Case Studies / ateljé Lyktan – Ogle Mini
ateljé Lyktan – Ogle Mini
ateljé Lyktan 2015–2016
Ten years ago, Form Us with Love design studio, showed the first prototype of the Ogle light fixture to Swedish manufacturer ateljé Lyktan. This year, the design studio revisits their own design, introducing an even more versatile pendant, the Ogle Mini.
‘We believe it is healthy to return to our own designs. Revisiting the original idea, in this case, allowed for us to identify new wall attachments, table solutions and adress the overall functionality with a fresh pair of eyes. As a result we have a collection which is easier to navigate,’ says John Löfgren, Creative Director at Form Us With Love.
Initially, Ogle was a simple but great idea—a minimal pendant with a spotlight function, effectively a sphere and pipe, initially made for a hotel in Stockholm.
‘Form Us With Love presented a very strong concept from the start, whilst being pragmatic about it, which was key. I was impressed by how well thought-out the design idea was. It was evident that they had spent time analysing the result, something which we are always looking for,’ Richard Wegele recalls.
The first Ogle was produced by ateljé Lyktan and launched in 2010. After six years in the market and thousands of light fixtures sold every year, the Ogle series is being revisited, in what could be seen as an extension of the original idea. Updated, in a die casted aluminum structure and a new lighting solution, the Ogle collection is re-entering the stage with leverage. Measuring only 90cm, Ogle mini is also a proof of technical evolution as the sophistication of the fixtures allows for a neater, slimed shape.
‘Is is about adding dignity and layering abilities; the material adds weight, the technical upgrade brings exclusivity and the intuitive gear lever function allows for the eye to shift it’s gaze in a cluster of mini pendants,’ Löfgren explains.
ateljé Lyktan, a heritage light brand with production in Småland, Sweden, uses it’s impeccable industry knowledge to execute an impressive number of bespoke, specially equipped luminary installations across the globe.
Stretching over a decade, Form Us With Loves’ collaboration with atélje Lyktan has been of significant impact for both parties. After the launch of Ogle, the lighting brand was looking for a re-positioning and Thomas Holm, marketing manager at ateljé Lyktan turned to the design studio. A rigorous strategic project began, transforming the traditional light supplier into an international design player. The work included a ‘light laboratory’, a new communication platform and two new products, Hood and Plug, distinctly sharing sophisticated and transparent characteristics.
ateljé Lyktan’s ability to adjust features to any environment, inspired the Swedish Design studio to return to the Ogle collection, implementing strategic design improvements.
Understanding the market, atljé Lyktan and Form Us With Love, went back to look at the Ogle family, to critique and hack their own product effectively, making it better—smaller, stronger, user friendly and more versatile
Process / Explore
Punāh is an initiative by one of India’s major manufacturing conglomerates,
Godrej and Boyce, focusing on re-thinking the use of industrial waste materials. This year, Form Us With Love was invited to Mumbai as curators, designing the first ever Punāh exhibition, shown at the London Design Festival Sept 2016.
Process / Futurise
The future designer is one whose work is aimed at change. It’s not a choice, given the state of our planet and how we as people have instigated its spiralling decline. In part designers are to blame of course, as is anyone who’s contributed to the act of consume and discard.
As a result, today’s design has a civic duty to perform. A duty Form Us With Love acknowledges freely. And civic work is an act we know needs doing. Greenhouse became an investigation into how Form Us With Love can change a relatively traditional environment in the context of the design fair. How can the environment of a show become a place that draws a visitor for more reasons than design eye candy alone? The studio sat and went through a variety of solutions to bring a real value to both visitor and participant. Interventions that initiate rather than suppress dialogue.
The Greenhouse space should be a place where established meets new on a level playing field, where a conversation about design as an industry goes two ways. And is reciprocal from both sides. It’s necessary to introduce designers to the world of ‘design as a business’ early in their fledgling careers. The aim was for Greenhouse 2016 to be a place that plays an active part in participants’ future careers—meeting and learning, showing and telling but also listening and questioning.
Process / Concept
We went from big to small and big again. We held onto this idea of a high sofa and armchair collection. We sketched endlessly and forced through iterations, to move fast into CAD models and physical mock-ups. The idea was the design and shape be capable of creating an impact yet be comfortable and inviting. A rounded seat typically brings character. Using a straight line in this case changes everything for the worse; too hard as a silhouette.Read more
Process / Prototype
Building a box should be easy. Four sides, a top perhaps. Corners. However, as a studio, we do tend to sweat the small stuff. As a result, it took many CAD drawings to find the quality we were looking for when designing Greenhouse 2016 and its simple box-like stands for the exhibitors.Read more
Process / Qualify
Qualifying the success of Stockholm Furniture & Light Fair’s 2016 Greenhouse is ambiguous. As it’s not like anything else that’s been before it.
Yes, the participants have a place to show their work that doesn’t take away from the work itself. Yes, there is a sense that this is more of a unified concept from the perspective of the participating designers — they’re a part of a collective. And, yes, the cafe is present as is the capture UNG Svensk Form show.
But the statistical element? Does the Millennial respond to numbers, fractions and percentages if they cannot flick through them at their own pace? Will the established design glitterati feel that they can contribute within this new meeting place? And is there safety in numbers — does the participant prefer being overwhelmed by a comedic installation full of garish colour and wacky design typography?
