Main Office J.T.Kalmar GmbH Bennogasse 8 1080 Wien AUSTRIA T. +43 1 4090880-0 F. +43 1 4090880-80 kw@kalmarlighting.com
Kalmar Werkst채tten Press And Marketing Tina Brajkovic Phone +43 1 4090880-62 Tina.Brajkovic@kalmarlighting.com
Kalmar Werkst채tten Sales Manager Scandinavia, United Kingdom, Southern Europe, Australasia,And The Americas Carmen Ros Phone +43 1 4090880-51 kw@kalmarlighting.com
Kalmar Werkst채tten Sales Manager France, Benelux, Central And Eastern Europe, Asia, Africa Gregor Markowski Phone +43 1 4090880-53 kw@kalmarlighting.com
Kalmar Werkstätten believes that producing great design demands flawless execution. Our company is founded on Austria’s rich craftsmanship tradition and, under the creative direction of Garth Roberts, we champion it into the future. Imagination, skill, and quality infuse every step of our work.
Indeed, at Kalmar Werkstätten, craftsmanship is not an excuse for gratuitous material selection or ornamentation. Our products are pared to the essence—sleek in geometry and delicate in their proportions. And by creating these forms in soulful, meticulously fabricated materials, we infuse rigorous minimalism with warmth and humanity.
This approach produces a remarkably versatile lighting object. Kalmar Werkstätten’s strong design language may command attention. Our table and floor lamps, pendants, and sconces may also blend in discreetly and effortlessly. While this effect changes according to the interior, in every space our products invite use with beautiful illumination, tactile finishes, and honest construction.
Kalmar Werkstätten is an extension not only of Austrian culture and modernist expression, but also a very personal history: For 130 years Kalmar has been a place of time-honored artisanship and progressive experimentation. Shortly after Julius August Kalmar founded the company in 1881, he presented custom cast-bronze works at Gewerbeausstellung Wien that immediately won acclaim for their forward-looking perspective and meticulous construction. And in Kalmar’s next generation, Julius Theodor Kalmar aligned the company with the groundbreaking Austrian Werkbund movement.
Stripped of ornament and legibly fabricated, Kalmar’s Werkbund-era luminaires feel particularly relevant to 21st-century conditions. In 2009, under the creative direction of Jonathan Browning, we launched Kalmar Werkstätten to identify the most relevant works from the Kalmar archives, to once again share with the world. As co-creative directors, Garth Roberts and Nicolo Taliani subsequently reinterpreted the best Werkbund schemes for today’s residential and commercial interiors.
Today Roberts helms Kalmar Werkstätten singularly, conceiving new designs that make reference to Kalmar’s rich past while anticipating the social and cultural trends that will shape future interiors. He also champions our philosophy of revering materials: Whether common or opulent, every material serves a unique purpose and conveys special emotional meaning. Roberts chooses materials for both function and character, and our master craftsmen—many of whom represent the same generations of tradition that exist within the Kalmar Werkstätten products—handle those selections with intense care. Based on our ongoing efforts, Kalmar Werkstätten lighting today is as classic as it is contemporary. By stewarding a specific regional legacy of creativity, we are shaping a new legacy for design.
The Fliegenbein SL Standing Lamp is the most recent addition to the Fliegenbein family, expanding the character and functional applications of the range. The new luminaire revises the proportions of the original Fliegenbein BL, with a truncated overall height and an elongated shade. The effect is of a lantern: the design’s signature bent legs now peek out from under a silken pleated expanse that emits intimate, diffuse light. By pairing a modest size with bold visual gesture, Fliegenbein SL makes an inviting companion to an armchair or lounge. Its tubular steel may be finished in light and dark gray or brown matte lacquer, and the electrical cord is wheat-colored..
FLIEGENBEIN SL STANDING LAMP FLIEGENBEIN SL STANDING LAMP
The Fliegenbein SL Standing Lamp is the most recent addition to the Fliegenbein family, expanding the character and functional applications of the range. The new luminaire revises the proportions of the original Fliegenbein BL, with a truncated overall height and an elongated shade. The effect is of a lantern: the design’s signature bent legs now peek out from under a silken pleated expanse that emits intimate, diffuse light. By pairing a modest size with bold visual gesture, Fliegenbein SL makes an inviting companion to an armchair or lounge. Its tubular steel may be finished in light and dark gray or brown matte lacquer, and the electrical cord is wheat-colored.
