen and a dark room, which is exactly what you want during a long stretch of work or reading. It doesn’t replace proper task lighting, of course, but it makes the hours you spend at a desk noticeably more comfortable.

Move it to a side table when the day winds down, and the lamp takes on a different role entirely. At its lowest settings, the warmth it puts out is the kind that encourages you to put your phone down and actually be in the room. Overhead lights off, Monir on, and the space feels genuinely different in a way that’s hard to explain but pretty easy to appreciate.

Sustainability was factored into Monir well before the final form was settled, and it shows. The base and dome are both made from 100% recycled aluminum, while the diffuser uses bio-based polycarbonate, a plant-derived material that doesn’t end up in a landfill. For something that asks so little of you visually and physically, that’s not a small thing, and as lighting objects go, Monir keeps its intentions quiet and its results remarkably clear.

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Beanue Mini Is the Lamp Your Body Has Been Waiting For

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Most lamps do one thing. They turn on. They stay on. And at some point, you turn them off and wonder why your eyes feel like sandpaper or why you cannot fall asleep even though you have been sitting in a dimly lit room for the last hour. Lighting is one of those things we think we understand because we interact with it every day, but most of us have been getting it quietly wrong.

The Beanue Mini, designed by Seoul-based studio BKID co for manufacturer Baelux, is the portable follow-up to the original BAENUE The New Lamp, which collected a Red Dot Design Award in 2023 alongside recognition from Design Plus and the DFA Awards. That first lamp established Dim2Amber® as a genuinely interesting piece of patented lighting technology. The Mini takes that same idea and makes it portable, cable-free, and compact enough to fit in your hand.

Designer: BKID co

Here is what Dim2Amber® actually does, because it matters more than you might think. As you dim the lamp, it does not just reduce brightness. It simultaneously shifts the color temperature from a crisp, clear white toward a warm amber tone. During the day, the light is sharp and cool, the kind that supports focus and keeps you alert. As evening arrives and you begin dimming down, it moves into amber territory, which is the spectrum that does not interfere with melatonin production. Your body reads it as sunset rather than artificial light, and it responds accordingly. You do not have to think about any of this. The lamp does the thinking.

What I find genuinely compelling about this is that it solves a problem most of us did not even have a proper name for. We know that blue light at night disrupts sleep. We know screens are bad close to bedtime. But the lamps sitting on our nightstands, the ones we read by for an hour before bed, are just as much of an issue. Beanue Mini addresses this not through a complicated app or a schedule you have to program, but through the physical act of dimming itself. The adjustment is built into the mechanism. That is an elegant solution.

The design is worth talking about separately from the technology, because it holds its own. BKID went deliberately restrained here. There are no loud angles, no attempt to look futuristic, no material choices that announce themselves as a statement. The silhouette is soft and traditional in shape, almost like a table lamp your grandmother might have owned, except built with the kind of material precision that optimizes how light scatters and reflects through the diffuser shade. That slightly tilted shade is not an aesthetic accident either. It is functional, engineered to distribute light in a way that works whether you are using it as a reading lamp or as ambient mood lighting across a room.

The wireless charging aspect feels almost obvious in retrospect, but it genuinely matters here. The whole point of the Beanue Mini is that it belongs wherever you are. Bedroom, study, hotel room, café table, terrace at dusk. A cord defeats that entirely. Being able to pick it up, carry it, and set it down without negotiating cables is what makes the portability real rather than theoretical.

Looking at the development models photographed alongside the final product, you can see how many iterations BKID worked through to arrive at that little sphere button sitting at the base. It is such a small detail, almost insignificant at first glance, but it anchors the whole interaction. You do not tap the lamp or speak to it. You press a small ball, and that tactile contact feels satisfying in a way that touchscreens rarely do anymore.

Lighting design has been having a slow, quiet renaissance over the past few years. People are paying more attention to how their environments affect their biology, and objects like the Beanue Mini are the natural result of that growing awareness. It is not trying to be a centerpiece or a status object. It is trying to fit into your life and make the light around you better, automatically, without asking anything from you. That might be the most ambitious thing a lamp has ever tried to do.

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This $300 Lamp Looks Like Melted Metal and Runs for 10 Hours

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I’ve always believed that the best lighting doesn’t just illuminate a room. It changes the entire mood of a space, the way a good film score changes a scene. And for years, the Melt collection from Tom Dixon has been one of the strongest arguments for that idea. Now, with the Melt Small Portable Light, that same strange, beautiful glow can follow you just about anywhere, and I think that’s a bigger deal than it sounds.

