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1 day ago · The PH Lamp: A Revolution in Lighting. In the 1920s, Poul Henningsen embarked on what would become the defining project of his career: the development of the PH Lamp. At the time, electric lighting was still relatively new, and the harsh, glaring quality of electric bulbs was a point of contention for many designers.
18 hours ago · The first recorded theatre to go fully gaslit, in 1816, was Chestnut Street Theatre in Philadelphia. In 1836, a variation on the use of gas to create a new form of theatrical lighting quite ...
2 days ago · The turn of the 20th century was a golden era for decorative arts, when the boundaries between function and artistry began to blur. Nowhere is this more apparent than in the exquisite lamps that illuminated the opulent homes of the era’s tastemakers. Antique lamps, particularly the stunning art glass creations from the Belle Époque and Art Nouveau periods, transformed ordinary lighting into ...
18 hours ago · As civilizations progressed, lanterns advanced into more modern plans, consolidating materials like metal, glass, and paper. Antiquated Greeks and Romans utilised lanterns for lighting their homes and roads, whereas Chinese lanterns, made of silk and bamboo, got to be well known amid celebrations and celebrations. Cultural Importance of Lanterns
5 days ago · In the ’50s, only 30% of the workforce were women. To illustrate how the 1950s were much different than today, we’ve created a list of photos that show everything from what cars people drove to what leisure time looked like. To create this list, 24/7 Tempo reviewed historical information from sources like PBS, History.com, and Census.gov.
2 days ago · Accentuating the use of artificial and neon lighting in the films-noir of the '40s and '50s, neon-noir films accentuate this aesthetic with electrifying color and manipulated light in order to highlight their socio-cultural critiques and their references to contemporary and pop culture.
2 days ago · The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.
