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Welcome EDITOR • PAUL JAMES The time is almost upon us for darc night, the darc awards decorative and architectural lighting celebration taking place at Testbed1 / Doodlebar in Battersea, London on September 24th. I have been blown away by the response to the peer-to-peer concept making this a truly democratic awards programme. Over 450 entries and over 5,000 votes from the lighting design community has proved that the lighting industry - both decorative and architectural - was eager to embrace a fresh, subversive awards format. This alternative approach will be replicated during darc night. Dress code is creative not black tie. Street food (no tables) and drink is free all night and there is no comedian (well, not unless I constantly fluff my lines). The visual interest will be provided by twelve inspirational installations created by lighting design studios and manufacturer partners and you’ll be able to vote for your favourite at the end of the night. There are still a small amount of free tickets available for interior designers and architects (the lighting designers’ allocation is now taken) and suppliers can purchase tickets - just contact us. We look forward to seeing you there to celebrate the best of what international architectural and decorative lighting has to offer. DEPUTY EDITOR • HELEN FLETCHER For issue #12 we have a big focus on London Design Festival, where you’ll see the darc team out in force, covering all the must-attend events and discovering the latest design delights in the world of decorative lighting. Our dedicated LDF editorial starts on page 88 where you’ll find our guide to all the relevant design districts; a preview of some of the latest decorative lighting lines being launched at Decorex, designjunction, 100% Design and Tent/Super Brands; a round-up of relevant lighting seminars; and details on two light art installations that might just take your fancy! As Paul has mentioned, we’re also launching the first darc awards during LDF. Coinciding with my birthday (gifts on the night welcome), it’s sure to be a great event and a wonderful celebration of the creative achievements in our industry - good luck to all our finalists! Project wise, we’ve got some great London-based decorative projects for you to take a look at - from the new Heal’s concept store dedicated to lighting on page 54 to Hakkasan’s Yauatcha dim sum restaurant on page 60 and Cinimod Studio’s Emergence installation at London Heathrow’s Caviar House & Prunier restaurant on page 66. But it’s not all about London... The darc team has been out and about this summer, exploring what the rest of the design world has to offer and we bring you product reviews from Copenhagen’s northmodern and Maison et Objet in Paris. We also profile designers hailing from Moscow, Washington DC, Ghent and Dubai! Happy reading and if you’re going to be in London during LDF make sure you say hello!

light Energy efficient

Core, Eruption of Light design Christian Lava



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From Aotearoa (New Zealand), in the South Pacific, wild nature combines with artistry and design





Hitting the Headlines For the most recent decorative lighting news head to and sign up to the designline newsletter.

darc night beckons

Artemide extends Japanese duo partnership

(UK) - darc night, the darc awards ceremony, to take place at Testbed1 / Doodlebar in London on September 24th during London Design Festival. Read the full story online...

(France) – Designers Motoko Ishii and Akari-Lisa Ishii continue collaboration with Artemide for ‘Light Trend’ at Maison & Objet 2015. Read the full story online...

Kate Wilkins and Sam Neuman join forces (UK) – London-based lighting designers Kate Wilkins and Sam Neuman combine years of collaboration to launch portfolio of projects and new website. Read the full story online...

lightjunction’s brightest

A northmodern success

(UK) – As part of this year’s designjunction, lightjunction will take more space than ever before in London. Read the full story online...

(Denmark) – northmodern’s August exhibition served as well received business platform for design community. Read the full story online...

Super Brands London: Lights to look for (UK) – Super Brands London 2015 to showcase international design talent from contemporary and cutting-edge brands, and an array of national pavilions. Read the full story online...



darc awards Votes for the darc awards, organised by mondo*arc and its sister publication darc in collaboration with Light Collective, have now been counted and the winners will be announced at darc night in London on September 24th.

Votes for the darc awards have now been counted and the winners have been identified! They will be announced at the awards ceremony, darc night, taking place at Testbed1 / Doodle Bar in Battersea, London on September 24 during London Design Festival. The only peer-topeer lighting design awards in the world attracted over 450 entries and over 5,000 votes, an amazing response to an inaugural competition and proof that designers are looking for something new and refreshing. Project shortlists consisted of the best twelve submissions from each category. Product categories went straight to the lighting designers’ public vote so that they could genuinely vote for their favourites. All independent lighting designers and light artists that voted in every category are able to attend darc night free of charge (suppliers will be subject to a charge) turning the traditional awards ceremony protocol on its head. The awards evening itself will be completely different with free street food and drinks all night, lighting installations by lighting designers and light artists who have teamed up with the manufacturer partners, and a completely different format for presenting the evening. Each architectural project category is split into low and high budgets (less or more than

£20,000 spent on luminaires), thus allowing the smaller projects a chance to compete and not just given a token ‘Special Projects’ award. Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: “Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try to create a different version of celebrating the best of lighting design where the judging is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people – it’s the Oscars of lighting design!” All the projects and the companies who have submitted them will be present on the website so that, over time, will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration. There are also product categories (two architectural and one decorative) that follow the same philosophy resulting in a comprehensive online database of products. darc night will be unlike any other awards ceremony to date.