Let me back up a little. The original Melt debuted around 2014, born from a collaboration between Dixon and FRONT, the Swedish design collective known for pushing conceptual boundaries. The inspiration behind it was wonderfully odd: melting glaciers and deep space. Not exactly the kind of mood board you’d expect for a home lighting fixture, but that’s precisely what made the result so arresting.

Designer: Tom Dixon

Through blow molding and vacuum metallization of polycarbonate, the team created these distorted, half-mirrored orbs that look like they were pulled from the surface of another planet. When switched off, the Melt is a sleek, reflective object. When turned on, it becomes translucent, casting a warm, almost liquid glow that feels alive. It’s a genuinely rare trick: a light that is two completely different objects depending on whether it’s working. The Melt went on to become one of Dixon’s signature pieces, taking shape as pendants, chandeliers, floor lamps, and surface lights. You’ve probably seen it in upscale restaurants or on the pages of interior design magazines without even knowing its name. It has that kind of quiet ubiquity among design-literate circles.

So what happens when you take all of that visual drama and shrink it down into a cordless, rechargeable form? You get the Melt Portable, and I think it represents something worth paying attention to beyond just its looks. Portable designer lighting has been having a moment. As rechargeable batteries and LEDs have gotten better and cheaper, brands from Umbra to Hay have released their own cordless lamps aimed at people who want flexibility without sacrificing aesthetics. It’s no longer just about a candle on the dinner table. But most of these portable options, as nice as they are, tend to play it safe with clean geometric shapes and neutral tones. The Melt Portable doesn’t do safe. It carries all the organic, almost alien character of its larger siblings into a palm-sized object, and that commitment to personality is refreshing.

On the practical side, the specs are solid for what it is. The 2.5W LED puts out 100 lumens at a warm 3000K color temperature, which is right in that sweet spot for ambient, relaxing light. It’s touch-dimmable, runs for up to 10 hours on a single charge, and recharges via a magnetic USB-A connection in about five hours. It also carries an IP44 rating, meaning it can handle a splash of water, so taking it out to the patio or poolside isn’t going to end in tears. It comes in black, silver, gold, copper, and even a newer fluoro finish for those who want to go bolder.

At around $275 to $330 depending on where you buy it, the Melt Portable is not an impulse purchase. That’s real money for a small rechargeable light. But I’d argue you’re not really paying for lumens here. You’re paying for a decade-old design legacy that’s been miniaturized without losing its soul. Most portable lamps disappear into a room. The Melt Portable is the kind of object that starts conversations, that makes a nightstand or a garden table feel considered and intentional.

What I appreciate most is the underlying philosophy. Tom Dixon has always operated at the intersection of industrial process and visual drama, finding beauty in manufacturing techniques that most designers would treat as purely functional. The vacuum metallization that gives the Melt its signature look is borrowed from the way sunglasses are coated. That kind of cross-pollination between industries, repurposing a process from one field to create something unexpected in another, is what keeps design interesting.

The Melt Portable won’t be for everyone. If you want maximum brightness or the most efficient cost-per-lumen ratio, look elsewhere. But if you believe that light is as much about feeling as it is about function, and that good design deserves to be untethered, this little glowing orb makes a compelling case for itself.

The post This $300 Lamp Looks Like Melted Metal and Runs for 10 Hours first appeared on Yanko Design.

This Concrete Lamp Looks Calm and Rounded, not Brutalist

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Concrete’s default mode in product design is heavy, rectilinear, and a little confrontational. It shows up in candles, bookends, and lamp bases that lean into the brutalist reference, as if rawness is the whole point. That aesthetic works in the right context, but it rarely feels calm or considered at desk scale, where the goal is usually a surface that helps you focus rather than one that announces itself at every angle.

Mikka started as a question: what if cast concrete could feel light? The answer was a desk lamp with softened edges, carefully balanced volumes, and a silhouette that reads as calm rather than rigid. The intent wasn’t to disguise the material or pretend it’s something else, but to present concrete in a way that feels contemporary and approachable without stripping away what makes it honest.

Designer: Leon Bora

The form does most of the work. Surface transitions are controlled and gradual, edges are rounded rather than chamfered, and the overall proportions avoid the solid block feel that makes most concrete objects look like they belong on a construction site. The negative space inside the body carves away visual mass, helping the lamp feel lighter than any concrete object has a right to feel when you know how dense the material actually is.

Manufacturing played a central role in making that geometry possible. The housing was cast using a precisely engineered 3D-printed mold, which enabled tight radii, consistent wall conditions, and a refined surface finish that would be difficult to achieve with conventional mold making. This is a hybrid workflow, additive manufacturing used as tooling for traditional casting, and it’s what allows the lamp to have the controlled, nuanced form language it’s going for rather than the rougher profile that hand-built molds often produce.

