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The PH3-2½ Bollard is part of the PH 3-shade lamp family, born in the winter of 1925-26 for an exhibition in Copenhagen. In 1926, Poul Henningsen said of this new system: “The real innovation of the PH luminaire is that it produces both glare-free and economical lighting. It is quite easy to create glare-free lighting (indirect light or with a thick shade) if a portion of the light can be wasted. It is also easy to make very efficient lights if you ignore the fact that they are highly irritating to the eyes. But achieving low-cost, glare-free lighting is an art ".
As early as 1925, Poul Henningsen had the idea of using a logarithmic spiral to control the brightness and shade of luminaire light, with each shade equally reducing the amount of light emitted as a function of the distance from the bulb. . The brightness transitions between each lampshade were harmonic, the relative size of the lampshades and their positioning was determined by the need to reduce glare, the arrangement of light and the need for light distribution, according to certain principles. remarkably simple. The concept was extremely flexible: not only was it possible to obtain different sizes, but also to shape the light with white, silver or gold surfaces. Designer Poul Henningsen imagined that in a restaurant the light should be warm and intimate and that a gold surface should be used, unlike in a hospital where white surfaces should be used.
The first lights were all made with metal lampshades, then Poul Henningsen developed an opaline glass variant with a sandblasted lower part. The shades let 12% of the light through and help provide ambient lighting in the room, while most of the light is reflected down. For the pendant lights, the sizes of the 3 lampshades respected a ratio of approximately 3/2/1. For the table lamps, the lower shades had to be smaller. This is how the PH 2/1 and PH 3/2 ratios were born.
PH3-2½ Bollard has an upper shade of about 30 cm. The number 3 refers to this diameter, while the number 2½ refers to the ratio between the large and the two small shades.
Dimensions Ø28.3 x H90.9 cm
Material Top shade: Spun stainless steel. Middle/lower shade: Spun stainless steel. Shade holder: Form pressed glass. Post: Stainless steel.
Mounting Terminal block: 1x5x2.5mm². Terminal block positioning: In post. Cable entries: 2x bottom entries Ø 17mm. Looping: Approved, max. 5x2,5mm². Post w/base plate for surface mounting: H: 909mm incl. fixture head. Post dia. 32mm.
Weight 3.6 kg
Light source 1 x E27
Class Ingress protection IP44. Electric shock protection I w. ground.
Info notes ground anchor (if installed in-ground) to be ordered separately. Anchor bolts to be sourced locally.
Poul Henningsen was born in Copenhagen to the famous Danish actress 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