Each commercial partner will be showing off the capabilities of their product via a series of light installations at darc night from collaborations with lighting designers. Manufacturer partners are Concord (who are teaming up with Speirs + Major); Cooledge (Light Bureau); Griven (Paul Nulty Lighting Design); Innermost (Elektra); KKDC (dpa); L&L Luce&Light (LDI); LSE Lighting (Troup Bywaters + Anders); Lucent (Michael Grubb Studio); Lumino (Electrolight); Megaman (Design In Progress); Reggiani (BDP); and Zumtobel (Arup). Technical partner is XL Video and Applelec is manufacturing the special trophies from a unique design from Kerem Asfuroglu, who’s Dark Source graphic novels were the inspiration behind the branding used for the awards. darc night is part of the International Year of Light and Light-based Technologies 2015 related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise awareness for the lighting design profession and showcase the importance and beauty of light. It is supported by the Society of Light & Lighting and the International Association of Lighting Designers.

Three of the shortlisted projects in the decorative lighting installation category - Dancing Leaves at the Peninsula Hotel in Paris by Lasvit; Light Garden in Lima, Peru by Claudia Paz Lighting Studio and Nicholas Cheung Studio; and POV and Terrace Bar at the W Hotel, Washington DC by Reveal Design Group.



DARC AWARDS CATEGORIES 1 Best interior scheme - low / high budget 2 Best exterior scheme - low / high budget 3 Best landscape scheme - low / high budget 4 Best decorative lighting installation 5 Best light art installation 6 Best architectural lighting product interior / exterior 7 Best decorative lighting product 8 Best lighting concept



focal point BALTHASAR VIENNA, AUSTRIA Described as a third wave coffee shop, Austrian interior designer Eugenie Arlt created a clean, fresh interior for Vienna’s Balthasar café. The interior’s decorative lighting creates a warm, yet light atmosphere for guests to relax with Innermost’s Dent pendants suspended above the coffee bar adding a golden drama to the scene. NUD Collection’s Classic dimmable bulb pendants above the central bar table stylishly complement the room. Oligo’s Filou and Artemide’s Tolomeo wall sconces behind the bar add a humourous element, counterbalanced by Gubi’s Semi pendants suspended above the tables. The café design takes a back seat to allow for a beautifully unexcited yet functional background to prevail. Arlt uses generosity in space and attention to detail that cares for its guests, creating a bright, unpretentious atmosphere for coffee-lovers to enjoy. Pic: Tony Gigo




focal point SUBSIX, PER AQUUM NIYAMA DHAALU ATOLL, MALDIVES Subsix restaurant at Per Aquum Niyama hotel in the Maldives has been washed over in a second wave of design by Poole Associates, drawing inspiration from its aquatic surroundings. Upon arrival, underwater revellers descend a three-tier staircase. Overhead, Italian-designed abstract Flashwhite chandeliers from Masiero illuminate the descent while reflecting onto capiz shells that drape from the entire expanse of the ceiling. In the centre of the room, a clam-inspired bar strikes an imposing form, its fibreglass shell glowing with Neoz Lighting’s rechargeable L-6 Egg Pro table lamps that shift colour throughout the day from pure white mornings to a lavender dinner setting. The ceiling also features RGB ribbon lights, with waterproof LEDs on the exterior facing the reef. Over 90 coral reef species ply the surrounding waters of the Indian Ocean, with specially designed reef coral providing hiding spots for the more reclusive denizens drawn in by the Subsix glow. Pic: Poole Associates Private Ltd




focal point FLORENTINA BEIJING, CHINA Interior Designer Emma Maxwell envelopes Italian food lovers of Beijing in a Mediterranean glow. Singaporean lighting design company Switch’s architectural lighting married with locally sourced decorative pieces to evoke a light remniscient of Italian summer in the Florentina restaurant. Maxwell fused elements of Italian classicism together with contemporary and bold coloured furnishings, greeting guests with natural lighting, chevron patterned Carrera marble flooring, timber panelled walls and a ceiling covered with cloud wallpaper by Fornasetti. Locally sourced suspension lights made of delicate hand-blown glass bubbles complete the entrance of this mise en scene, evoking the colour and excitement of a fireworks display. The bar area features angular brass suspension lights to facilitate reflectivity and use space within the structure of the decorative lighting to enhance the space of the restaurant, lending a capacious air to the design. Pic courtesy of Emma Maxwell Design




focal point VILLA BOUGAINVILLE NICE, FRANCE Inspired by a contemporary Bonbonnière, interior designer Arnaud Butin of Atelier Costes & Butin created a colourful atmosphere of abundance, filled with the luxuriance of exotic vegetation. The lobby, pictured here, features ceiling lights resembling pieces of fruit from Aqua Creations with Dippa, Suuria and Perlina pendants in Grass, and a monkey table lamp from Seletti. The breakfast room presents the vegetation in a more scientific spirit with classical lamps from Eleanor Home and Petites Fritures. In the bedrooms, guests are met with a spirit of accumulation in lamps of numerous materials such as metal pieces from Petites Fritures, wicker suspension lamps from Habitat and porcelain pendants from Il Fanale. Reflecting the growth of Nice at a time when the rich bourgeoisie had discovered holidays and travel, Villa Bougainville has a real taste for exoticism, appealing as a vibrant hotel to explore. Pic courtesy of Herve Fabre Photographies




