Inex December 2018

ISSUE

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Callisto Stool + Agent Table Now available in seven refined painted frame colourways.

Lyndon 342 Swindon Rd Cheltenham GL51 9JZ

lyndon.co.uk

Showroom 7 Clerkenwell Rd London EC1M 5RN sales@lyndon.co.uk

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DECEMBER 2018

Interior design isn’t just a process; it’s an art form. As long as the process is well-thoughtout, it can provide an aesthetically pleasing but efficient solution to any room or space in question. But when we think of interior design projects, it’s very easy to conjure up images of an abundance of design styles, from spacious, minimalist rooms to quirky, brightly-coloured bars and restaurants and everything in between. There are no real rules with interior design, but it is important to remember how seemingly tiny details can have an immense impact on an overall scheme.

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With that in mind, this month Inex catches up with Joe Molloy, Founding Director of Tradelinens, on page 34. Here, he enlightens us with everything he knows about cloth production and explains how Tradelinens was created out of a burning desire to be the go-to company when luxury hotels sought the very best quality in commercially viable bed, bath and table linens, and proves that the details really do matter.

Elsewhere in the last issue of the year, we jump to the future to discover what we can expect from coffee shop interiors in the new year. Gavin Dow, Managing Director and Founder of Coffee Central, explains why – in order to stand out in a growingly saturated industry – coffee shops must have a distinctive design and what they can do to make sure they do. Go to page 42 to see what 2019 has in store.

I hope you enjoy this edition. Don’t forget, you can also access all of Inex’s features and product inspiration at your fingertips via the magazine’s state-of-the-art app.

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Cover: Discover an underground light experience

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CONTENTS DECEMBER 2018

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EXPOSE

EXRATED

WALLCOVERINGS

Discover a contemporary collaboration between American Artist KAWS and Brazilian Designers Fernando and Humberto Campana.

Explore an unusual and practical piece of art created using computer algorithms.

Wallsauce unveils two new geode- and amethystthemed wallcoverings.

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INSIGHT

RETAIL DESIGN

FLOORING

Joe Molloy, Founding Director of Tradelinens, discusses his burning desire to create a luxury bed, bath and table linens company and where it all started.

With 2019 almost upon us, Gavin Dow, Managing Director and Founder of Coffee Central, predicts the interior trends of the future.

See the flooring that a luxury retirement show apartment has chosen for its interior.

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INSPIRE

Wander around SALT of Palmar, a forward-thinking hotel in Mauritius, where Artist and colour evangelist Camille Walala has created a unique design scheme.

LIGHTING

Light Artist James Turrell has created a largely underground light experience in the Arlberg mountains in western Austria.

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MARBLE

Supplier of granite, marble, quartz, ceramic and limestone, Gerald Culliford explains everything you need to know about marble.

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JUSTIN BRIDGLAND, ARCHITECT

JAYCEE CHUI, ARCHITECT AND INTERIOR DESIGNER I N E X

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A UNIQUE ARTISTIC VOCABULARY This year at Design Miami/, Friedman Benda unveiled KAWSxCampana, a collaboration between American Artist KAWS and Brazilian Designers Fernando and Humberto Campana, leading creative forces in contemporary art and design.

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KAWSxCamp the latest proj artist’s accla disciplinar I N E X

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onsidered one of the most relevant artists of his generation, KAWS engages audiences beyond the museums and galleries worldwide in which he regularly exhibits.

KAWSxCampana is one of the latest projects from the artist’s acclaimed multi-disciplinary practice, which includes paintings, murals, large-scale sculptures, graphic and product design. With humour and playful intricacy, he draws inspiration and appropriates from pop culture animations to form a unique artistic vocabulary across various mediums.

Pioneers in the global design landscape, Fernando and Humberto Campana, formed Estudio Campana in 1983 in São Paulo, Brazil. A radical departure from the modernist

aesthetic dominant in Brazil of the time, Estudio Campana fearlessly combined sculptural and design sensibilities to create a revolutionary new discipline.

Pairing traditional craftmanship with industrial techniques and unconventional materials, Estudio Campana investigates concepts of cultural over-consumption, transformation and reinvention through its designs. Estudio Campana’s works can be found in over 40 public collections, including the Museum of Modern Art in New York and Centre Georges Pompidou in Paris.

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Friedman Benda is a platform for key narratives that intersect contemporary design, craft, architecture, visual and conceptual art and cutting-edge technological research. Spanning five continents and four generations, Friedman Benda represents a roster of seminal established and emerging designers, as well as historically significant estates. Since 2007, the gallery’s exhibitions, publications and collaborations with institutions have played a vital role in the development of the contemporary design market and scholarship. www.friedmanbenda.com I N E X

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| Armourcoat Acoustic® Plaster System |

Exceptional Acoustics Armourcoat’s new Acoustic Plaster System offers a seamless mineral finish over large expanses to optimise the acoustics of interior spaces.