This limited-edition table lamp infuses Kalmar Werkstätten’s beloved Kilo design with warm, sumptuous personality. Here, a polished brass stem springs from a cylinder carved of black Emperador Dark marble and finished by hand. The pairing is crowned in an impressive silken shade, which could not be more dissimilar in scale from Kilo’s base. The contrast of volumes is the primary source of Kilo’s character, and it makes the table lamp suitable for delicate surfaces. The special material palette maximizes visual impact in all spaces. Produced in a limited series of 100.
KILO TL EMPERADOR KILO TL EMPERADOR
This limited-edition table lamp infuses Kalmar Werkstätten’s beloved Kilo design with warm, sumptuous personality. Here, a polished brass stem springs from a cylinder carved of black Emperador Dark marble and finished by hand. The pairing is crowned in an impressive silken shade, which could not be more dissimilar in scale from Kilo’s base. The contrast of volumes is the primary source of Kilo’s character, and it makes the table lamp suitable for delicate surfaces. The special material palette maximizes visual impact in all spaces. Produced in a limited series of 100.
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BILLY TL_ILSE CRAWFORD EDITION Billy TL Isle Crawford Edition was created by London-based interior designer Ilse Crawford for Kalmar Werkstätten. This new version elevates the Billy TL concept with materiality. An oiled rosewood stem standing on satin-brass feet replaces the unstained oak and colored lacquer of the original. Furthermore, the 17.5-centimeter-diameter lampshade here features a duotone finish—a matt-black exterior with satin brass underneath—that makes the Billy TL edition of Ilse Crawford’s directional lighting feel more ambient. Crawford attended to every detail with this commission as evidenced by the textile power cable, whose color is fully resolved to the palette. With the Isle Crawford Edition, Billy TL’s honest construction and anthropomorphic quality are as apparent as ever, but now the lamp conveys Crawford’s world-renowned sophistication, humility, and warmth.
Achieving worldwide acclaim for designing comforting, haven-like interiors, Ilse Crawford’s name has become synonymous with warm modernism. The namesake of Studioilse also points out that the way she makes spaces is not unlike Kalmar Werkstätten’s approach to creating products. “There is an amazing recognition of a person through an object,” Crawford says of first learning about the lighting brand. “You look at a light and think, This is made by a company that cares about things as much as we do.” We recently caught up with Crawford in her London office to discuss the designer’s longtime loyalty to Kalmar Werkstätten and the momentous projects she has completed more recently. You released your first monograph recently. Did the writing process clarify your approach to interiors? The most important thing is clarity, and being clear can be a very difficult task. Being outspoken and not holding back also was really important to this project, too. It was a wonderful exercise, and I think it has helped us with a client like Cathay Pacific. Cathay Pacific is a warm family company, but still a corporation, and clarity is critical to communicating with a corporation. They don’t need to water down your ideas, but they do need to be super-clear about why they should be doing what they’re doing.
ground, before that person takes off yet again. Is this project a culmination of your work thus far? Every project is special. But Cathay Pacific has taken up a lot of the studio’s time in the last year. And in terms of reaching the most people, absolutely it is our biggest project to date. We’ve had a great opportunity to make what’s essentially semi-public space into something more humanistic—in the sense that everything was chosen with care and attention to the individual— and to express the warmth of the whole Cathay identity with a physical place. What’s coming up that has you excited? Our biggest Cathay lounge will be opening soon, and Ikea will launch our collection in August. More generally, I’m completely fascinated by what we’ve been talking about: how spaces have meaning, and how to make sure that you preserve those values at all scales and types of clients.