Behind Closed Doors British design meets American audacity in Timothy Oulton's exclusive hide away redesign of Los Angeles Athletics Club's Blue Room.

In downtown LA, British designer Timothy Oulton has transformed the historic Los Angeles Athletic Club (LAAC) with a redesign of its eminent Blue Room. From a humble start as a small family owned antiques shop into the renowned brand it is today, Timothy Oulton’s designs bring with them a history of their own. Profoundly influenced by his love of antiques, his father’s military background, and an inherent affection for British heritage, Oulton created an authentic, visionary brand, known for its modern reinterpretation of traditional designs and respect for classic heritage. Now an international brand, Timothy Oulton’s designs marry effortlessly with this exclusive LA-based speakeasy, together celebrating over 100 years of LAAC heritage with a fresh, modern reinvention. LAAC’s original Blue Room, opened in 1912, hosted prestigious members of its influential Uplifters Club, formed in 1913, which included Walt Disney, Charlie Chaplin and Clark Gable. Having been run by the Hathaway family for six generations, the LAAC remains a cultural institution in the city. When they approached Timothy Oulton to recreate the Blue Room, it was the perfect pairing. Oulton commented on the relationship: “Heritage and authenticity are hugely instrumental in everything we do, so this was an exciting collaboration to put our stamp on such an iconic landmark. The idea of hosting, creating inspiring spaces where people can relax together and connect, that’s what our collections are all about, whether it’s in your own home or in a setting like the Blue Room.” The four-week project to transform the fourth floor conference room into a sophisticated lounge and bar was headed up by Oulton’s team, led by Global Style Directors Danielle Monti-Morren and Raoul Morren. Work began by taking down the false ceiling to expose the pipework and spraying the ceiling black. The old carpet was lifted up and the concrete underneath was polished to achieve an industrial look. Oulton




Pics: Antonio Diaz

Above Timothy Oulton's signature book stack, the Pillar of Knowledge in the centre of the Blue Room. Left Timothy Oulton's Crystal chandelier in antique rust fnish suspended over the Boston dining table. Below Timothy Oulton's Gyro lamp.

commented on the room's layout: “It's just one open plan room designed to be used as separate intimate areas or as one cohesive space if people want to take it over for a party.” During the LAAC’s renovation, a hidden staircase was unearthed between the third and fourth floor; a clandestine passage used during Prohibition in the 1920s. Oulton continued: “We used the staircase for the entrance and we built the trick bokocase on the third floor below,” celebrating the club’s heritage by adding a sense of humour and playfulness to the project. A trick

bookcase in the third floor bar now opens on to the secret stairwell, where black walls are covered from floor to ceiling with framed photographs chosen from the LAAC’s archives, each one telling a piece of the club’s history. Monti-Morren commented on the design: “Our aesthetic always begins with authenticity. We wanted to preserve the history of the club but marry it with something daring and modern. The room is a hub, a meeting place, a spot for business to happen, but also a place to celebrate.” After ascending the secret staircase, guests walk in through heavy black drapes. The

four distinct areas are designed as the corners of the room for intimacy and privacy, rather than guests meandering from one through to the next. The Blue Room's walls are all black, save one accent wall of Oxford Blue, creating a depth of coordination with the existing shutters that frame the large windows. Upon entering the room, on the right is a quiet nook by the window, lit under the mellow glow of brass Drum and Crystal chandeliers, where guests sit in oversized leather wingchairs that offer decadent comfort around brass Drum side tables, exuding






the air of a classic gentlemen’s lounge. Further along the same wall, next to the large windows, is another lounge area with the Senior Common Room sofas where Timothy Oulton’s Test Tube chandelier, made of laboratory test tubes, hangs in the foreground of Match Point, an artwork created from vintage wooden tennis rackets. From here, guests can venture over to the bar on the opposite side. Another Crystal chandelier in antique rust finish is suspended above the rustic oak Boston dining table topped with distressed aluminum next to the American lockers. Then walking back to the entrance, in one candle-lit corner, Timothy Oulton’s Gyro lamps pervade an industrial elegance with an antique rust finish inspired by ancient

navigational instruments. Oulton’s signature flair for juxtaposing the classic with the contemporary is further brought to life in the hand-softened leather Scholar armchairs and Westminster Union Jack sofa, as well as the Axel coffee and side tables, handmade from reclaimed boat wood. With a different niche for each of those seeking refined comfort and exclusive design, the LAAC’s Blue Room is an unbeatable venue available exclusively to its members. Timothy Oulton has encapsulated the elegant blend of British and American style, creating a decadent cave revealed only to those who can find their way through the hidden entrance.