Applied to ceilings at The Minster Building for architects BuckleyGrayYeoman.

• Class ‘A’ NRC • Topcoat incorporates 70% recycled marble • Basecoat incorporates 85% recycled glass • Class ‘O’ fire-rated • Zero VOCs

Photography: © Jonathan Banks

www.armourcoat.com

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BLURRING THE BOUNDARY BETWEEN NATURE AND INSTALLATION Root Bench is the reinterpretation of a winning proposal in Hangang Art Competition.

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DESIGN DIRECTOR: PROJECT NAME: Root Bench ARCHITECT FIRM: Yong Ju Lee Architecture

PROJECT LOCATION: 302-17

DESIGN TEAM:

Seung Joon Lee, HyeokJun Dong, Seongmin Moon

CONSTRUCTION:

Sunjin Plus

Ichon-dong, Yongsan-gu, Seoul

CLIENT: Hangang Art Park

COMPLETION YEAR: 2018 GROSS BUILT AREA: 700m2

Kyungsub Shin, Dae Won Lee, Kyung Mo Choi, Yong Ju Lee Architecture

LEAD ARCHITECT:

PHOTOGRAPHER’S WEBSITE:

Yong Ju Lee

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PHOTO CREDITS:

www.shinkyungsub.com

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his circle-shaped public furniture piece has a diameter of 30m and is installed in the grass – which gives the impression of roots spreading throughout the park. It provides visual stimulus creating strong contrast to the background of a spacious outdoor park.

The art piece, designed by computer algorithms, presents dynamicity from three-dimensional geometry. The metal frame with concrete footing supports the overall form as the main structure with wooden decking covering it – ideal to use and maintain as a comfortable seating area.

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Root Bench is fused into the grass and blurs the boundary between artificial installation and natural environment.

While communicating with each other, visitors can enjoy the art piece at the same time. The piece has two different seating heights: the children’s chair (250mm), the adult’s chair (450mm) and a table (75mm).

To articulate the spreading out of the roots, a reactiondiffusion system was applied during the design process.

This mathematical model describes the change in space and time of the concentration of one or more chemical substance. www.yongjulee.com

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Root Benc into the gras the bounda artificial inst natural en

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An award for excellence in British design Judging panel - Furniture Simon Alderson - twentytwentyone Helen Berresford - ID:SR Joanna Biggs - GA Design Elliot Koehler - Layer Design Jeremy Myerson - Royal College of Art Tom Pearce - Sebastian Conran Associates Campbell Thompson - The Conran Shop Terence Woodgate - Terence Woodgate

Judging panel - 2D Linzi Coppick - Forme UK Daniel Hopwood - Hopwood Design Studios Prof Clare Johnston - Royal College of Art Natasha Marshall - Natasha Marshall Corinne Pringle - tp bennett Peter Thwaites - Rapture & Wright

Now accepting applications for: - Furniture - 2D (textiles, wall coverings, surfaces,

carpets and floor coverings)

Submission deadlines: Early bird: 29th November 2018 Final: 24th January 2019 Apply now: www.designguildmark.org.uk

Famiglia by PearsonLloyd, Awarded DGM 206 in 2018

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eode and amethyst details have brought boho-chic style to many interiors in the past seasons, but these latest designs will bring dramatic luxury that will rock any decor.

With a passion for embracing textures upon layers and forming collages, Lara’s sixpiece mural collection comprises intricately detailed marble patterns amongst precious stone replicas. The purplethemed collection has murals that will create a beautiful feature wall in both a tranquil bedroom as well as a contemporary living room.

Lara has always had a strong interest in art and loves anything involving creativity. Having studied graphic design/illustration at Camberwell College of Art, Lara began her career designing record sleeves that would appear on the shelves in shops such as HMV and Virgin Megastores.

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On the deeper-toned spectrum, abstract fluid Artist, Gemma Coates (GCC Artworks) has developed geode designs, rich in formal colours.

Inspired by the beauty and intrigued by our natural world, Gemma focuses on creations made with resin and ink with a hint of mixed media for texture. Her eight-piece collection presents fascinating geode and marble designs that transpire sophistication.

Gemma draws on nature for influences in terms of hues and composition, inspired in particular by geode formations. However, she does not restrict herself to one colour palette or style, preferring to continuously experiment with mediums, materials and substrates to create unique artworks that people simply wish to look at. Her aim is to bring art to everyday life. www.wallsauce.com I N E X

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GETTING IT RIGHT NEVER CHANGES Joe Molloy, Founding Director of Tradelinens, grew up in Belfast; a city made famous very many years ago as being home to the finest linen manufacturers in the world and it was here he learnt everything he knows about cloth production.

During his time as a trainee, he was taught that in the quest for perfection no aspect was to be overlooked, no detail too small.

