This lamp was introduced in 1971 and is an enlarged version of the original Model 167, which was designed for LE KLINT by Poul Christiansen.

Cfl max watt
20w
Diameter
42cm
Energy label
A+ (A++ - E)
Finish
White
Height
31cm
Light bulb cap type
E27
Luminous flux
800lm
Max watt
40w
Shade material
Plastic Foil
Size
Small
Year of design
1971

A lamp of this size is ideal for hanging over the dining table. The enclosed shape of its base makes it ideal as there is no glare from the light source


Poul Christiansen

Poul Christiansen trained at the Royal Danish Academy of Fine Arts’ School of Architecture.

He worked in architecture and design for Ib & Jørgen Rasmussen from 1977 to 1986 and founded “Komplot Design” together with Boris Berlin in 1987.

Between 1969 and 1987 Poul Christiansen brought innovative and exciting dimensions to Le Klint’s lampshades. Prior to his involvement the shades had been folded in pleats and in straight lines across the pleats. Poul Christiansen discovered that folding in mathematical curves gave the lampshades beautiful and unique sculptural shapes.

His most famous creation is the SinusLine series which he developed by combining sine curves in such a way that they formed a lampshade when folded.

Poul Christiansen continues to design new lamps for Le Klint and in 2006 he designed wall lamp model 215 – allegedly inspired by the Sydney Opera House. Later in 2008 this lamp was introduced in a moulded plastic version for outdoor use.

Over the years Poul Christiansen has designed a number of Le Klint lamps and in the mid 2000 he evolved the soft folded curves to the creation of the Elysion light sculptures. These lights are hand-folded from one sheet of lampshade foil and thus represent genuine craftsmanship like other lampshades made by Le Klint. The Elysion light sculpture is also available in an outdoor version.


"I have always been fascinated with light in its many forms. I am constantly amazed at the ability of pure natural light´s power, to enhance or deplete nature´s beauty. On occasion, I have questioned, how can it get us to simultaneously, think about colour texture and shade, while interacting with our senses and affecting our moods." Kim Weckstrøm Jensen, CEO