Top Timothy Oulton's Gyro lamp next to Westminster Union Jack sofa. Bottom Timothy Oulton's Crystal floor lamps in lounge area by large windows.

PROJECT DETAILS Blue Room, Los Angeles, USA Client: Los Angeles Athletic Club Interior and Lighting Design: Timothy Oulton Lighting Supplier: Timothy Oulton

Mimosa Floor Lamp, 2015 Clear polymer over metal structure with concrete base, H 170 cm Design by Albi Serfaty & Liran Levi

Aqua Creations Lighting & Furniture Atelier



Shabby Chic Rustic elegance lathers the walls of La Ménagère, the concept-restaurant that glows a homley warmth under Karman’s lighting concept.

Pics: Sofie Delauw

Once a hub for Florentine ladies of the late nineteenth century to find all that they needed to lay their elegant tables, a unique space is born again in La Ménagère, Florence, through Karman’s new lighting scheme. The concept-restaurant is a collection of tastes, flowers, fragrances, design items and live music sprawled across the 1,500sqm space in several sections. The unconventional layout brings together elements where Karman has illuminated the architecture and interior design across the different areas into which the large space is split. Each environment differs in style

yet all are united by a modern take on retro furnishings and fixtures including suspended, table, wall and floor lamps. Entering through the concept-shop from the main entrance, Karman paid homage to La Ménagère’s roots with particular attention to lighting the shop that sells tableware, kitchen tools and a selection of home items. Guests are met with Mek Meccano-shaped hanging lamps by Karman designer Bizzarri Design, serving as an elegant and warm detail in the entrance of such a large space. Across from the shop, a flower corner flaunts rare plants and fresh bouquets through the seasons, glowing with Karman

Above Ugolini's Life and Lucilla pendants in the large hall opposite the main entrance hang in the foreground of Bizarri Designs' white Mek hanging lamps suspended above the shop Right Ugolini's Settenani, Lucilla and Kimono pendants suspended amongst foliage above dining tables in the large hall


designer Matteo Ugolini's Lucilla suspension lamp with its bare iron structure and Life pendant covered in denim with a vintage finish. Moving through the open space, guests then reach the large hall across from the main entrance. With a clean, airy light, this open area features Karman's Kimono lanterns in white fiberglass and Settenani pendants in rough concrete, also designed by Ugolini. The Dharma suspension lamp, designed for Karman by Italian Edmondo Testaguzza, is also incorporated to complement the lanterns and pendants. In conjunction with purple and pink suspended foliage, the space maintains a fresh and homely atmosphere, reflected in the Lucilla suspension lamp, which uses space within its own bare structure to illuminate and add detail without clutter. Beyond the large hall is the concept-restaurant's kitchen. Ugolini's white ceramic Gangster suspension lamps feature here, as well as his Via Rizzo7 pendants in matte ceramic - reminiscent of old, round street lamps - lighting up the cooking space. To the left of the main entrance is La



Below Private room featuring Ugolini's Au Revoir chandelier Right Nando by Luca de Bona and Dario de Meo in the café Below Ugolini's Life and Lucilla pendants in large hall

Ménagère's gallery featuring an eighteen-metre long table lit by Ugolini's white ceramic Déjà-vu Nu suspension lamps. The venue also features a private room with another of Ugolini's creations, the Au Revoir white glass chandelier, suspended above a table used for meetings or private dinners. The coffee bar to the right of the entrance houses a coffee counter lit up by the oriental shapes of Ali&Baba, where Cristian Guitti, an international barman, offers his experimental skills in infusion, smoking and smoothie making techniques. The café tables are illuminated by the industrial yet delicate Nando pendant from Karman designers Luca de Bona and Dario de Meo, a metal joint grasping a micro-holed tube. With an eclectic mix of contemporary design evoking traditional themes of the Italian home and cuisine, Karman's scheme delicately illuminates a challenging space with a sensitive goal. Its history embedded in aesthetics, this concept restaurant stands as testament to the abiding blend of modern and rustic design, and the significance of the minute detail no matter what the space.