Places change and times change but 34 years on, the same principles he was taught in Northern Ireland apply today at Tradelinens.

Can you provide us with a description of your professional career?

I started my career in textiles as a graduate trainee recruited by an Irish linen company, which provided me with a comprehensive year’s training in all aspects of textile production – spinning, weaving, dyeing and finishing luxury table linens. The restaurant linens were soon joined by bedroom and bathroom goods and we supplied an evergrowing list of five-star hotels in London, the UK and internationally.

What inspired you to create Tradelinens?

Tradelinens was created out of a burning desire to be the go-to company when luxury hotels sought the best quality in commercially viable bed, bath and table linens. While other companies had warehouses of stock to sell, we took a different approach, preferring to listen intently to a client’s needs first and, if necessary, create the product from scratch to suit clients’ needs.

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Who has been your greatest source of inspiration throughout your career?

Inspiration is continuous and often driven by the last, current or next project we are involved in. Our clients are always redefining what premium hospitality is and pushing innovation, which is infectious.

Ultimately, though, the supply of the correct luxury textiles for a project is what we do and what we are the best at. It’s such a vital part of the five-star experience – they come into physical contact with our bedding products for the best part of eight hours a night, and they play a vital part in creating and setting the entire mood of a property.

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How do you approach your projects?

With an entirely open mind in every single case. All I can say is, after 34 years in the business, when you think you have heard it all, you haven’t! The focus on every project is to do everything possible to ensure all the key client expectations are met, and where possible, exceeded. That is what we do best.

What has been your biggest accomplishment to date at Tradelinens?

My biggest accomplishment is a collective accomplishment across our business, to keep up with the ever-growing and changing demands of a luxury five-star market. What was considered ‘right’ 10 years ago, is not what is seen as ‘right’ today. When you have a reputation of being the best at something, ‘staying up there’ will always be a huge accomplishment to sustain.

We’ve grown a lot in the last 10 years and have new, talented and dedicated members of staff, all whom are determined to keep us in this top position – where we belong.

What has been your most notable project at Tradelines?

No single project stands out, but the variety in what we have done over the years has been both challenging and extremely diverse. This includes anything from the very largest hotel projects like the Principal London to very special individual client jobs, from royal palaces to the most exclusive small boutique hotels. No two projects are ever the same, none are ever too large, none too small, but all with their own challenges to be met.

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“Inspiration is continuous and often driven by the last, current or next project” – Joe Molloy

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What is the most common recurring request you get from your clients?

Without a doubt, it’s the fact that all our clients have a wish to be different, yet also expect everything to be available for next day delivery – even on the most bespoke of products.

Some of the goods we supply can take up to four or five months to manufacture and deliver. We live in a world where everyone expects everything immediately, but beautiful things take time and patience, and our clients’ expectations need to be tempered with the lead times on production and the two need to be understood.

When it comes to selecting hotel linen, what do you believe is of the utmost importance?

Everything hinges on making the right choice, first time – the final decision is the client’s and it has to the right one for them. Right for their budget, right for the look and feel of the hotel, and right for the years ahead. There is no room for a one-size-fits-all approach in the Tradelinens book.

There is so much hype and myth surrounding linen. We cut through this to get to the right decision. The different thread counts bandied around in relation to the quality of luxury linens can be massively misleading. In the end, they are just numbers. Much more important is the quality of the yarns, the finish and the makeup of the bed linen.

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How does sustainability and provenance play a role in Tradelinens’ products?

Sustainability and provenance are central to who we are at Tradelinens. We were delighted to be accepted into the Better Cotton Initiative (BCI) in 2016 – the first time a UK trade linen business has become a member of the global scheme. We’re proud to carry the BCI label, but it’s not a badging exercise. We made a commitment to ensure an increasing amount of our cotton is ‘better cotton’ and we continue to do that.

We’re using this position to try and positively influence other suppliers too as we have a collective responsibility to ensure that production of our items does not adversely affect the livelihoods of those that make them and the planet as a whole.

What do you see as the biggest challenges facing the textiles industry?

Our greatest challenge is to ensure that the production of textiles follows a responsible and ethical code so one of the world’s most precious resources, water, is used wisely.

In our world, ‘throw away and replace’ is the norm. Cotton uses a great deal of water and is often grown as a crop where water is a scarce and a precious commodity.

We, as an industry, need to ensure that products, especially cotton products, are made well and built to last – to be designed to withstand many wash and dry cycles, and to deliver to the enduser the true value they deserve.

What can we expect to see from you over the next year?

We will continue to work hard at the forefront of the luxury linen sector. We aim to be the movers and innovators with a keen eye on the commercial viability of beautiful products, marrying longevity with luxury for many years to come. www.tradelinens.co.uk 4 1

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COFFEE SHOPS OF THE FUTURE Coffee shops around the world have been criticised for all looking the same. Dark hues, exposed bricks, upcycled wood, Edison lightbulbs, cacti and copper accents. What was once seen as a contemporary homage to the rise of Starbucks and Silicon Valley, is now considered a mere symbol of conformity to millennial capitalism.

