Ruby Pyramid Murano Glass Chandelier

I · The silhouette

Why pyramid.

Most tiered chandeliers taper outward as they descend — wider at the bottom than at the top, mimicking the shape of a cascading fountain or a wedding cake. The Ruby does the opposite. Each tier is smaller than the one above it, forming a five-tier pyramid silhouette that reads as architectural rather than ornamental.

This inversion changes how the fixture behaves in the room. A conventional tiered chandelier draws the eye outward and downward, softening space. A pyramid draws the eye inward and upward, focusing space. The Ruby is designed to be a point in the room rather than a spread of decoration — an object with clear proportional logic, in the tradition of French mid-century designers who understood that a chandelier's silhouette is architecture at ceiling scale.

II · The count

Sixty discs, individually blown.

Sixty pieces of hand-blown red Murano glass. Each disc is shaped in the molten state by a glassblower, coloured with gold chloride at the melt stage (the traditional colourant for true Venetian ruby glass), then cooled slowly and hand-mounted onto the pyramid frame in a specific position that respects the tier geometry.

Sixty is a deliberate number. Enough to give the pyramid density from every angle — no visual gaps where a tier reads as under-populated. Few enough that each individual disc still reads as a distinct handmade object rather than dissolving into an anonymous curtain of glass. This is the correct count for the form, and it is the number the fixture has been designed around from the beginning.

III · The colour

The colour few chandeliers choose.

Red is the colour high-end residential chandeliers rarely go. Most fixture designers hedge — clear, amber, smoke, pale pink — colours that flatter almost any interior. Red demands the interior meet it on its own terms. The Ruby is designed for the rooms that do exactly that.

The specific hue is deep, warm, and slightly ambered — closer to burgundy or true French bistro red than to fire-engine red. Under warm bulbs, the glass reads as ruby-wine; under cooler lighting, as cardinal-red. Cast through the discs, the light warms the entire room by several degrees of colour temperature — an atmospheric effect no clear-glass chandelier can produce.

IV · The scale

A statement, deliberately sized.

The Ruby is produced in a single size — 29.5 inches in diameter, 22.8 inches in height. The proportion is deliberate: substantial enough to anchor a large dining room, grand foyer, or statement living-room ceiling; large enough for hospitality-scale interiors when specified for restaurants and bars. This is not an accent fixture.

Standard 19-inch chain, adjustable. Custom lengths available at no extra charge for reasonable extensions — write to service@stuberlighting.com with your ceiling-to-floor measurement and desired hanging height before ordering.

V · The craft

Considered, throughout.

Bulbs included.

The Ruby ships with its complete set of E14 warm-white LED bulbs. 2700K warm-white is chosen deliberately: it's the temperature that reads red glass as ruby-wine rather than as flat crimson. Fully dimmable-compatible if you swap to dimmable E14 LEDs and pair with a triac wall dimmer — at 40-60% brightness, the ruby glass reads at its most atmospheric.

Metal frame.

The frame supports the pyramid geometry — precision-engineered so each disc sits at its correct position. Metal finish is a warm neutral that reads as background to the ruby glass rather than competing with it, letting the colour and form be the visual event.

Adjustable chain.

Standard 19-inch chain, adjustable. For double-height foyers, staircase installations, or vaulted rooms, custom longer lengths are available at no extra charge — write to service@stuberlighting.com before ordering with your ceiling-to-floor and desired hanging height.

Individual variation.

Each of the sixty discs is hand-blown, one at a time — subtle differences in curvature, thickness, and red-hue intensity remain by design. Your Ruby will be subtly different from photographs and from every other Ruby produced. This is hand-blown work's signature; machine-pressed uniformity would signal a different production method entirely.

VI · Where it belongs

Rooms that ask for a point of view.