PROJECT DETAILS La Ménagère, Florence, Italy Client: La Ménagère Lighting Design: Karman Lighting Suppliers: Ali&Baba, Karman



In Pizza We Trust Margherita shrouds pizza lovers in a warm glow comprised of woodtones, leather and vintage lighting - the essential combination for comfort away from home. Former pub St Germain in Paris, France, is the latest project from French interior designer Laura Gonzalez. As a young designer with a passion for design and cooking, she has grown into her own through Margherita restaurant standing as her ideal project with a blend of her personal passions and professional goals. With the words ‘In Pizza We Trust’ publicised on the building’s façade, Margherita announces the cosmopolitan spirit of this contemporary brassiere. Gonzalez, in collaboration with restaurant owner Thierry Bourdoncle, converted the 900sqm space spanning across three floors, into a multifacetted restaurant. Gonzalez commented on the layout of the space: “The big challenge

was that the location is enormous and quite complex to organise. Four floors and numerous smaller rooms - we needed to make the customer curious about discovering the whole restaurant. That’s why we made two bars and two pizza ovens to create different activities.” The ground floor opens into a large bar with dining tables along the walls, where Allied Maker Convex and Orb sconces made of black antique brass shed a warm light on casual diners. The lighting scheme and interior design throughout is based on Gonzalez’s signature amber colours, producing yellow and golden lights. On a lower level, another dining area featuring Allied Maker half-moon pendants serves as a casual space

to share food in a relaxed atmosphere. The first floor then houses a second cocktail bar and pizza counter illuminated by Original BTC wall sconces, which are dimmable to carry guests through to evening cocktails. The sconces pose against Margherita’s nineteenth century Belgian brick walls, reflecting Gonzalez’s love of mixing period, modernity, classic and vintage in their eclectic and authentic combination. Custom-made pendants designed by Gonzalez’s practice Pravda Arkitect and manufactured by Crea Lum’in feature on this floor and throughout the rest of the restaurant. Keeping with Gonzalez’s desire to maintain a casual tone to her projects, another flight of steps leads to the Kid’s Kingdom.


Pics: Francis Amiand

Left and centre First floor terrace level featuring Original BTC sconces along the walls. Custom made pendants designed by Pravda Arkitect and manufactured by Crea Lum’in also feature throughout this dining level. Right Ground floor featuring Orb and Convex sconces, and Half-moon pendants all from Allied Maker.

Gonzalez commented on the need for this space: “What was most important was giving the restaurant a family feel, which is why I created the Kid’s Kingdom so that even the little ones would have a space they could share with their families.” Designed as a living area with two lounges, one features industrial coffee tables and club armchairs while the other seats guests on velvet sofas with solid wood coffee tables, giving young parents who enjoy brunch and dinner with friends a sophisticated alternative. Gonzalez described the space as “a cool area in which everyone can feel comfortable.” Inspired by industrial designs, the choice of wall coverings – panelling, bricks and roman plaster - accentuate the room’s easy atmosphere

and homely decoration. “I wanted to create a timeless restaurant. We simply respected the identity of the place,” Gonzalez said of the once intimidating area that has now been restored to its natural state. With a hunger for all things new, Margherita exemplifies Gonzalez’s ethos that “every project is a new story”. Her curiosity and ability to find inspiration in everything from fashion shows to food is demonstrated in her focus on the smaller details of a larger project, and her understanding of the importance and delicate nature of lighting. The designer maintains that trends in decorative lighting are very much aimed at the importance of crafts and the smaller parts of a larger whole. The interior is draped in Gon-

zalez’s signature style with a combination of antique and bespoke furniture enhanced by the gentle lighting that creates a relaxing atmosphere to be enjoyed in style. As in the making of a home, the beauty of Margherita lies in the personal detail and warmth created by light, so it stands as a place of comfort while serving as a paragon of cool.

PROJECT DETAILS Margherita, Paris, France Client: Thierry Bourdoncle Interior Design: Laura Gonzalez Lighting Suppliers: Allied Maker, Crea Lum’in, Original BTC




Parisian Perfection Universal Design Studio brings best of British design to Mulberry’s latest store.

Renowned British architects, Universal Design Studio, have designed the interior of Mulberry’s newly opened store on the prestigious Rue Saint Honoré in Paris. The interior emphasises the personality of Mulberry with a sophisticated display of original British craftsmanship and architectural skill. Designed to present three distinct sections each specialising in different luxury products, a multi-tonal herringbone stone floor links the areas showcasing men and women’s leather accessories, ready-towear, accessories, shoes and jewellery. The store’s interior has been designed to create a calm atmosphere through the use of pale oaks, marble, luxurious leathers and limestone floors. To complement this, a dynamic lighting system has been putin place which changes the ambient mood over the course of the day and evening through the clever use of up-lighters which respond to the light outside. Specialist British designers were commissioned by Universal Design Studio to bring a distinctive aesthetic to the interior. London-based textile artist Genevieve Bennett has created a bespoke leatherwork tile design that is used for wall panels, and award-winning English designer, Lee Broom designed a feature chandelier. Personalisation is currently key to luxury and Universal Design Studio created an area for Mulberry’s new Paris store to offer a bespoke monogramming service for leather goods. A circular stone and glass personalisation bar at the heart of the store is a focus for customers to see examples of personalisation as well as French and British icons, which are exclusively available at the Paris store. At the rear of the store the Ready-to-Wear

