Let There Be Light

The Let There Be Light collection is not a single fixture. It is a set of hand-blown glass pendants designed to be mixed — different shapes, different tints, different drop lengths — and grouped into something bespoke.

That makes it unusually hard to sell from a catalogue. A photograph of one pendant tells a homeowner nothing about the sculpture they could build from twelve. The brief was to show the collection doing what it is actually for: filling the vertical voids that high-ceilinged homes create — stairwells, double-height foyers, dining vaults.

We hung a dynamic cluster through a multi-storey void, with pendants set at deliberately varying drop heights so the array reads as composed rather than repeated. Mixed shapes and mixed tints — amber, smoked grey, clear and soft blue — with coordinating hardware mounts.

Glass is the whole product here, so it had to behave like glass. Each body was built with real thickness and transmission, so daylight passes through and colours the light beyond it, and the evening filament glows inside the shade rather than sitting on it. The tinted bodies cast soft coloured reflections across the surrounding walls and ceiling — which is exactly what a buyer is paying for, and precisely what a white-background product shot destroys.

We rendered the same cluster twice: once under soft natural daytime window light, once under warm evening illumination. The collection behaves like two different products across that transition, and both needed showing.

Seven renders spanning the full-height atrium view, the daylight and night passes, macro detail on the glass craftsmanship and hardware, the tint options, and the cluster working over a dining vault.

The set moves the conversation from single fixtures to arrays — a materially larger sale — and shows homeowners and residential designers that mixing shapes, tints and cord lengths produces something tailored to their own architecture rather than something ordered off a page.