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s we propel towards 2019, it’s time for interior designers in this industry to wake up and smell the coffee. In order to stand out in a growingly saturated industry, coffee shops must have a distinctive design to encourage return customers and geo-tags on Instagram stories.

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Here Gavin Dow, Managing Director and Founder of Coffee Central – supplier of speciality coffee beans and coffeemaking equipment – discusses the interior design trends of 2019 that will shape the coffee shops of the future – no matter the size, shape or style.

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“What was once associated with schools and stadia is now a symbol of effortlessly cool collaboration” – Gavin Dow

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Stadium seating

Stadium seating, formally known as kivas, will be the pinnacle of progressive chic in 2019. What was once associated with schools and stadia is now a symbol of effortlessly cool collaboration and socialising. Intelligentsia’s Venice Coffeebar on Abbot Kinney Boulevard champions their stadium seatings’ functionality to remove traditional barriers between their customers and baristas.

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increasing gentrification of neighbourhoods that are awash with trendy tech startups. There are many examples of high-end coworking spaces and offices whose stadium seating facilitates collaboration and innovative ideas. Arguably, as coffee shops come hand in hand with the economic output of a city, it makes financial sense to incorporate such trends into their interior design to encourage people to work in isolation or with their colleagues there.

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As the cost of commercial rent continues to soar, the saying ‘go big or go home’ is so 2018. Instead, expect to see new coffee shops inhabiting compact spaces such as shipping containers or the nooks and crannies of the high street.

Noorderparkbar Grand Cafe in north Amsterdam is not your typical coffee shop fixture with its location at a local swimming pool. The coffee shop is structured solely from repurposed materials from Marktplaats – a Dutch eBay equivalent and three former temporary hospital units. The distinctive oversized wood shutters were made from wood collected from a bankrupt formwork factory, where design firms Bureau-SLA and Overtreders used ancient Japanese technique shou sugi ban (wood charring) to increase their durability.

Coffee Lab, another example, occupies an 18ft2 display window in downtown Toronto. Though they only have room for the equipment and one barista, they are able to secure a steady flow of nearby office worker customers who place orders in advance and pick up when ready.

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Great things come in small packages

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Go green or go home

Perhaps as an embodiment of the growing concern for climate change, but we will be seeing green in 2019 – both in colour and foliage. Charming little cacti on windowsills won’t cut it in the new year.

Avant-garde coffee shops are going the extra mile to create unforgettable visits and increased footfall.

Take heed of Devocion in downtown Brooklyn. To reinforce their heritage, the coffee shop hosts 35 different plant varieties including mango, fishtail palm and starfruit trees. Customers are submerged in a lush, Colombian jungle whilst they sip their flat whites.

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Move over millennial pink From a colour palette perspective, neomint will be the colour of choice in the future. The key drivers for this are the vast advancements in technology and science and the buzz around the futuristic times that 2019 will propel us towards. Neo-mint embodies the cool, futuristic fresh tone that harmonises technology with nature. It is both calming and pioneering. Expect to see walls and accents in coffee shops in this hue.

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Conclusion

These are just the starting points of emerging coffee shop design trends to consider as we go into the new year. However, they should be enough to inspire coffee shop owners to branch out from the centralised Starbucks aesthetic. If you want to

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your walls neo-mint if they don’t complement your brand colours. Explore the options and utilise what you already have too. Does your team have the capacity to water and maintain a plethora of real plants when it might be easier to go artificial? Going into the new year, ensure that any decorative upheaval efforts will complement your coffee shop’s activity. www.coffeecentral.co.uk I N E X

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WISPY WHITE TONES

A luxury retirement show apartment at Edinburgh Marina’s Old Gunpowder Store features whitewashed wood flooring.

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he wood flooring design had been chosen for Edinburgh Marina’s Royal Wharf retirement development show apartment, in the Old Gunpowder Store. Previously used in the 19th century as a gunpowder warehouse, the building has since been magnificently restored into a luxury show apartment complemented by a contemporary interior style.

The newly-renovated Old Gunpowder Store opened in October 2018, and the show apartment showcases quality interior products from an array of suppliers, including Kährs flooring.

The lightly smoked wood floor embraces pleasant Nordic-inspired wispy white tones throughout the design, with a hand-scraped finish for a dynamic and rustic appearance.

Kevin Fawcett, Developer of Edinburgh Marina Holdings, said: “We decided to use wood flooring in the Edinburgh Marina show apartment as the product reflects our commitment to quality of design and finish across the development.

