may be due to the manufacturer, Copenhagen Lighting Service, removing some components of the lamp because they caused the light to glare. This was an issue that Poul Henningsen would later solve and the glare-free design feature would become a signature characteristic of his work. in 1921, he began his journalistic career when hired by Politiken to cover architecture. His writing emphasized the relationship between societal problems and architecture and the effects of Copenhagen's transformation into an urban metropolis. His journalism often focused on what he perceived to be the short-term thinking of municipal authorities' urban planning. In 1925, Henningsen presented the Paris Lamp (Danish: Pariserlampen) at the International Exhibition of Modern Decorative and Industrial Arts at Paris. Henningsen won the gold medal for this creation. Lamp consisted of 6 shades and was made of silver. An early model of this lamp sold for £87,500 at auction in 2016. Creating the three-shade lamp system After the Paris exhibit, Louis Poulsen and Henningsen were awarded a contract to provide lighting for the newly constructed Forum building in Copenhagen. The building was planned to house an international car exhibition. Rather than using beam lighting, which would illuminate the cars' roofs and hoods but leave the sides of the vehicles dark, Henningsen iterated on the Paris Lamp design to create a lamp that would channel the light in oblique paths. The Forum lamp had three shades, with diameter proportions of the shades following a 4:2:1 ratio. This ratio allowed the upper shade to reflect 50% of the light and the middle shade and bottom shade to reflect 25% each. The lamp Henningsen created for Forum would be the basis for the three-shade system. The design was subsequently developed into a comprehensive system of lamps of different sizes, colors, materials, types (floor lamps, table lamps and chandeliers). During 1926–27, the Forum lamp design was converted into the rational three-shade system (Danish: 3-skærmssystemet) that could accommodate many different needs. The top, middle, and bottom shades corresponded to the proportions of an approximately 3:2:1 ratio (where the top shade was three-times larger than the bottom shade). (The exception was the largest lamp with 85 cm top shade, which used the 4:2:1 proportions). The first line of lamps were made available in five sizes. The lamps sizes in the system were given rational name scheme: 8/8, 6/6, 5/5, 4/4, and 3/3. The first number in the fraction