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Poul Henningsen declined his system with three lampshades designed in 1926 in hundreds of versions varying in particular by the size of the lampshade and the ratio of sizes between the three lampshades.
These characteristics are reflected in the name of each lamp. The first number indicates the approximate diameter of the main shade: 50 cm in the case of the PH5/5, a little less than 30 cm for the PH3/3.
The second number refers to the size ratio between the lampshades. In the case of the PH5/5 and PH3/3, the equality of the numbers means that the lampshades are in a size ratio of 3:2:1.
It is this size ratio that gives these two pendants their very round appearance, which makes them particularly suitable for high hanging.
The two PH3/3 and PH5/5 pendants have an upper shade in glass or in stretched aluminium, inside painted white, and two lower shades in opaline glass. A small central frosted glass diffuser, easy to install, comes with the lamps for even softer lighting.
Light source E27 or LED integrated
PH3/3 Ø28,5 x H30 cm – 2,3 kg PH5/5 Ø50 x H43 cm – 4,5 kg
Cord 4 m black textile
Shades spun aluminium, mouth blown opal glass three layers, frosted glass diffuser
Body die casted zinc
Poul Henningsen, born in Copenhagen, is the son of the famous Danish writer Agnes Henningsen. He never graduated as an architect, but studied at The Technical School at Frederiksberg, Denmark from 1911-14, and then at Technical College in Copenhagen from 1914-17.
He started practicing traditional functionalistic architecture, but over the years his professional interests changed to focus mainly on lighting which is what he is most famous for. He also expanded his field of occupation into areas of writing, becoming a journalist and an author. For a short period at the beginning of WWII, he was the head architect of the Tivoli Gardens in Copenhagen. But like many other creative people, he was forced to flee Denmark during the German occupation but soon became a vital part of the Danish colony of artists living in Sweden.
His lifelong collaboration with Louis Poulsen Lighting began in 1925 and lasted until his death. To this day, Louis Poulsen Lighting still benefits from his genius. Poul Henningsen was also the first editor of the company magazine “NYT”. The CEO of Louis Poulsen at the time, Sophus Kaastrup-Olsen, gave the magazine to PH as a gift because he had been terminated from the Danish newspaper he worked for (his opinions were too radical).
Poul Henningsen's pioneering work concerning the relations between light structures, shadows, glare, and color reproduction—compared to man’s need for light remains the fondation of the lighting theories still practiced by Louis Poulsen Lighting