Natural wood flooring is simple but timeless and perfectly complements the other design aspects and furnishings on show.” www.kahrsflooring.com

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Introducing Boutique, inspired by Zoffany’s Muse collection of fabrics and wallpapers and infused with the Alchemy of Colour, these graphic designs are the perfect answer for boutique spaces.

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Lux and Lumen by Kährs Ultra matt wood flooring collections Lux and Lumen by Kährs Lux and by collections Kährs Ultra mattLumen wood flooring Ultra matt wood flooring collections

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Lux and Lumen have been developed for design-led interiors. Traditional Lux and finishes Lumen have been developed lacquer reflect light, which

Lux and Lumen have been developed for design-led interiors.

Traditional distracts from the floor’s appearance. for design-led interiors.

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For more information about our new ultra matt designs or to book a specification consultation Clerkenwellto Design Studio in London, please email or call the Kährs team. the full.

02392 453 045 | sales@kahrs.com | www.kahrs.com

For more information about our new ultra matt designs or to book a specification consultation at our Clerkenwell Design Studio in London, please email or call the Kährs team.

For more information about our new ultra matt designs or to book a specification consultation at our Clerkenwell Design 02392 453 045 | sales@kahrs.com | www.kahrs.com

Call us on 02392 453 045

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ISLAND INSPIRATION

Back in November, the doors opened to a new and refreshingly forward-thinking hotel on the east coast of Mauritius.

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ALT of Palmar is the first in a new family of hotels from LUX* Resorts & Hotels located in the Indian Ocean (Mauritius, Reunion Island and Mauritius) as well as Turkey and China.

Conceived to champion sustainability, connect with the local community and introduce culturally curious travellers to the real, unvarnished Mauritius, the first SALT hotel occupies a dramatic, geometric riadlike building first created in 2005 by renowned Mauritian Architect Maurice Giraud – now designed inside and out by the always-resplendent Artist and colour evangelist Camille Walala.

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Camille was invited to take charge of SALT’s interiors following her work at LUX* Grand Gaube last year, when she and her team created a spectacular mural for the resort’s Beach Rouge beach club. The Lux Collective CEO and SALT Creator, Paul Jones, was struck by the affinity between Camille’s passion for colour and pattern, and the importance of colour in Mauritian culture. When it came to developing a design language for the SALT brand, she was the obvious – and only – choice.

“Camille Walala’s relationship with colour is precisely the same as most Mauritians’ – for both, colour is a vehicle for joy and a means of expressing positivity. She is the ideal artist for SALT of Palmar. I must have been in the hotel 100 times as it developed over the last few months but, whenever I see them, her designs still make me smile,” says Paul Jones, CEO at The Lux Collective.

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“Camille Walala’s relationship with colour is precisely the same as most Mauritians’”

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Camille’s interior scheme runs through the hotel’s 59 rooms and public areas.

Given that the entire concept of SALT is rooted in the authentic expression of the destination and helping guests forge a meaningful connection with their surroundings, the most important aspect of Camille’s brief was to draw inspiration from the country itself – to weave strands of a distinctly Mauritian aesthetic into the fabric of the interior.

Starting in January 2018, Camille and her longstanding collaborator Julia Jomaa set out to explore the island to find ideas for the SALT colour palette, looking both to the natural landscape and the manmade environment for cues. The resultant palette balances natural hues and Walala’s signature vibrant pop notes, and features a recurrent motif of black and white stripes.

“I was blown away with how many vibrant and bold colours you find around the island. People paint their houses in the most amazing tones that really stand out against the lush tropical setting. From the emerald green of the plants to the ever-changing colours of the sky, I wanted to marry these warm natural tones to my signature pop colours,” explains Camille.

SALT of Palmar is also Walala’s first architectural collaboration. She worked closely with Mauritian Architect John-François to realise her interior vision for the hotel’s 59 rooms and public areas, translating the ideas on Camille’s moodboards into vibrant, show-stopping reality.

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Camille’s task was to find the perfect balance between her own creative impulse and the authentic expression of the island’s character

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Camille and Julia also drew on Adams’ local expertise in order to recruit the area’s most talented craftspeople to design bespoke pieces for the project (including the likes of basket weaver Reotee Buleeram, potter Janine Espitalier-Noel and fatherand-son rattan artisans Mawlabaccus and Said Moosbally).

The culmination of this collaboration between artist, architect and artisans is a hotel that looks unlike any other on the island.

Where most resorts take their own design template and transplant it into their setting, SALT has done the reverse, channelling the colours and community of its surroundings to shape its look and feel. Camille’s task was to find the perfect balance between her own creative impulse and the authentic expression of the island’s character – fresh, playful and irresistibly positive in outlook.

But that was far from the only challenge.

Although Walala has been tackling projects and installations of increasing scale and complexity in recent years (such as the 20-storey facelift of a Brooklyn building for WantedDesign earlier this year and the giant inflatable Villa Walala for London Design Festival 2017), designing SALT represented an altogether more complicated prospect for the artist.

