Small Tripod Lamp with Orange Glass Shade
Dispatch. We dispatch your parcels Monday to Friday, within 1 to 2 working days of order confirmation. Delivery then takes 6 to 18 working days depending on the product and your location.
You will receive tracking information within 24 hours of your order leaving the warehouse, at the email address given at checkout.
Returns and exchanges. Both are accepted within the statutory period of 14 days after your order is delivered to your home.
The tripod was born in the workshops of modern design, when designers wanted to lighten furniture and show the structure instead of hiding it.
Three slender rods are enough to carry the object, and the empty space becomes part of the design.
This lamp follows that principle to the letter.
Three chrome-plated metal legs, arranged in a star, lift the glass bowl a few centimetres and make it float above the furniture.
The chrome reflects the light from the shade onto the surface below and draws a soft halo all around the base.
A detail that changes everything in the evening, when the lamp becomes the only light source in the room.
The shade is a thick glass bowl, rounded like a pebble.
Its deep orange tint stays striking even when switched off: placed on a console or a desk, the lamp works as a decorative object in its own right.
Switched on, the colour comes to life.
The glass filters the light and diffuses it as a warm glow, with no visible hotspot and no glare, because the bulb stays hidden beneath the bowl.
This is exactly the effect sought in 1970s interiors, brought up to date: a low, amber light that warms a corner of the room rather than lighting the whole space.
The bowl is coloured through: the pigments are added to the molten glass before moulding, not applied to the surface.
The colour therefore runs through the full thickness, does not wear off and changes in intensity with the curve of the bowl.
This type of lamp looks its best placed low, on a coffee table, a chest of drawers or a desk, rather than up high: the light falls onto the surface and is reflected in the chrome of the tripod.
In a room with light walls, it casts an amber hue onto the nearby wall, which is often enough to warm a whole corner of the living room in the evening.
A beautiful shape is not enough: the material still has to accept it. Before approving a design, we go through it with the workshops that will make it. Here is how one of our pieces came to life.

It all starts with a trend. We follow what circulates on Pinterest, Instagram and interior blogs, and we spot the styles on the rise. Here it was the natural look: plant fibres, wide shapes, warm tones. We also look at where the piece will live, and this one needs height or width: above a large table, in a stairwell, under a cathedral ceiling.

The style appelle la fibre végétale, mais toutes ne se valent pas. L'osier casse au cintrage, le jonc de mer reste raide. Le rotin, lui, est une liane de palmier grimpant d'Asie du Sud-Est : trempée, elle devient souple et accepte n'importe quelle courbe, puis se fige en séchant. Sur une pièce de cette envergure, ce rapport entre souplesse au montage et tenue une fois sec décide de tout.

This is where many fine ideas stop. Before going further, we ask the workshop what the material really allows: at that span, will rattan hold? The answer comes down to one simple step, soaking. The strands go into water until they turn supple, they can then be bent without breaking, and they set as they dry. Once feasibility is confirmed, we move on to the drawing.

A flared, very open shape, almost a hat, with rods spaced far enough apart for the light to pass between them. The proportions are drawn and redrawn: too flat and the shade dazzles, too deep and it traps the light. A real piece is then assembled and switched on, and we look at the radiating pattern it casts on the ceiling.
Once the design is approved, the workshop starts the production run. The pieces reach the warehouse, where order pickers wrap them one by one before dispatch, ready to dress a new home.