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Poul Henningsen

1894 - 1967, 丹麦

Poul Henningsen 是丹麦知名建筑师、设计师、作家和评论家,是20世纪早期丹麦文化生活的领军人物之一。

Henningsen 于1894年出生,在文化气息浓厚的氛围中度过童年。1911至1917年间,他在哥本哈根技术学院和丹麦技术大学接受了建筑师的培训,但没有毕业,与知名设计师、教育家 Kay Fisher 相识后,开始了自由建筑师和设计师的生涯。Henning 最广为人知的是他所设计的灯具,1925年,他在巴黎国际现代装饰和工艺艺术展上展示了 Paris Lamp 巴黎灯之后,又出开创了三罩灯系统,即由 Louis Poulsen 生产的PH系列,至今仍然是经久不衰的产品。

而在灯具之外,Henningsen 还设计了很多家具,包括 PH三角钢琴、Snake Chair、PH Chair 等,他通过柔和蜿蜒的曲线,及金属、皮革等材料,从一众以木材为主的丹麦现代主义中脱颖而出,亦成为划时代的经典作品。

He is most associated with his design of the PH-lamp series of glare-free, shaded lamps.[1][2][3] His lamps used carefully analyzed reflecting and baffling of the light rays from the bulb to achieve illumination that was not harsh and glaring but shed warm, soft light.[4] His light fixtures were manufactured by Danish lighting manufacturer Louis Poulsen, a company with which Henningsen would build a lifelong working relationship.[5][6] His novel works of Danish modern designs are featured in many museums.He entered into with the architect Kay Fisker in 1919. From 1920, Poul Henningsen freelanced as an architect and designer.

In 1920, Henningsen created the Slotsholm Lamp (Danish: Slotsholmslygte) which was installed between the Højbro and Holmens bridges along the Christiansborg Slotsplads canal in central Copenhagen. The prototype lamp consisted a lantern with a large top plate shade on a thin post. Henningsen designed the lamp to differ from the traditional design of gas light fixtures. In a column of Politiken in October 1921 where he wrote about the lamp, he criticized the habitual thinking and conservatism that he witnessed in the field of street lighting and emphasized that electric lights, like his Slotsholm Lamp, must have completely different and unfamiliar appearance than gas lighting.[12] Only seven Slotsholm Lamps were ever created. The failure of the lamps to gain popularity may be due to the manufacturer, Copenhagen Lighting Service, removing some components of the lamp because they caused the light to glare.[13] This was an issue that Poul Henningsen would later solve and the glare-free design feature would become a signature characteristic of his work.

The Paris Lamp
in 1921, he began his journalistic career when hired by Politiken to cover architecture. His writing emphasized the relationship between societal problems and architecture and the effects of Copenhagen's transformation into an urban metropolis. His journalism often focused on what he perceived to be the short-term thinking of municipal authorities' urban planning.[14]

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