Birdy table lamp

Design by Birger Dahl

3.890

NOK

Colour: Black/Brass

Black/Black Black/Brass Black/Steel Grey/Steel White/Steel 70 YR anniversary aluminium

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Birdy is a table, wall and floor lamp series designed in 1952, in a modernist style. The lamp series was produced and sold by the Norwegian electricity company Sønnico (Oslo) for many years. In 1954 the table lamp, then known as “s-30016” was awarded the highly esteemed Golden Medal at the Milan triennale.

In 2013 Northern decided to re-launch this design classic, taking care to preserve the original shape and highly functional features that at first made it such a well–loved light. The lamp series is available in white, grey or black colour with steel finish and black coloured shade with black or brass metal finish.

Table lamp (wall and floor versions also available)
Shade material: Aluminium
Shade, base and handle colours: White, grey or black (shade inner colour is same as outer colour)
Body material: Steel
Body and joints colour: Steel, brass or black
Wire: Black (grey and black versions only) or white (white version only), 200 cm (with on/off switch)
Bulb: E27. Max. 11W LED only
220V - 240V ~ 50/60Hz
CE

Product Sheet: Download
User Manual: Download

Birger Dahl

Award-winning designer Birger Dahl (1916 - 1998) was a pioneer of contemporary Scandinavian lighting. The mid-century years were a formative period of his work, when he forged his signature streamlined style and launched a new vision of lighting design.

Dahl’s career had actually begun the previous decade, when he became head of design at Norwegian electronics firm Sønnico and created the award-winning Dokka pendant lamp. Dokka was the first lamp in Norway to receive a Gold Medal award at the prestigious Triennale di Milano, which brought Norwegian lighting under the international spotlight.While acclaimed for his lighting designs, Dahl is also considered to be one of Norway’s leading Post-war interior architects. Strict geometric shapes, such as circles, cones and cylinders, were the building blocks of Dahl’s design vocabulary, which he softened with gentle contours.

He emphasised the purity of form, highlighting the shape of the object rather than hiding it behind decorative details or layers of ornamentation. Sensibilities like these explain why his work still appears modern today, and why lighting designs such as Dokka, Birdy and Dahl are so compatible with the interiors of our time.