Pools of light feature prominently in the book. Would you describe your approach to it? Lighting and flooring are the two most important elements in an interior. You can kill a space with inappropriate lighting. Our strategy is often to reverse the normal process of lighting design, by starting with task light and emotional light, and using ambient light to the minimum extent. Our thinking goes that we don’t light space; we light people and life. You also consider lighting as objects, since we interact with them more frequently than many other elements of a space. We have a very powerful emotional connection to lighting, because their function is so primal. They are our daily tools, our daily companions. And because you’re using light when it’s dark, you’re more sensitized to their tactility.
What do you mean by ‘not nostalgic’? I think things cannot be locked into a rearviewmirror vision of time. It’s so much more interesting to look at history in a lively way. Yesterday I went to a museum in Amsterdam that’s all about how the city was built, but from a human perspective. Rather than tell you the chronology of the city’s development, it lets you ‘attend’ the meetings that planned the city; there are also projected images of all the people who lived in a centuriesold house. This museum is not locking history in a box, and Kalmar Werkstätten does that with lighting. They take the richness and culture of a historical category and give it a future. Do you have a favorite Kalmar Werkstätten product? What I like about the range in general is that every light is a character. Every one has a strong identity. Going back to Cathay Pacific, how do the Billy and Kilo lamps support your design of that airline’s lounges? What I love about Kilo is its pool of light. It’s a beautifully engineered object with great sensuality, but it’s incredibly functional—it really lights the person. And Billy really elevates a lounge context, so that people are not just sitting in a non-place. The beauty of the material, and the intimate quality of the light, doesn’t make you feel like a cog in a machine. It feels personal. Billy is a beautifully made modern object with emotional warmth. What is the mindset of a Cathay Pacific traveler? We spent hours in airports, just watching people. Many of them travel multiple times a week, and they just hit the ground running—leaving one meeting and on their way to another meeting. In this context, it’s a challenge just keeping mind and body together. And for these travelers, luxury does not equate the obvious symbols. A quality human experience is luxurious. So, your lounge environment gives back one’s personhood. We’re very concerned with the well being of this individual who has flown many, many miles and has probably lost patience with airports and flying. We want to provide a moment of happiness on the
Ph. Leslie Williamson
You must delight in the way Kalmar Werkstätten lighting marks the course of that daily relationship, then—the way repeated touching will darken leather or burnish brass. I see myself in the product. The product really enjoys materials, and has a human scale; they have character and culture as objects, without being nostalgic.
front page: BILLY TL_ILSE CRAWFORD EDITION Billy TL Isle Crawford Edition was created by London-based interior designer Ilse Crawford for Kalmar Werkstätten. This new version elevates the Billy TL concept with materiality. An oiled rosewood stem standing on satinbrass feet replaces the unstained oak and colored lacquer of the original. Furthermore, the 17.5-centimeter-diameter lampshade here features a duotone finish—a matt-black exterior with satin brass underneath—that makes the Billy TL edition of Ilse Crawford’s directional lighting feel more ambient. Crawford attended to every detail with this commission as evidenced by the textile power cable, whose color is fully resolved to the palette. With the Isle Crawford Edition, Billy TL’s honest construction and anthropomorphic quality are as apparent as ever, but now the lamp conveys Crawford’s world-renowned sophistication, humility, and warmth.
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1. DORNSTAB _OAK AND BRASS 2. DREISTELZ _NICKEL 3. KILO TL _EMPERADOR 4. KEULE WL _SATIN OPAL INSITU 5. KEULE 1 _HAMMERED CRYSTAL 6. HASE BL 7. HASE TL 8. BILLY BL _BLACK 9. BILLY TL _WHITE 10. FLIEGENBEIN TL _DARK GREY 11.FLIEGENBEIN SL _BROWN 12. ZWEIG _BRASS INSITU 13. ZWEIG _BLACK BRONZE 14. ADMONT _ROSEWOOD AND BLACK BRONZE INSITU 15. ADMONT 6 _ROSEWOOD AND BLACK BRONZE 16. MEXIKO _NICKEL 17.EGON 18. REIBE _NICKEL 19. KREMS _NICKEL 20. BILLY WL _WHITE
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1. Dornstab_ Oak and Brass 2. Dreistelz_ Nickel 3. Kilo TL _Emperador 4. Keule WL _ Satin Opal Insitu 5. Keule 1 _ Hammered Crystal 6. Hase BL 7. Hase TL 8. Billy BL _ Black 9. Billy TL _ White 10. Fliegenbein TL _Dark Grey 11.Fliegenbein SL _ Brown 12. Zweig _ Brass Insitu 13. Zweig _ Black Bronze 14. Admont _Rosewood and Black Bronze Insitu 15. Admont 6 _Rosewood and Black Bronze 16. Mexiko _ Nickel 17.Egon 18. Reibe _Nickel 19. Krems _ Nickel 20. Billy WL _ White
J.T. Kalmar created Hase by bending simple tubular metal and finishing it in polished brass. The table lamp assumes a more anthropomorphic quality than the floor model from which it is derived. In both cases, the naturally colored electrical cord blends in with Hase’s canted lines. A leather grip permits easy repositioning across a desk or side table, where Hase provides directional and ambient light.