room offers customers a more luxurious ‘Dressing Room’ environment to browse apparel and shoes. The sage green carpet, soft fluted walls, upholstered furniture and chandeliers create an atmospheric contrast to the open, external feel of the accessories areas. Hannah Carter Owers, Director of Universal Design Studio, commented: “We are delighted to collaborate with Mulberry at this pivotal point in the brand’s progression. It is a wonderful opportunity to debut the new store concept at scale in ‘the capital of fashion’, bringing the best of British design, artistry and craft to Rue Saint Honoré - a truly iconic luxury destination.” The new store joins Mulberry’s portfolio of international stores including New Bond Street in London, Madison Avenue in New York and Harbour City in Hong Kong. Mulberry has also recently opened stores in Hamburg, Frankfurt, Las Vegas and Dallas, and has 122 stores worldwide. This store is an important step in Mulberry’s global expansion as it continues the innovative store concept developed with British architects, Universal Design Studio. Responding to the brand’s core values of English heritage and sensibility, Universal’s concept is inspired by Mulberry’s roots in the Somerset landscape where the company has been manufacturing premium luxury leather goods for over 40 years.

PROJECT DETAILS Mulberry, Paris, France Client: Mulberry Interior Design: Universal Design Studio Lighting Supplier: Lee Broom



Permanent Residency Tyson Lighting’s illuminated rope ceilings, bespoke suspended anchors, glass skull chandeliers and skyscraper pendants create an encapsulating dining experience at Tattu restaurant and bar. Tattu is a contemporary Chinese restaurant and a thriving addition to the fashionable Spinningfields area of Manchester. Inspired by the strong conceptual restaurants found on America’s West Coast - and the vision of Tattu Managing Director Adam Jones, in partnership with his brother Drew - the interior takes customers on a visual journey drawing decorative influence from different styles of body art. UK-based Tyson Lighting was chosen to light the distinctive venue, having designed and manufactured all products featured in the restaurant, with Product Design Engineer Henry Opara overseeing supply and fabrication of the bespoke and technical lighting. Opara, an up-and-coming talent in the lighting industry, has overseen a number of innovative and exciting light projects in the UK with particular focus in the North West, including Sakana Restaurant, Manchester and The Art School Restaurant, Liverpool. Opara explained the fitting of the installation for which Tyson was on site with its

specialist knowledge of the conceptual products: “Because many of the items were unique, the contractors required assistance with some of the more complex fittings. For example, with the anchors being so bespoke right down to the way the rope had to be tied, I was personally responsible for creating the knots, which could only be done on site, to give them the authentic look required. This needed an element of artistic license to dress them and achieve the original styles envisioned by the client and architect.” Tyson’s Managing Director, Andrew Gibson, commented further on the complexity of the project in all its determined designs from the Jones brothers: “The clients, Adam and Drew, both had ambitious plans for the look and feel of Tattu. Initial discussions included talk of suspended anchors, woven rope lighting and bespoke chandeliers featuring glass skulls encased in cast iron spheres. We were responsible for bringing some very radical pieces of lighting to life so from a design

Above Illuminated blossom tree above central banquet seating booths. Original concept skyscraper pendants scatter the restaurant skyline. Above right Bespoke anchor pendants designed around the iconic anchor tattoo, mounted to rise and fall. Right Woven rope suspension lights above table opposite ground floor bar entrance.


Pics: Tyson Lighting

point of view we set about prototyping the fittings which could potentially give us the most headaches.� The brief was that the interior needed to have a low level of ambient light but be cleverly lit to highlight key aspects and design pieces within the building and capture the essence of Tattu. The main colour scheme blends rich earthy tones with sumptuous blacks and golds, so Tyson was instructed to use lighting that would provide a tapestry of light against these surfaces. For general use areas, narrow beam spotlights were used to retain the dark appearance of the venue, whilst providing adequate light. Gibson explained: “We fitted many of the products with halogen lamps to provide a flame-like appearance. However, with the building falling under new energy consumption compliance regulations, the use of LEDs was compulsory. To match the light to the halogens, we used specialist Soraa lamps which use colour-changing filters to alter



Top Original concept skyscraper pendants sparkle above dining tables. Left External view into the building designed to entice passers-by.

