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An LED task light that puts all the rest in the Dark Ages. As state of the art as they come, the Trapeze lamp boasts mechanical, optical and electrical innovations with equal parts play and purpose in a striking, sculptural form. The wire-free pivot joint is the first of its kind, a patented, electrically conductive ball and socket design that allows for a high-performance 360-degree sweeping motion in any direction through all its axes. The counter-weighted joint combined with a weighted base also means a lack of visible wiring or extraneous hardware along with precision focus where the LED light is needed.
The ultra-thin flat light panel and refined, glare-free optical diffusion illuminates with a bright, warm and even light that is environmentally efficient. The Trapeze consumes only 8 watts of power and is rated to last 40,000 hours of task lighting. With just a tap on the top of the light panel, the light can be dimmed or brightened, making it as ideal on a desktop as a nightstand or salon end table. It's UL-approved and FCC-certified. Five-year limited warranty from manufacturer Light & Contrast.
This dynamic lamp is the bright idea of Peter Stathis. The San Francisco-based designer has flexed his original ideas in a range of products, some which are now part of the collections at the Cooper-Hewitt National Design Museum and New York's Museum of Modern Art. A lovely guy, he has also spent his career in academia as Chair of the Design Department at Philadelphia's University of the Arts, and as director of the renown graduate 3D Design Department at Cranbrook Academy of Art.
With its highly animated quality, the lighting design of San Francisco’s Peter Stathis is as prized for its high performance attributes as it is for its distinctively sculptural appearance. Peter regards his tellingly named Virtual Studio as “equal parts office and atelier.” His work has been repeatedly honored, including Interior Design magazine Best of Year, ICFF Editors Award and the prestigious Red Dot Design Award and is in the permanent collections of the Cooper-Hewitt National Design Museum and the Museum of Modern Art in New York. All of which doubtlessly affirms his stated goal of his studio “as an experimental laboratory for advancing industrial design culture.”