Perhaps more than any other designer in the first half of the twentieth century, the Danish architect Poul Henningsen transformed the way electric light was used in domestic and public settings. Specifically, Henningsen’s studies on the quality of light resulted in the development of a shade system for both directed and nondirected light that emphasized the positive qualities of electric light while limiting the negative effects of the new incandescent bulbs. In doing so, he created a series of customizable lighting devices that have proved enduring in their aesthetics and purpose for more than one hundred years.

 

In 1924 Henningsen joined forces with Louis Poulsen & Co., a Danish electrical and lighting manufacturer. His winning submission for the design competition for the Danish pavilion at the Exposition Internationale des Arts Décoratifs et Industriels Modernes 1925 in Paris found immediate acceptance within the architecture and design community that had adopted new, progressive styles. The success of the Danish pavilion drew attention to Henningsen as a promising lighting designer to watch.  

 

Two years later, Henningsen introduced the first PH lamps, which featured a three-shade system that provided direct and glare-free light. A proselytizer for carbon-filament bulbs, which he felt emitted a more gentle light than the cold, intense light of the metal-filament (incandescent) bulbs, Henningsen developed a vocabulary for his lamps. Terms such as “economical” (directional and useful), “hygienic” (glare-free), and “aesthetic” telegraphed his design philosophy and priorities. In addition to developing the three-shade system whose graduated sizes, shapes, and angles served as reflectors, directors, and diffusers, he adopted different material surfaces depending on the light requirements of a project or architectural space. In Henningsen’s system, the materials used for the outside and underside of the shades directly affected how light and shadows were transmitted. Ultimately, the PH system included copper and glass shades in colors ranging from opal to yellow and amber, and to red with matte, frosted, or translucent glass surfaces; these options were also offered with different shade sizes, the combination and choice depending on the lamp design. Fittings and stems also featured material choices from nickel to bronze and Bakelite.

 

Henningsen’s authoritative and extensively published scientific and mathematical studies on shade angles, materials, and quality of light explained the basis of his designs, thereby answering critics who questioned his concepts and theories. Beginning in 1926, Louis Poulsen’s sales catalogues featured a narrative introduction by Henningsen about his philosophy of light as well as his materials and technical research. Each lamp was presented with detailed specifications, including size and material choices. Henningsen sought not only to educate the public about the science of light and its applications but also to set Louis Poulsen and its designs apart from other international lighting firms that were more concerned with style and industrial manufacturing than the quality of light.

 

The success of the PH lamps was further enhanced by Henningsen’s designs for Publikummare (Joe Public), which included a series of small, cozier lamps and chandeliers whose shade range was expanded to include lighter and more affordable materials as well as more sizes and warmer colors.¹ His design for the PH Klaverlampe (Piano Lamp) of 1931 is indicative of the flexibility and accessibility of his basic design systems. The lamp’s counterweighted design is a clear progression from the earlier PH Skrivebordslampet (Desk Lamp) in that the arm is curved rather than straight and adjustable. The Klaverlampe’s overall form also owes a debt to the PH Natbordslampe (Bedside Lamp) and the PH Stålamper (Steel Lamp) with respect to its base, arm, and shade designs. In the 1934 Louis Poulsen sales catalogue, the PH Klaverlampe was renamed PH Kiplampe (Tilt Lamp) to emphasize its function and was offered with either a straight-arm or curved-arm design option. Both versions also were suggested for use as a Klaverlampe (Piano Lamp) or a Kaminlampe (Fireplace Lamp) and were available in bronze or shiny nickel with opal, yellow-opal, matte-glass, or yellow matte-glass shades in a 2/2 or 2/1 size, providing clients with choices to suit individual tastes.² —Cindi Strauss