The pivot mechanism is where Mikka asks for interaction. Angle the head downward, and the beam grazes across the concrete surface, revealing subtle texture variations and the natural imperfections from the casting process. The lamp becomes almost self-referential in that mode, drawing attention to the material qualities that define it. Angle it outward, and it becomes a practical reading or work light, focused and direct. One gesture shifts the whole character of the object.

That duality is what keeps it interesting on a desk rather than just on a shelf. Late at night, angled inward, it’s a quiet ambient presence. During the day, aimed at a book or screen, it’s functional and unfussy. It doesn’t ask you to commit to one mode, which is a useful quality in a lamp that has to share space with other objects.

Mikka suggests that concrete at product scale doesn’t have to default to weight and aggression. When the form is thoughtful, and the mold is controlled, the material can carry a different kind of presence, one that fits on a desk at home without demanding to be the only thing you notice in the room.

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EMIT Marble Lamp Rises for Work, Glows Green When You’re Done

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The typical desk lamp is a metal stalk on a base that does nothing but hold it up, plus a switch somewhere along the cord. Most lamps are either on or off, with the base becoming dead weight that competes with notebooks, pens, and devices for space. EMIT is a concept that treats the base and the shade as active parts of how you work and how your desk feels when you are not working, giving the lamp two distinct postures instead of just one static stance.

EMIT is a desk lamp concept that pairs a carved block of white Carrara marble with a translucent green shade connected by a telescopic metal stem. The name hints at emission and time, and the design leans into that by giving the lamp two distinct postures, one where it behaves like a focused task light and another where it becomes a quiet, glowing object in the corner of your eye when the work is done.

Designer: Alexios Kamaris

The marble base is more than a plinth. Its geometry is reduced to a simple volume with minimal machining, but a recessed pen holder is carved into the top, turning it into a small organizer. A touch sensor is integrated into the body, so you tap the stone to control the light. The base becomes a calm, heavy anchor that still earns its footprint on a crowded desk by holding pens and offering a gestural interface.

In working mode, the telescopic metal stem rises from the marble and holds the green shade above the surface. The shade references traditional desk lamps in silhouette, but is stripped down to a minimal, monolithic hood. In this posture, light is directed down onto the work area, while some of it diffuses through the translucent material, giving a soft edge to the beam instead of a harsh spotlight that flattens everything under it.

When you are done working, the stem collapses and the shade lowers until it almost meets the marble, forming a compact volume of white and green. In this closed state, EMIT switches to a dedicated mode where the translucent glass emits a soft, diffused glow. The lamp stops acting like a tool and starts behaving like a quiet presence, more sculpture than task light, adding a gentle wash of green to the room without demanding attention.

The deliberate opposition between the cold, veined marble and the soft, glowing green shade frames a small narrative about control and looseness, work and rest. The base reads as natural and solid, the shade as artificial and controlled. Together they explore what it means for a lamp to have a day self and a night self, with the telescopic stem literally mediating between the two modes.

EMIT sits on a contemporary desk next to a laptop and a notebook. During the day, it is a precise, marble-anchored task light with a place for your pen and a tap-to-wake interface. At night, it collapses into a compact green glow that keeps the room from going completely dark without feeling like you left a work light on. It is a small reminder that even a lamp can shift its personality, and that good lighting design can choreograph both focus and calm without needing to look like two different objects.

The post EMIT Marble Lamp Rises for Work, Glows Green When You’re Done first appeared on Yanko Design.

EMIT Marble Lamp Rises for Work, Glows Green When You’re Done

Posted on by

The typical desk lamp is a metal stalk on a base that does nothing but hold it up, plus a switch somewhere along the cord. Most lamps are either on or off, with the base becoming dead weight that competes with notebooks, pens, and devices for space. EMIT is a concept that treats the base and the shade as active parts of how you work and how your desk feels when you are not working, giving the lamp two distinct postures instead of just one static stance.

EMIT is a desk lamp concept that pairs a carved block of white Carrara marble with a translucent green shade connected by a telescopic metal stem. The name hints at emission and time, and the design leans into that by giving the lamp two distinct postures, one where it behaves like a focused task light and another where it becomes a quiet, glowing object in the corner of your eye when the work is done.

Designer: Alexios Kamaris

The marble base is more than a plinth. Its geometry is reduced to a simple volume with minimal machining, but a recessed pen holder is carved into the top, turning it into a small organizer. A touch sensor is integrated into the body, so you tap the stone to control the light. The base becomes a calm, heavy anchor that still earns its footprint on a crowded desk by holding pens and offering a gestural interface.

