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Designer Fatih Arslan has published a tour of the lamps in his home, describing their designers, history and how he uses them. The collection includes pieces by Isamu Noguchi, Poul Henningsen and Richard Sapper; Arslan says the lamps are costly, but that collecting them is different from buying lighting solely for function.
Designer Fatih Arslan has published a tour of the lamps in his home, tracing the designs and personal stories behind pieces by Isamu Noguchi, Poul Henningsen and Richard Sapper. The account offers a look at how a collector uses historic lighting designs at home, while Arslan acknowledges that the pieces cost far more than many functional alternatives.
Arslan says readers often ask him about lamps he posts on social media, prompting him to write about the collection. He describes the objects not only as sources of light but as design pieces he collects. He says he considers them worth the expense for his own purposes, while noting that less costly, well-designed options are available from retailers such as IKEA and that vintage shops and fairs can offer lower prices.
The collection includes an Artemide Tolomeo Mini, designed by Michele De Lucchi and Giancarlo Fassina in 1987. Arslan calls it practical for a work desk and says he made an adaptor to attach his lamp to a USM Haller desk. The design received the Compasso d’Oro in 1989, according to his account. He also owns a Tizio Micro by Richard Sapper, a smaller version of Sapper’s adjustable lamp design, which dates to 1972. Arslan points to its balanced arms, which conduct electricity without wires running along them.
Several lamps are from Noguchi’s Akari series, made with washi paper. Arslan describes the 1A, 3A, 16A and 75A models, noting that the largest, the 75A, is about 75 centimetres across. He says he has placed the lamps in different rooms and that the 3A works best on a low table or cabinet. His tour also features Louis Poulsen’s PH 5 and PH 3/2, designs by Poul Henningsen, as well as an AJ wall lamp by Arne Jacobsen. Arslan describes the PH 3/2’s glass as fragile and says he broke his and waited months for a replacement.
How the Lamps Shape His Home
Arslan’s account is a personal collection tour rather than a report on a new product launch or a change in the lighting market. Its value for readers lies in the specific examples of how historic designs function in a home: a desk lamp attached to a work surface, paper Akari lamps placed in several rooms, and a large sculptural model that fills an office.
His comments also distinguish buying a lamp for illumination from collecting it for its design history. Arslan says the lamps are expensive and does not argue that they are worth their prices for everyone. He notes that lower-cost alternatives and secondhand options exist, leaving readers to weigh practical needs, design interest and budget for themselves.
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Design Histories Behind the Collection
The lamps Arslan discusses span designs created between the 1920s and the late 1980s. Henningsen’s three-shade system dates to 1925, while the PH 5 followed in 1958. Jacobsen designed the AJ lamp for Copenhagen’s SAS Royal Hotel in 1957. Sapper’s Tizio dates to 1972, and the Tolomeo was designed in 1987. These dates and details are presented in Arslan’s report.
Noguchi began the Akari series in 1951 after visiting Gifu, Japan, a city known for paper lanterns, according to Arslan. The lamps use washi, a traditional Japanese paper, to soften light and form lightweight shapes. Arslan says the Akari models are still made by hand at Ozeki, a family-run workshop in Gifu, using traditional methods. He also describes a red sun-and-moon stamp as a mark found on authentic Akari lamps.
“At a certain point, it becomes more like collecting, and collecting things is very different from just having a lamp to illuminate a room.”
— Fatih Arslan
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What the Tour Does Not Establish
The article is a personal account and does not provide a complete inventory, purchase prices or market valuations for the lamps. Arslan does not say when he acquired every piece or identify the specific vintage sellers and fairs where readers might find comparable models. His view that the lamps are worth the cost is personal, and the account does not compare their prices or performance with alternatives.
The tour excerpt also ends during Arslan’s description of the AJ wall lamp, after he says he sometimes points it in a particular direction. It does not provide the rest of that explanation. The account does not establish whether the collection or its arrangement has changed since publication.
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No Further Release Announced
Arslan’s article presents the lamp tour as a look at pieces he already owns; it does not announce a product release, exhibition or planned follow-up. Readers seeking further detail can consult the original report and its photographs, which Arslan says were taken in his home. Any additional information about prices, sourcing or the incomplete AJ lamp description would need to come from Arslan or a later update.
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Key Questions
Who published the lamp collection tour?
Fatih Arslan published the personal account on October 5, 2026, describing lamps he owns and their design histories.
Which designers are represented in the collection?
The lamps include designs by Isamu Noguchi, Poul Henningsen, Richard Sapper, Arne Jacobsen, Michele De Lucchi and Giancarlo Fassina, according to Arslan’s report.
Are the lamps still made by hand?
Arslan says the Akari lamps are still made by hand at Ozeki, a family-run workshop in Gifu, Japan, using traditional methods. His account does not give current production details for every other lamp in the collection.
Does Arslan recommend buying expensive designer lamps?
He does not make a general recommendation. Arslan says the lamps are worth the cost to him as a collector, while noting that less expensive designs and secondhand options are available.
Source: hn
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