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“What was different for me this time is the sheer quantity of things to take into consideration when designing; not only do colours and pattern have to complement each other, but fabrics, textures, surfaces, light, functionality and moods are also critically important to consider.

In addition, Mauritius is a remote country, and although the selection of products and materials is wide, I had to think of many alternatives to things that I would have loved to use in the styling and build.

“Because SALT is by the sea and under a strong sun, we had to work with materials which could not be damaged by wind, heat, water or light. However, I did grow to enjoy the challenge of finding alternatives in the local area – that, after all, is what the SALT philosophy is all about,“ explains Camille.

SALT of Palmar’s design journey and Camille and Julia’s colour adventures in Mauritius form one of a series of stories told in a collection of short films created by Zetteler Films to shed light on the unique blend of personalities, talents and ideas that have gone into the creation of this pioneering new hotel brand. www.camillewalala.com

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L I G H T I N G I N E X

USING LIGHT AS A METAPHOR

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The largely underground Skyspace Lech created by Light Artist James Turrell blends discreetly into the high-alpine landscape of the Arlberg mountains in western Austria.

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hose passing by see little more than an elliptical dome and a similarly rounded construction made from natural stone.

Yet, below these unassuming features lies an oval light room with an opening in the ceiling that offers a truly unique view of the sky, helping to bring the heavens closer to the observer. A customised lighting solution from Zumtobel immerses this light-experience space in a varied series of colours and actively shapes the sensory perception of visitors.

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James Turrell is one of the most important artists of our time.

The American creative pioneer has been working on light spaces since the 1960s, crafting installations that provide sensory and spiritual experiences through a subtle interplay between natural and artificial light, materiality, surface, colour and space. Turrell devises his Skyspaces to achieve a unique connection between the earth and the sky. As a longstanding lighting partner of Turrell, Zumtobel has assisted with various projects and has already supported him several times with the technically demanding realisation of his exceptional works of art.

The impressive effect of Turrell’s light-poetic contemporary art can really be experienced in his latest project in the stunning natural scenery of the Arlberg, nestled between hiking trails, alpine passes and stunning mountains. On the initiative of the private ‘Horizon Field’ society, an organisation that promotes cultural projects in the county of Vorarlberg, a new Skyspace has taken shape in the alpine landscape around the picturesque village of Lech am Arlberg. The installation is accessed by an underground tunnel that has been carefully aligned to deliver dramatic views of the imposing Biberkopf peak, before finally opening out into the light space itself. As the sun rises behind the Biberkopf on the summer solstice, the first rays of sunshine reach the so-called Sensing Room, where elliptical openings carved into the ceiling offer stunning views of the Arlberg sky – a sky that appears so close, it almost seems somehow dreamlike.

In order to guide the sensory perception of visitors even more intensively, Turrell has flooded the subterranean building in a changing series of bright light colours. A unique feature of the Skyspace Lech is the integration of another key concept associated with the light and spatial artist – the ‘Ganzfeldraum’ – which really takes effect when the dome is closed. This ‘Ganzfeld’ or ‘full-field’ D E C E M B E R

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approach to light art from Turrell involves a completely featureless, evenly flooded field of vision that provides no orientation due to its perfect homogeneity.

The special lighting solution from Zumtobel, which features an amber LED strip with RGB colourchanging function and a tunable white stripe, was programmed in advance in close coordination with Turrell. This installation is regulated by a LUXMATE DMX control system, while opal diffusers have been chosen to make the lighting transition from the beginning of the passageway to the actual Skypace room as gentle as possible.

The design of Skyspace Lech started with Turrell making a comprehensive set of drawings and sketches. Based on these exact artistic specifications, Austrian architect firm Baumschlager Eberle from Lustenau planned the highly complex building, in collaboration with its long-standing lighting partner Zumtobel. The extreme weather, the impact of humans and animals, safeguarding safety and the shape, statics and requirements in terms of angles and surfaces, as well as the perfect illumination of the different spaces, together represented an extraordinary challenge for the planners.

The aim of the Horizon Field society for the architects and the companies involved was to realise a construction that meets the very highest functional and aesthetic standards. This naturally meant that all of these aspects and other additional factors had to be carefully taken into account, so that the building materials and LED technology specified for the project could comfortably withstand the sun, heat, rain, snow, ice and cold.

Indeed, strong temperature fluctuations ranging from -25 to 30° are not uncommon in this region during the course of the year. As the structure is largely underground, only the dome, the natural stone base and a light, metal cupola are visible from the outside.

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“Light is so much more than just lighting. It influences our feelings, our thoughts and our actions. It is, therefore, very important for us, as an international lighting company, to show people what light can really do – beyond the familiar applications. Turrell’s art puts light in a very poetic and sensory context and makes observers somehow feel with their eyes,” explained Karin Zumtobel, Head of Culture and Arts Zumtobel Group.