HASE TL TABLE LAMP HASE TL TABLE LAMP
J.T. Kalmar created Hase by bending simple tubular metal and finishing it in polished brass. The table lamp assumes a more anthropomorphic quality than the floor model from which it is derived. In both cases, the naturally colored electrical cord blends in with Hase’s canted lines. A leather grip permits easy repositioning across a desk or side table, where Hase provides directional and ambient light.
J.T. Kalmar conceived Dreistelz as the freestanding counterpart to his line of suspended luminaires: Slim tubing rests atop an organic tripod of legs, and it is fitted with a slightly oversize natural-silk shade. Confident in Dreistelz’s chameleon-like ability to complement and elevate any modern living environment, Kalmar finished the floor lamp in polished nickel and polished brass. It also features the proprietary black cord that identifies the Kalmar Werkstätten brand.
DREISTELZ FLOOR LAMP DREISTELZ FLOOR LAMP
J.T. Kalmar conceived Dreistelz as the freestanding counterpart to his line of suspended luminaires: Slim tubing rests atop an organic tripod of legs, and it is fitted with a slightly oversize natural-silk shade. Confident in Dreistelz’s chameleon-like ability to complement and elevate any modern living environment, Kalmar finished the floor lamp in polished nickel and polished brass. It also features the proprietary black cord that identifies the Kalmar Werkstätten brand.
Conceived by J.T. Kalmar for anterooms, corridors, or as accent lighting, this early-1950s double sconce produces soft ambient and downlight. Two shades are finished in natural, textured silk. The milled brass wall plate and arms can be specified in one of four finishes: polished brass, black bronze, matt black lacquer, or polished nickel.
ZWEIG WALL LIGHT ZWEIG WALL LAMP
Conceived by J.T. Kalmar for anterooms, corridors, or as accent lighting, this early-1950s double sconce produces soft ambient and downlight. Two shades are finished in natural, textured silk. The milled brass wall plate and arms can be specified in one of four finishes: polished brass, black bronze, matt black lacquer, or polished nickel.
Presentations Euroluce 2015 _ Salone del Mobile Milan Design Week Hall 11 Stand F43 Fiera ROH Milan, Italy April 14th _ April 19th, 2015
Austrian Design Pioneers _ La Pelota Milan Design Week Brera Design District Via Palermo 10 Milan, Italy April 14th _ April 19th, 2015
Wallpaper* Handmade Milan Design Week San Gregorio Docet _ Brera District Via San Gregorio 43 Milan, Italy April 14th _ April 19th, 2015
ICFF NYC 2015 New York Design Week Stand 1632 Javits Convention Center New York, USA May 16th _ May 19th, 2015
Creative Direction Garth Roberts
Art Direction S&M schmidt manzi
London
Milan
Imprint J.T. Kalmar GmbH, Bennogasse 8, 1080 Wien, Austria Phone (+43 1) 409 0880 Fax (+43 1) 409 0880 DW 80 kw@kalmarlighting.com www.kalmarlighting.com J.T.Kalmar GmbH _ Registrierter Firmensitz: 1080 Wien, Bennogasse 8
Managing Director August Calice, Thomas Calice FB Nr: 106893x HG Wien_USt-IdNr. ATU 40835101
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