the colour temperature of each lamp as required.” The majority of the lighting products used on the scheme are completely original concepts, with Tyson utilising Solidworks software and 3D printing technology to build the prototypes. With the added benefit of being able to produce lighting schematics, Tyson was able to generate the wiring drawings and assist with establishing the dimming zones which played a major factor in achieving the client’s and architect’s vision for the project. The rope ceiling, a special feature in itself, required lighting that highlighted its presence but didn’t create too much ambient light to impact on other features such as the illumination of the blossom tree that stands as the centre piece on the restaurant’s first floor along with the skyscraper pendants. Tyson used high-level track mounted spotlights facing upward to flood light onto the ceiling. Spotlights are positioned on the same track to wash down the walls and highlight the

textures of the wall panels. As you would expect, with so many customised elements, the project didn’t come without its challenges, as Gibson explained: “During initial talks regarding design concepts, one of the ideas was to have a winch fitted to the mezzanine bridge. Unfortunately the ideal mounting positions of the anchors and location of the bridge became somewhat of a stumbling block. As a compromise and, in fact, a wiser use of space, the anchors have been mounted on rise and fall units behind the rope ceiling which still allows them to be moved up and down on demand.” Jones commented further on Tyson’s involvement in the project: “Tyson Lighting was the first choice for the restaurant due to the firm’s previous history of high-profile projects in the region. Tyson’s ability to take design concepts, no matter how radical, and turn them into eye-catching pieces, coupled with the company’s experience, has enabled the creation of stunning lighting fixtures for

Tattu.” As a complete lighting scheme, the external view into the building was designed to provide a visual feast for passers-by. The combination of the skyscraper pendants against the backdrop of the coloured blossom tree create a sense of drama and intrigue, while the two suspended anchors add to the theatre of the interior and help balance the overall lighting scheme within. Tyson’s distinctive character is seen in every aspect of this restaurant’s surreptitious profile, standing as a point of pride for bold creativity and signature design in the North West.

PROJECT DETAILS Tattu, Manchester, UK Client: Adam Jones and Drew Jones Lighting Design: Tyson Lighting Lighting Supplier: Soraa, Tyson Lighting

Tattu, Manchester UK

UK Flagship showroom now open in Manchester, UK

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The warm glow of the Booo +Nacho Carbonell fixtures (left) is set against a two-metre diametre wall-mounted indirect colour changing disc.

Street Life Lighting designers Kate Wilkins and Sam Neuman come together to reflect the warmth of Mexican street food at the first Wahaca restaurant to hit the streets of Cardiff.

London based lighting designers Kate Wilkins and Sam Neuman have joined forces after years of collaboration to create a portfolio of varied projects using both well-established and cutting-edge lighting techniques. Under the name Kate & Sam, much of their work is about lighting as a way to effectively bring out the materiality and detail in both architectural interiors and exteriors. They explore the narrative role of lighting in space, and the physical and psychological feel-good factor that is achievable through tactical lighting. Their interests follow

lighting as an essential part of a business’ identity, with their work for Wahaca restaurant group exploring the notion of brand in the same way. Most recently, Kate & Sam completed the lighting scheme for Wahaca Cardiff. This marks the first venue in Wales for the restaurant chain, situated on The Hayes in a corner plot of a new site, featuring large double height glazed frontage windows with three different eating levels built into the space. Kate & Sam’s approach maintains the relaxed street lighting style they have built

up over the last twelve Wahaca restaurants; very much a response to the more informal street food offered by the Wahaca chain. Kate & Sam opted for a sunny feel evoking natural light in their design, as they see it as important in generating positive emotions indoors. “In the Wahaca restaurants we like to use warm colours that relax the diners,” the designers commented. “We mix 2,700K with warmer tones for a more theatrical feel and hint at the sub conscious feeling of sunshine.” At the Cardiff restaurant the large void



Kate Wilkins’ wide-ranging experience in theatrical and architectural lighting has produced designs that range from the playful and intimate to drama on a grand scale. Her best known work includes the award-winning Arsenal Diamond Club, The British Pavilion at the Shanghai Expo and the opening of Tate Modern, which launched the gallery live on national television. Over the past 15 years Sam Neuman has dedicated his career to architectural lighting design. Working in leading design practices including Imagination, NDYLight and WSP. He has also undertaken a small number of one-off event lighting projects and creative light sculpture commissions including Switched on London and Liverpool City of Culture. In 2009 Sam founded his own lighting design practice, Neuman Lighting Design.

in the middle of the room was made use of with a lighting installation using +Nacho Carbonell soft rubber pendants from manufacturer Booo - each supplied with a 2,700K, 650lm LED with mains dimming down to 10%. To tone in with the colour palette and react to the warmer tone light waves, the pendants were fitted with custom yellow and orange flexes. The Booo pendants help bring the room down to a more friendly scale for dining while keeping the impressive size. The +Nacho Carbonell fixtures’ warm central glow is set against a two-metre diametre wall mounted indirect colour changing disc that is programmed throughout the day and evening in subtle sources: a cold cathode tube and DMX controlled LED colour changing Fresnel key spotlight. The colours are chosen for their uplifting and relaxing qualities, aiming to be felt but not seen. As well as an external focus of the window, “the installation of the pendants, cable and circle are designed to be viewed from all the different levels, designed to be more intense and immersive the higher you are,” said the designers. Elsewhere in the restaurant, H2o pendants from Italian manufacturer in-es.artdesign bring additional warmth to the dining space. The use of LED lamps in projects is becom-

H2o pendants from in-es.artdesign bring warmth additional warmth to the dining space.


