Overall impression of the luminaire

The overall impression of the luminaire consists of several factors: the materials used the positioning of the luminaire or a set of luminaires in the room, the shape and colour. The factors have to work in harmony both among them and with the room they are used in. The designer is there to think through the planned application of the luminaire. For instance, in OMS we have several distinct lines of luminaires. The most basic Unolux provides subdued, functional design for a good price. The top line, Elite, is design to sweep clients off their feet.

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It is difficult to quantify the impression of the luminaire, yet it obviously affects the feel a given room or space has. A minimalistic one does not detract the attention from the room, yet does not diminish the atmosphere a space has either. Very roughly one can speak about Scandinavian school of design in this case – simple and with emphasis on function. On the other end we can see Italian design school, where elegance is also a significant part of the equation. This type of luminaire attracts the attention of the visitor, yet does so in a way that corresponds with the overall atmosphere of the space.

In OMS we try to design luminaires that are unique while keeping their design simple. The number one quality we are striving for is functionality though – it must remain unrestricted by the design but rather supported. Most usually, the design simply stems from the function – if the functionality requires for example cooling of the LED array, the design has to provide it in an unobtrusive, minimalistic or aesthetically pleasing manner.

“Although our luminaires are inspired by history and nature, they are striving to look into the future of lighting – we are constantly working with and researching the newest materials and technologies to achieve our goals. The aim is to set the future trends, not just follow them,” explains the first OMS in-house designer Ján Štofko.

The overall impression of the luminaire consists of several factors: the materials used the positioning of the luminaire or a set of luminaires in the room, the shape and colour. The factors have to work in harmony both among them and with the room they are used in – an Italian design masterpiece might look odd in an industrial area and fluorescent aluminium lighting might feel out of place or uncomfortable in living space.

The designer is there to think through the planned application of the luminaire. For instance, in OMS we have several distinct lines of luminaires. The most basic Unolux provides subdued, functional design for a good price. The top line, Elite, is design to “sweep clients of their feet,” as Ján Štofko puts it.

Designer also uses his technical prowess and artistic skills to overcome misconceptions. For example, LED light is widely considered as too harsh, technical and unfit for living spaces, yet the pace of technological development in the development clearly dismisses this myth. Indeed, providing a feel of sunshine in both his warmth and fullness is one of the main goals of the luminaire's esprit. It may be achieved by a plethora of factors and their combinations, but they always have to work in unison with the space they are applied to.



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