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Sharp in silhouette, flawless in function - Arne Jacobsen’s AJ Series brings architecture to the table, the floor and the wall. Created in 1960 for Copenhagen’s SAS Royal Hotel, the AJ Series distills modernism into its purest form. The asymmetric metal shade casts a clean, directed beam, while its angled stem reflects Jacobsen’s obsession with proportion and purpose. The result is a lamp that feels composed yet intimate, a design that disappears when lit and commands attention when off. Six decades later, the AJ remains not just lighting, but geometry in motion.
Read MoreA sculpture of light and shadow, the Artichoke turns geometry into glow. Designed by Poul Henningsen in 1958, the Artichoke is composed of 72 precisely arranged “leaves” that conceal the light source while radiating a soft, layered brilliance. Hand-assembled by skilled craftsmen, it balances structure with poetry - light filtered through metal, diffused into warmth. Once an engineering challenge, now an icon of architectural lighting, the Artichoke continues to define the intersection of innovation, craft, and beauty.
Read MoreLight, layered and alive — a continuation of Poul Henningsen’s vision for human-centric design. Created in 1974 to honour Poul Henningsen’s legacy, the PH 80 reinterprets his signature three-shade system with modern materials and timeless precision. Its acrylic shades filter light in gentle tiers, creating an atmosphere that feels warm yet balanced. The red and black accents at its crown and stem aren’t decoration — they’re a nod to Henningsen’s mastery of contrast and proportion. Designed decades after his passing, the PH 80 stands as a testament to how a single idea — that light should comfort as much as illuminate — can keep evolving long after its origin. Available in floor, table, and portable versions.
Read MorePlayful yet precise, Panthella turns illumination into a piece of art. Designed by Verner Panton in 1971, the Panthella Series redefined what domestic lighting could look like. Its organic, dome-shaped shade and trumpet base distribute light evenly, creating a soft halo that flatters both space and mood. Available in portable, table, and floor versions, Panthella is equal parts object and atmosphere - embodying Panton’s vision of design as sensory experience: approachable, imaginative, and always a little luminous.
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Light framed in harmony — the VL Ring Crown captures the essence of Nordic restraint. Originally designed for the Danish Broadcasting House, the VL Ring Crown features circular opal glass diffusers supported by a brass frame. The composition produces even illumination while maintaining an architectural simplicity that feels both public and personal. Available in floor, wall, and pendant versions — with the pendant offered in configurations of 3, 5, or 7 shades - its radiance feels orderly, deliberate, and quietly celebratory, proving that true elegance lies in balance.
Read MoreGeometry meets mischief - the Trip Lamp turns light into sculpture with unapologetic confidence. Part lamp, part conversation piece, the Trip Lamp captures Design By Us at its most playful and precise. Its tiered, angular base anchors the design like architecture in miniature, while a warm, diffuse glow softens every edge. Available in multiple versions - including the Trip Wall and Trip Lamp 2 - the series adapts effortlessly to different settings, each variation retaining the same bold interplay of form and light.
Read MoreHand-blown glass that moves like water and glows like dusk — light caught in perpetual motion. The New Wave Series channels the flow of water into form. Each mouth-blown glass shade undulates gently, scattering reflections that dance across a room. Metal accents lend balance and polish, while the craft of its making ensures every piece is one of a kind. Available in pendant, wall, and outdoor versions, it doesn’t just illuminate — it ripples, transforming stillness into spectacle.
Read MoreA modern wink at mid-century charm - nostalgic form, renewed with attitude. The Micro Vintage Series revives the expressive charm of 1950s lighting with a contemporary hand. Each lamp is composed of vintage Swedish or Italian Murano glass, reworked to reveal new light through old form. Mouth-blown shades meet polished metal details, creating a dialogue between nostalgia and precision. The result is lighting that feels familiar yet entirely fresh - a reflection of how heritage can evolve without losing its soul.
Read MoreLight with presence – bold, layered, and unafraid to command attention. The Shahin Series merges metallic precision with the soft elegance of hand-layered glass. Its sculptural forms strike a balance between power and restraint, embodying the brand’s fascination with drama executed perfectly. Each lamp feels deliberate yet effortless, casting warmth and authority across any space. Lighting that speaks—quietly, yet with unwavering conviction. Available in Shahin XL and Table versions.
Read MoreSoft smoked glass that dims the edges, deepens the glow, and turns light into mood. The Night Rider Series is made for moments after dark. Smoked glass shades and slender frames create pools of diffused light that shape mood as much as visibility. With its subtle metallic undertones and carefully weighted balance, it turns illumination into narrative. Every glow a scene, every shadow a pause.
Read MoreThere’s something about a well-lit Nordic interior that’s hard to explain until you’ve sat inside one. It isn’t bright. It isn’t dramatic. It’s just… right. Scandinavian lighting has spent generations solving a problem most of us don’t consciously notice — how to make artificial light feel as natural and generous as the light you actually want to live in. A good nordic light doesn’t just illuminate a room. It changes how the room feels entirely.
Scandinavian lighting design isn’t rooted in aesthetics — it’s rooted in necessity. The Nordic countries deal with months of near-darkness each year. That relationship with light pushed their designers to think harder than anyone else about what good artificial light actually means.
Poul Henningsen spent decades at Louis Poulsen asking one question: how do you eliminate glare without losing warmth? Every shade angle in his PH series is a calculated answer to that question — light that reaches you indirectly, softened and spread, never harsh. The Artichoke and Panthella came from the same obsession. So did the AJ lamp’s precise, directional geometry.
Design By Us picks up that same thread in a more contemporary way — the New Wave Optic series, the Wanted Wall, Night Rider, and the Micro Vintage collection are all pieces that understand light before they think about decoration.
