Double Gourd, Turquoise.
An oversized double-gourd ceramic in saturated turquoise. The room-anchoring lamp that argued for scale as a design decision. Featured in House Beautiful, Veranda, Domino.
Scale as a commitment.
Double Gourd was thirty-two inches tall to the top of the brass socket. Hand-thrown ceramic in two stacked spherical volumes, finished in a saturated turquoise that was closer to a Mediterranean tile than a typical jewel-tone.
It was a statement piece without trying to be one. The argument the lamp made was that scale belongs to a room’s lighting decisions, not just its furniture decisions. A small lamp at a large console anchors nothing. A large lamp does.
It ran for three years across editorial portfolios from Charleston to Newport Beach. It came off the line in 2018 when the studio retired the kiln program that produced the larger-scale ceramics.
Scale, color, commitment.
Three decisions that made the lamp work in rooms where it was always the largest object on the table, and still inform how the network thinks about lamp scale.
01
Scale as a decision, not a default
Thirty-two inches tall on purpose. Designers used it to anchor large consoles where a typical 22-inch lamp would have looked apologetic.
02
Saturated color, never muted
Turquoise as designed, no pastel variant, no neutral colorway. The lamp made a single color choice and held it across every batch.
03
Hand-thrown at the larger volume
Most ceramic at this scale is slip-cast for cost. Hand-throwing at 32 inches required a senior potter and more clay. The studio absorbed the cost; the catalog price didn’t reflect it.
Scale as a decision still matters.
The lamp is no longer made. The principle (lamp scale is a design decision, not a hardware default) is the same principle the network’s designers apply when specifying fixture sizing on whole-house interior plans.