In working mode, the telescopic metal stem rises from the marble and holds the green shade above the surface. The shade references traditional desk lamps in silhouette, but is stripped down to a minimal, monolithic hood. In this posture, light is directed down onto the work area, while some of it diffuses through the translucent material, giving a soft edge to the beam instead of a harsh spotlight that flattens everything under it.

When you are done working, the stem collapses and the shade lowers until it almost meets the marble, forming a compact volume of white and green. In this closed state, EMIT switches to a dedicated mode where the translucent glass emits a soft, diffused glow. The lamp stops acting like a tool and starts behaving like a quiet presence, more sculpture than task light, adding a gentle wash of green to the room without demanding attention.

The deliberate opposition between the cold, veined marble and the soft, glowing green shade frames a small narrative about control and looseness, work and rest. The base reads as natural and solid, the shade as artificial and controlled. Together they explore what it means for a lamp to have a day self and a night self, with the telescopic stem literally mediating between the two modes.

EMIT sits on a contemporary desk next to a laptop and a notebook. During the day, it is a precise, marble-anchored task light with a place for your pen and a tap-to-wake interface. At night, it collapses into a compact green glow that keeps the room from going completely dark without feeling like you left a work light on. It is a small reminder that even a lamp can shift its personality, and that good lighting design can choreograph both focus and calm without needing to look like two different objects.

The post EMIT Marble Lamp Rises for Work, Glows Green When You’re Done first appeared on Yanko Design.

Snoopy lamp gets a new navy blue color to add more whimsy to your space

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When the Snoopy lamp was first created by Achille and Pier Giacomo Castiglioni back in 1967, it was understandable that it would come in a black and white color. After all, it was inspired by the iconic cartoon dog character created by Charles M Schulz who had the same colors. But over the years, we’ve seen other colors added to the now also iconic lamp design and the latest one will appeal to lovers of the color blue.

Designer: Flos

The newest color added to the Snoopy lamp collection is blu navy, joining the aforementioned original black enamelled metal shade and later on the bold orange and verdant green colors. The silhouette still remains the same, a tribute to the shape of the head of the beloved Snoopy character. The cool navy blue color adds a spot of fun to the room, especially if that’s the aesthetic or theme you’re going for.

The basic design is still similar to the original, with the cylindrical Carrara marble base standing at an oblique angle. The thick glass disc diffuser and the lightweight enamelled aluminum shade are still there. There are still the three cooling holes at the top and an internal white finish that brings out the light distribution. What’s different now is that the original rotary dimmer has been turned into an integrated touch sensor, making it easier to turn it on and off and to adjust the light intensity from 0-100.

There are a lot of lamp designs that you can choose from out there to match the room’s look and feel. But if you’re still going for this classic Snoopy looking lamp to bring both function and whimsy to your space, then this navy blue option might just be the perfect addition.

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Beautiful lamp fixture is made from an unlikely medical equipment

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We’ve seen many striking lamp designs inspired by beautiful things in the world. Most of them get their cues from nature, taking inspiration from the moon, trees, or even mushrooms. While that in itself is a form of art, it takes more creativity and skill to turn something uninspiring or unsettling into a stunning and elegant design. This desk lamp, for example, looks soothing and calming in the dark, and you’ll probably never guess that it was made by repurposing an existing object that is associated not with beauty or elegance but with blood, pain, and wounds.

Designer: Kairi Eguchi

You might not be familiar with its name, but the pus tray is a common sight in hospitals, operating rooms, and TV shows depicting such scenes. Often made of stainless steel or even plastic, the kidney-shaped vessel is often used to collect pus but is sometimes depicted to hold bloody cotton, surgical tools, bullets, and other things that might come out from a body during surgery. Even the name alone carries a very negative connotation, and one can hardly imagine such a medical device being used for something less disturbing.

POND, however, proves that presumption wrong. It is part of a project that attempts to give new meaning to existing products, transforming them for a completely different and almost opposite purpose. In this particular case, a white-coated tray serves as the base for a cylindrical lighting element that’s placed not in the middle but near the edge of the tray. In daytime or in bright light, the lamp already looks interesting because of its unique shape, but the real magic happens when it becomes the only light source in a dark room.

The bowl virtually becomes a literal pond of light, using the natural contours of the tray to create an enchanting play of light and shadow. Unlike other lamps, the outward-facing surface of the pus tray is completely devoid of illumination, creating an effect not unlike the dark side of the moon. The curves and gently diffused light work together to create a soothing effect, the complete opposite of the proper medical use of the pus tray.

Given its bowl shape, POND can also be used as a container of sorts for small items. Of course, those objects will interfere and interact with the light, but that, in turn, could create an even more interesting visual, like fish swimming in a mystical pond of light.

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