That’s what separates genuine scandi lighting from furniture that just looks Nordic. It’s not about the shape. It’s about what happens when you turn it on.
A pendant is usually the first thing you notice in a room — and in Scandinavian lighting, it’s rarely just decorative. The PH pendants by Louis Poulsen are probably the most resolved dining pendants ever made. Their multi-shade system means light hits the table and the faces around it from multiple soft angles, no glare, just warmth. The Artichoke and Septima and the VL 45 Radiohus take that further — architectural forms that conceal the bulb entirely while filling the room with layered light and shadow.
Design By Us brings something more sculptural to the pendant category. The New Wave Optic Pendant Lamps refract light through geometric forms that are as interesting to look at unlit as they are illuminated. The Ballroom Molecule pendant adds a playful, contemporary edge — combining glass spheres and metallic structures in a way that feels both artistic and functional nordic lights that feel like they’ve always belonged wherever you put them.
The Panthella table lamp is a scandinavian lighting option by Verner Panton which is hard to dislike. Its seamless tulip form in opal acrylic casts soft, omnidirectional light — beautiful dimmed low beside a reading chair, equally good at full brightness on a desk. The Panthella Mini brings the same character to a smaller footprint without losing any of its warmth.
The AJ table lamp is the opposite in every good way — directional, precise, no softness about it. It was designed for the SAS Royal Hotel in Copenhagen and hasn’t needed a single change since 1960. Design By Us’s Micro Vintage table lamps offer a more tactile, craft-led take — pieces that reward attention up close.
A good scandi lighting floor lamp is often what makes a living room feel finished. The VL Studio floor lamp by Louis Poulsen brings a softer, more atmospheric quality to a space — its opal glass shade diffuses light evenly in all directions, creating a calm glow that works beautifully beside a sofa or in a quiet corner. The AJ floor lamp is for reading: focused, controlled, designed around how people actually use nordic lights rather than how it looks in a photograph.
Wall scandinavian lighting options do something pendants and floor lamps can’t — they bring warmth into the vertical plane and add depth that changes how a whole room reads. The AJ wall lamp by Arne Jacobsen is the reference piece here: directional, warm, and as considered as the rest of the AJ series. Design By Us’s Wanted Wall is more graphic and contemporary — a strong piece that doubles as a visual anchor on a bare wall.
The mistake most people make in a living room is relying on a single source. Nordic lights work best in layers — a pendant or ceiling piece for ambient fill, a floor lamp beside the sofa for reading warmth, and a table lamp somewhere at the edges for depth and intimacy. Each layer matters. Together, they give a room that quality of light that’s hard to name but immediately noticeable.
This is where Scandinavian lighting earns its reputation. The PH 5 and PH Artichoke by Louis Poulsen were practically made for dining tables — light that flatters faces, makes food look good, and turns dinner into something that actually lingers. Scale it to your table: the pendant should span roughly a third to half the length of the table, hanging about 70–80 cm above the surface.
For something more contemporary, the New Wave Optic series from Design By Us makes a strong visual statement above a dining table while keeping the light quality exactly right.
The AJ series is the benchmark for task and accent scandi lighting — directional without being clinical, precise without being cold.
The most restrained nordic lights tend to produce the warmest light — that’s the productive paradox at the heart of the Nordic tradition. A PH pendant is, at its core, a set of angled shades around a bulb. The light it produces is richer and more inviting than almost anything else. The Panthella is as simple a form as you can imagine — the glow it casts is as soft as candlelight at room scale.
This is where Scandinavian lighting earns its reputation. The PH 5 and PH Artichoke by Louis Poulsen were practically made for dining tables — light that flatters faces, makes food look good, and turns dinner into something that actually lingers. Scale it to your table: the pendant should span roughly a third to half the length of the table, hanging about 70–80 cm above the surface.
For something more contemporary, the New Wave Optic series from Design By Us makes a strong visual statement above a dining table while keeping the light quality exactly right.
The PH 5 has been in continuous production since 1958. The AJ since 1960. The Panthella since 1971. Not as heritage pieces — as genuinely current, still-excellent products. That’s what investing in real scandinavian lights means: pieces that don’t date because they were never derived from a trend in the first place.
The relationship to light itself, more than any visual style. Scandinavian lighting design is built around the principle that artificial light should be warm, diffused, and completely free from glare — a response to the Nordic experience of natural light in its most extreme forms. The aesthetic follows from that function.
In a range from Scandinavian lights, pendant — ideally a PH series pendant or the Artichoke by Louis Poulsen. Both are designed specifically to produce warm, even, glare-free light that flatters the people and the food around the table. For something more contemporary, the New Wave Optic from Design By Us works beautifully above a dining table.
Very much so. Nordic lights have always handled small spaces well — wall-mounted pieces like the Wanted Wall and AJ Wall free up floor area entirely, while compact table lamps like the Panthella Mini fill a corner with warmth without occupying much of it.
In nordic lights, Aluminium and powder-coated steel are the primary structural materials across the Louis Poulsen range — chosen for optical precision as much as durability. Opal acrylic in the Panthella series is there specifically to diffuse light evenly across every surface. Design By Us introduces glass, hand-blown forms, and materials that develop character with age. In all cases, material serves light first.
For a dining table, aim for a pendant spanning one-third to half the table length, hung 70–80 cm above the surface. For open living spaces, go larger than instinct suggests — a well-proportioned scandinavian lighting pendant reads as light and airy even at generous scale. When in doubt, our team is happy to guide you through exactly what works for your space.
You can see and sit with the full Louis Poulsen and Design By Us collections — including the PH series, Panthella, Artichoke, AJ lamps, New Wave Optic, Wanted Wall, Night Rider, and Micro Vintage — at our Alibaug, Maharashtra experience centre. Hit Enquire Now on any product, or call us on +91 91680 47999.
