Designer of the patera lamp by louis poulsen, and founder of slaatto design.

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Designer of the patera lamp by louis poulsen, and founder of slaatto design.

Thirty-seven-year-old musician-turneddesigner Oivind Slaatto sees design as a common denominator among people, something everyone can identify with. Many certainly like the Danish designer’s work, which include the iconic Beo Play A9 speaker from Bang & Olufsen. Oivind’s latest collaboration is with Danish lighting brand Louis Poulsen; the Patera lamp (pictured) looks set to become another crowd favourite.

Why are you inspired by nature, and how does that affect your designs?

If you use the structures of nature, you speak a language which everyone can comprehend because we are all products of nature. When I design lighting products, I reference the sun and fire, as it is how we’ve understood light for millions of years.

What does “Patera” mean?

It means “seed capsule”. Most seed capsules are arranged in a mathematical structure based on the Fibonacci sequence, which I have incorporated into the spiral pattern of the lamp.

What makes a well-designed lighting product?

There are two types of lighting products. The first is invisible – you can only see the light, while the lighting product disappears. An example would be spotlights hidden in false ceilings. Another kind is the type that’s meant to be the focal point of a space, such as Patera. In both, the light should have a good frequency and distribution.

What challenges do you face as a designer?

I need to be optimistic all the time, and always push for my designs for them to succeed. I am concerned about sustainability, but it doesn’t help if there isn’t suitable infrastructure backing the industry. It is not only about nature, but also about economic sustainability and social responsibility.

Are you exploring any projects currently?

I’m working on a couple of projects; a lamp, a product related to a candle, and another related to windmills. I’m also arranging an exhibition in Cologne, called Made Here, for 18 young Danish designers. My two friends and I are the curators. We want to create a design culture where we don’t see each other as competitors, but more as collaborators. The theme revolves around the disappearance of manufacturing in Denmark due to high costs, and addresses how the trade can be preserved, and finding new ways to do so.


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