A slim cylinder, 6.5 cm across and 18.5 cm tall, with nothing but a small wooden cap where the cable meets the stone. Nearly three times as tall as it is wide, which is the most vertical proportion in the range.
Narrow and tall means the light stays in a column. Almost nothing escapes sideways, so what you get underneath is a small bright circle with a dark ring around it, and the piece itself reads as a line rather than a shade.
Where it earns its place
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In multiples, staggered. Three or five at varying drops over an island. The narrow profile means you can use more of them than you could of anything wider.
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Down a hallway. Takes up no width at all, which matters in a Victorian hall where the ceiling is high and the walls are close.
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Over a bar or a serving counter. Pools of light at intervals rather than a wash.
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Black or honey. The black is the graphic option. The honey is warmer than the cream travertine used elsewhere in the range and reads as gold when lit.
Real stone, so no two are the same
A tall narrow cylinder shows one long uninterrupted face of the block, so the banding runs the full height and every piece tells a different story down its length. Black travertine shows its pores as pale specks; the honey stone shows them as shadow. Look at both macro shots.
Hanging it
Two hundred centimetres of cable, cut on site. Because the stone is 18.5 cm long, hang from the base upward: 70 cm from a worktop to the tip, which puts the wooden cap around 88 cm up. If you are hanging several, vary the drops by at least 10 cm or they will look like a mistake rather than a decision. The 12 cm wooden ceiling plate covers a standard rose. Warm white E27 LED bulb included. Not dimmable, and it wants a qualified electrician.