Skyspace Lech is just the latest project in which Zumtobel has provided Turrell with specialist expertise, having worked alongside him as a lighting partner since 1997. The artist designed the 2014/2015 Zumtobel Group annual report, while other collaborations have included Turrell’s light installations for the Skyspace at the Kunsthalle Bremen gallery in 2010, the ‘Apani’ full-field (Ganzfeld) artwork in 2011 and ‘Bridget’s Bardo’, the largest-ever full-field project for the Museum of Art in Wolfsburg in 2009.

Zumtobel has also fulfilled the role of lighting partner to Turrell on initiatives such as ‘Tall Glass Shonto’, ‘The Geometry of Light’ and ‘The Elliptical Glass’. www.zumtobel.com

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R E D E F I N I N G C O N T R A C T I N T E R I O R S PA C E S S T Y L E L I B R A R YC O N T R A C T. C O M

M A R B L E

MARBLE – WHAT’S THE DIFFERENCE? For centuries, the Carrara region of Italy has been the hub of the most prestigious and luxurious white marbles used as surfaces all around the world. Here, Gerald Culliford gives an explanation of the different types available.

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arrara marble has been used since the time of Ancient Rome. In the 17th and 18th centuries, the marble quarries were monitored by the Cybo and Malaspina families who ruled over Massa and Carrara. The family created the ‘Office of Marble’ in 1564 to regulate the marble quarrying industry.

By the end of the 19th century, Carrara had become a cradle of anarchism in Italy, in particular among the quarry workers. According to a New York Times article of 1894, workers in the marble quarries were among the most neglected labourers in Italy.

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Modern-day Carrara is much different, much safer and more regulated. Today it is responsible in providing us with various grades of Carrara marble (once known as Sicilian). Arabescato Corchia and Vagli, Calacatta Oro, Borghini, Michelangelo and not forgetting Statuary (Statuario).

So, what’s the difference? Why are certain marbles worth more than others?

Why can you use some marble in a bathroom but not in a kitchen? Well, the following should give you a better understanding of these materials.

Carrara marble has been the industry’s biggest seller for many years and is normally graded by C, CD and D/ Commercial (high, medium and low) mostly based on its looks rather than the integrity of the material. The grading can be quite subjective, but in general the whiter the background and more evenly balanced the veining, the better the block.

Carrara marble is the most prolific marble being produced out of all the quarries in the Massa area, so being more readily available, the price is at the lower end of the spectrum. Although it does have a big range due to being available in construction grade right the way up to very clean whiter backgrounds, often these blocks can be named Carrara Extra or Statuarietto (Veinato) which usually means the quarry owner can sell the blocks for a high value as they have the attributes of Statuary marble which is considered to be the purest form of Carrara marble.

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Arabescato marble is a classic look mostly used in high-end bathrooms, its most common types are Arabescato Corchia and Arabescato Vagli.

There are many other versions available but these two are generally held in stock and more readily available. They are also normally available in larger size blocks and still reasonably affordable on the scale of price to be able to get in 3cm-thick slabs suitable to use in the kitchen environment.

3cm slabs can be around the same price as the Brazilian Quartzites that are currently available on the market.

Arabescato Corchia tends to have a whiter background and darker blue/grey veining with more defined oval egg shapes in the patterning.

Arabescato Vagli has a creamier background and has much lighter grey heathery veining giving it an overall softer look which suits more pastel toned colours.

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Calacatta marble has a unique look to almost every block, the beauty of this material is its individuality. It has quite a few different looks depending on where in Carrara it is quarried, the more typical Calacatta Oro will have a slightly off-white/creamy white background with grey veins, the veining will be highlighted with gold and earthy brown colours and which can also feature small flecks of iron pyrites (fool’s gold). The direction and pattern of the veining is what gives it its individuality and when bookmatching the material can create some wonderful aesthetically pleasing natural patterns.

Calacatta Michelangelo is another type of Calacatta we often stock, it has all the hallmark looks of Calacatta Oro except for the larger grey and gold veins, instead it has a very soft brown veining that looks like it is finely painted through the stone like the background of the ‘Creation of Adam’ in the Sistine Chapel

by Michaelangelo.

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Moving on to Calacatta Borghini, which is to be considered the true, original Calacatta Oro, Borghini is the family name of the quarry owner and has often produced the best blocks of Calacatta. Over many years, it has become the most sought after in the world. It has been known for these blocks to be few and far between, and as such may take a long time to source and can fetch a very high price.

Finally, we come to Statuary or Statuario, the whitest of backgrounds with a defined grey veining, the best examples of this material have very little to no brown veins and are the cleanest blocks of white veined marble extracted from Carrara. Statuary is truly the premium luxury white marble and is the epitome of class and high quality. www.geraldculliford.co.uk

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S P O T L I G H T P R O D U C T

Product Spotlight This month’s selection of innovative new products not to be missed.