The views of Form Us With Love, in this particular case, don’t matter. The installation is never predictable as an environment and critique is ever present in any design fair. But, this time, if that critique is constructive and geared towards progressing the ideas and, potentially, the careers of these young designers then that’s enough. Because Greenhouse should be that place.
Thinking / Excursion
We asked Ben about his experience in Hong Kong and he replied, “It is what it is! In Hong Kong there is a culture of starting production and going from there. “In Europe you talk about projects that might not happen. In Hong Kong people are doing projects and hardly ever talking about them.” So, it is easier to make things here? “Yeah, everything’s just there close by. It is much easier to have a conversation with the right people and start production; talk to different manufacturers, ask around town.Read more
Thinking / Problems
Our first chair project, was called Highway—a collaboration with the brothers at Mitab. After meeting Peter and Marcus in London it had not taken us long before we became regulars in their factory in Tranås. We were impressed by their welding robots, but wondered why they were not actively working.
The brothers told us that the robots normally worked on welding shopping baskets but there was not enough subcontracting at the moment. We thought long and hard and returned with an idea. ‘Perhaps we could design something based on what the robot was capable of doing, that way we would both stay true to the brand and optimise their production line,’ we thought.
It was a bit of a eureka moment when we realised the robots had nothing to do. For us it became very important to realise that we were not only designing something, but letting design solve a logistics problem. To learn every step of a production line as a designer, allowed for adjustments to be made along the way, preventing any details going unnoticed. If the atmosphere does not allow for questioning, its difficult to walk away with a good outcome, or any outcome at all for that matter. In the case of Mitab, it was fairly straight forward. The producer will always listen more carefully if you—in a respectful manner—discuss problems which will turn into profit.
Thinking / Publications
How important is the 3D printer for design at large? Jonas Pettersson, CEO at Form Us With Love was invited by SVT, Swedens Public Television channel, to discuss historic and current ways to critique design innovation for the common good, available online, in Swedish only, Antikmagasinet, season 9, episode 11.Read more
The worlds best architects, designers and influential brands were ranked last week for Dezeen’s annual 400 strong hotlist. Form Us With Love was proud and delighted to take a firm thirty-ninth place in the designers category, next to admirable design colleagues like Nendo, Thomas Heatherwick, Ronan & Erwan Bouroullec and Tom Dixon. Congratulation to the […]Read more
Thinking / Mistakes
In 2009, Comforty Living invited a number of renowned European designers to compete for a contract — Andersen & Voll from Norway, Philippe Negro from France, to name a few. We were invited to Warsaw to each design a sofa. The best piece was then picked by a jury and put in production.
Comforty Living is a brand divided in two parts; Comfort Living and Com40. The later being a manufacturer of sofas for IKEA. The challenge however, was not to make an IKEA sofa but quite the opposite. Comforty Living wanted us to present ideas for a premium sofa—working to virtually no restrictions.
We took the brief very literally and began researching the boundaries of a sofa and how to go beyond it. Our solution became something closer to art than a piece of furniture. We did not win the pitch, but cherished the fact that we had enabled our creativity to run past what was commercially viable, something which designers rarely get the chance to do. That ‘behind every great product is a string of failed ones,’ is a cliché. However, in the case of the ‘sofa and beyond,’ we actually aimed to fall short, which put us much closer to the target.
Studio / About
SANKT ERIKSGATAN 106
113 31 STOCKHOLM
+46 8 218 002
Form Us With Love, is the international design studio founded in 2005. Since its conception, the studio has burned with a passion for design and its democratic potential. Its belief is that we all have a right to meaningful design.
At the studio’s core lies a process that blends traditional creative practices with a lean, strategic application. The central intention is to evolve with the needs of each project, its place in the market and the ever-changing needs of real people.
Today, the work of Form Us With Love falls into three areas: Consultancy—an engagement in products, ranges, collaborations and spaces for clients around the world, Ventures—disciplined and holistic approaches to launch and build brands, Civic—based on knowledge transfers and sharing of experiences, actively contributing to the broader spectra of design.
SANKT ERIKSGATAN 106
113 31 STOCKHOLM
+46 8 218 002
Studio / Join us
Join usDesign Assistant info
We’re blessed with a vibrant office culture, with co-workers from around the globe. Hands on individuals who share our common goal of not only producing relevant, beautiful design but helping our collaborators to work, produce, function and think more effectively.
Periodically we open the studio to a batch of selected international applicants for an intensive period of workshops with the aim of finding one or two who’ll remain with us as interns for two times five months.
They’ll be immersed wholeheartedly into Form Us With Love, as part of our design team. It’s not uncommon that this internship develops into something more permanent, with our current team boasting many ex-interns as full-time colleagues.
We are growing, with a steady recruitment every year, the studio is now looking to further expand the team. With new projects, from both existing and new International clients—it’s time for the studio’s annual Summer Workshop.
Join the studio during a couple of days for insights into process, creative methods and client experiences, an exchange that could lead to landing a design role at the studio. Applicants must hold a BFA in Industrial Design, have a good spoken and written English and be entitled to work in Sweden. Last day to apply is October 25. For more details, Download the attached PDF.