Cassette by Daniel Rybakken for Luceplan | Micro-architecture of light: a minimalist and decorative lamp

After the Fienile lamp presented last year and inspired by Norwegian rural buildings, the research of Luceplan and Daniel Rybakken on essential, poetic micro-architectures continues.

Cassette is the name chosen for the new creation: a lamp that is minimalist and decorative at the same time. It is made of two fundamental parts: an aluminium frame and a sheet with a central circular opening that acts as a “passe-partout” for the light source below.

These two elements, Rybakken explains, play with effects of depth and three-dimensional perception: the two levels seem distant when the light is off, but appear to be on the same plane when it is on. The abundant, uniform light, free of glare and ready for use with a dimmer, relies on edge-lit LED technology and comes in the warm version (3000k) or the tunable white version. The lamp is offered in two square sizes (400x400 and 600x600 cm) and a rectangular model (650x800 cm), for installation on the ceiling (also built-in) or the wall. Technical or decorative, Cassette adapts to very different spaces while conserving its poetic luminous architecture.

What is it?
A wall or ceiling lamp for direct lighting, with a large luminous surface for uniform, glare-free light.
What is the design concept?
Cassette is the result of formal research to create a slim, minimalist lamp (suitable for various architectural contexts) that is also a decorative object at the same time, easily identified as a work by the Norwegian designer Daniel Rybakken. Off or on, Cassette offers a view of the depth of its various planes, creating an effect of contrast between light and shadow.
What are the materials?
The body is composed of an extruded aluminium frame and a sheet with a central circular opening that releases light into the surrounding space. The height of the external frame projects shadows on to the matte white inner surface. The opening in the surface makes it function as a “passe-partout” for the light below, defining the silhouette. The distance between these two levels transmits a sensation of depth when the lamp is off, while they seem to be on the same plane when it is on. The light source is composed of an optical “packet” thanks to the use of edge-lit LED technology. In three sizes (400x400, 600x600 and 650x800 cm).
How and where is it produced?
The lamp is made in Italy, as are the main semi-finished parts (only a few components may come from abroad, like the power supply and the LEDs). The production process calls for extrusion of the aluminium, mechanical workmanship, laser cutting and powder coating.
How is it manufactured?
The production process of the semi-finished parts is fairly standard, while a specific assembly process has been developed to obtain a lighted surface (optical packet) of high quality and performance (brightness levels and uniformity
What’s special?
The lamp is based on edge-lit LED technology that permits reduction of the thickness of the optical packet. Various products exist on the market that make use of this technology, but Cassette is a lamp that manages to incorporate edge-lit LED lighting technology without overdoing the compactness, conserving its clean, well-proportioned design. This aspect sheds light on the “stylistic signature” of Daniel Rybakken and the architectural value of the lamp, also resolving the issue of the space for the insertion of the LED power supply.
What’s it like?
Essential, sophisticate, atmospheric.
What does the designer say?
“Cassette is the result of formal research to give rise to a slender, minimalist technical fixture, together with a large, uniform lighting surface, while also creating an object that communicates a pleasant sensation of depth with its multiple levels. The two parts [frame and sheet] work together and contribute to create three-dimensional impact from a two-dimensional origin. The white color and matte finish of the surface create a backdrop for a composition of light and shadow produced by the geometry of the forms themselves.” Daniel Rybakken