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Solid oak

For the traditionalists. Cut in Round Wood’s own mill, these boards feature an angled groove suitable for secret nailing. Available in either prime, rustic or character kiln-dried oak. Supplied unfinished.

Engineered walnut

The dark colouration and striking grain of walnut makes it ideal for products with a contemporary edge. These boards are available in either 21mm (structural) or 15mm (overlay) thicknesses.

Bespoke oak

FLOORING BY ROUND WOOD OF MAYFIELD

The engineered boards in the ‘Bespoke’ collection are hand-distressed in the UK to achieve a particularly distinctive character.

Manufactured to order in oak and can include accessories such as thresholds. Colour and finish matching service also available.

Thermo-treated ash

Round Wood offers a wide range of premium yet excellent value flooring products that you won’t find in typical outlets, such as DIY stores and builder’s merchants.

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ll boards are cut from excellent quality materials and are finished to a high specification, making them particularly suitable for projects that require both durability and a luxurious touch. Amongst Round Wood’s extensive product offerings, its key ranges include the following:

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Engineered oak

The engineered flooring features a chunky wear layer of oak, mounted onto a cross bonded multi-ply backing.

This combination provides durability that outstrips solid boards whilst maintaining an authenticity far superior to laminates. Available in a range of widths, from 189mm to extra-wide 300mm.

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The Thermory collection includes ash flooring, which has been thermally modified for outstanding stability and dark, rich colouration throughout. Thermo treatment is an eco-friendly, chemical-free process that transforms sustainable timbers.

Handscraped oak

These boards, a subset of Round Wood’s engineered range, offer an aged finish.

Each board has been hand-finished to provide a slightly rippled, worn profile.

They are available unfinished or pretreated with two coats of hard wax oil. www.roundwood.com 01435 860260 sales@roundwood.com

Flooring manufacturer Amtico has launched Colour Anchor – a stunning new palette of carpet tiles that provides designers and specifiers with a wider range of possibilities for commercial interiors.

Consisting of 15 different shades, from neutrals to brights, the versatile tiles are the perfect accompaniment to Amtico’s existing carpet collection, while offering more playful and adventurous design possibilities. By introducing new bold single colours, such as ‘Poppy’, ‘Meadow’ or ‘Abuzz’, designers can add contrasting accents to a scheme, or alternatively blend stronger shades with neutral tones to deliver a visually inspiring space. Furthermore, the use of coloured carpet tiles in extensive commercial environments, such as offices, schools and retail outlets, aids the designation of zones.

Lyndon’s luxurious handcrafted and bespoke seating solutions have been specified throughout a premium cinema and bowling alley at the Flower Bowl in Preston, Lancashire.

Comprising one large, single-storey 4200m2 building with an undulating grass roof to give a natural appearance, the Flower Bowl boasts a state-of-the-art cinema with three screens. To create an intimate and sophisticated viewing experience, each screen is adorned with Lyndon’s plush two-seater sofas and armchairs that are finished in opulent velvets and patterned fabrics.

Offering optimal space and comfort, each sofa and armchair incorporates an oak side table, whilst complementary bespoke footstools in the same fabric grace the front row seats.

www.amtico.com/commercial 0121 745 0800

www.lyndon.co.uk 01242 584897

THE EVOLUTION OF CHRISTOPHER HYDE LIGHTING

S P O T L I G H T

LYNDON IN FULL BLOOM AT THE FLOWER BOW

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AMTICO COLOUR ANCHOR MAKES A SPLASH

ROMAN’S EXCELLENT SLEEP + EAT

International shower designer and manufacturer, Roman, has revealed that the new Sleep + Eat was a resounding success.

Roman showcased its latest collection of products specifically designed to present the company’s bespoke capability and vast experience within the UK and international project market. Sleep + Eat proved the perfect platform to showcase Roman’s full range of capabilities, including bespoke showering solutions, diverse metal finishes and bespoke Corian fabrication and solid surface moulding across the bathroom.

Roman’s stand featured three different hotel roomsets with three different metal finishes; chrome, matte black and brushed brass.

Christopher Hyde Lighting, a leading London lighting specialist, has excelled at providing lighting for a wide range of interiors.

Its handmade lights have been installed across the world, from luxury yachts and grand hotels to palaces at home and abroad. In the past year, the company’s range of products has been updated, bringing a fresh perspective to the proud heritage of the longestablished brand. A stunning contemporary range of handmade Italian chandeliers, pendants and table lamps are available in a variety of different finishes. These exciting new ranges will complement the hugely popular traditional collections familiar to Christopher Hyde Lighting’s customers. www.christopherhyde.com 0207 351 0863

www.roman-showers.com 9 5

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