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ing more and more common, but by using a product that is still evolving, issues are inevitable from time to time, as the designers explained: “The LEDs we specified developed a stage too far during this project. We tested the lamps with dimmers, had written assurances, used a reputable manufacturer, but when it came to the programming stage, we had the dreaded flicker!” The lamp manufacturer had changed its internal electronics after Kate & Sam had tested it with a specific dimmer, meaning all the lamps had to be swapped out. “As a result we’ve increased our LED lamp specifying check list to include colour temperature, CRI, and dimming is tested with the same

dimmer and is the same confirmed batch that has been tested! Until binding standards are set and adhered to by the different lamp manufacturers, this is an issue that will continue.” Despite any challenges there might have been concerning LED developments during the project, Wahaca restaurant founder and former Master Chef champion Thomasina Miers described the venue as, “possibly the most beautiful of our sites.” The venue can’t help but ooze the identity of Kate & Sam as creatives and lovers of light, with an unavoidable natural glow that helps brings the outside in.

Top Booo’s +Nacho Carbonell soft rubber pendants are supplied with a 2,700K, 650lm LED with mains dimming down to 10%. Above left and right Architectural lighting brings the bar area to life.

PROJECT DETAILS Wahaca, Cardiff, UK Client: Wahaca restaurants Lighting Design: Kate & Sam Lighting Suppliers: Booo, in-es.artdesign



Ash and Ember A Ukranian collaboration between feminist fashion designer Vladymyr Podolyan and interior design studio turned manufacturer Fild, results in the clean, ashen interior of the monobrand clothing store, softened with a blend of artificial and natural light.

Pic: Roman Pashovskiy

Ukranian fashion designer Vladymyr Podolyan’s monobrand store in the heart of Kiev owes its aesthetics to a collaboration with Ukranian design studio Fild’s vision for a 36sqm prerevolution building with high ceilings and a large arch window. With a branded view on feminine fashion developed by Podolyan leader and designer Vladymyr Podolyan, their distinctive style emanates a glowing mystery of care and sensuality in women's clothing, a theme that needed to be replicated in the interior design of the monobrand store. Fild bases its designs on minimalist lines and subtle colours, demonstated in the interior and lighting design of Podolyan's store. A

set of upholstered seats and a concrete table top are situated in the middle to accentuate the centrepiece of the room, while 36 Edison bulbs float in the air above the furniture unit, lending a complementary glow to the angular and clean design. The clothes on the racks are illuminated by twelve SO6 lamps from Fild's first object design collection, Sustainable Origins. The collection features minimalist forms created in virtue of assembling raw materials of wood and metal, holding accurate and conceivable design at its heart. The façade and show window of the store are decorated with brand logo featuring inner illumination that blends with a flood

of natural daylight from the arch window. Fild designer Dan Vakhrameyev commented: “The idea was to make the interior of the store a part of the window display itself.” Drawing customers in with a lightly sophisticated clarity, the store presents a sharp image in both fashion and interior design.

PROJECT DETAILS Podolyan Store, Kiev, Ukraine Client: Podolyan Interior Design: Fild Lighting Supplier: Fild




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Cosy and Classic In keeping with Flemings Mayfair hotel’s prestigious image, interior design practice Tully Filmer carefully selected Martin Huxford Studio chandeliers to create a warm and homely feel for its guests.

Having worked in various architectural practices after graduating in Interior Design at university, Bronwen Tully and Tony Filmer set up interior design practice Tully Filmer in 1993 and have since worked on numerous restaurants, hotels and private houses in London and abroad. Following a project in partnership with Stanton Williams Architects on a modern London house and completing the restoration and interior design of Masseria Petraolo, a fourteen bedroom, fortified farm house in Southern Italy, the practice was approached by Henrik Muehle - the newly appointed General Manager of the Flemings Mayfair hotel in London, which first opened in 1851 - to help with its interior redesign. Muehle, who was charged with upgrading the Flemings to a five star hotel, saw to it that part of this upgrade included a extensive remodelling and refurbishment of the hotel bedrooms and restaurant. The initial brief was to improve the quality of the fix-

tures and fittings with a coherent, sophisticated design suitable for the Georgian hotel. Working within the brief, Tully Filmer’s initial design concept used classical modern design with strong signature colours, together with plush upholstered furniture and a suite of bespoke joinery furniture. With this in mind, the practice selected British lighting manufacturer Martin Huxford Studio to supply its Bibendum chandeliers and wall lights, to feature in all rooms and suites of the famous boutique hotel. Hanging throughout the bedrooms and suites as a centrepiece, the Bibendum’s mixture of classical and modernist references, featuring hand-brushed horizontal gold rings that encircle multiple charcoal grey shades, suited the hotel’s classic interior. Alongside the chandeliers, the Bibendum wall sconce was also used to bring extra warmth. The starting point for the project was selecting three strong colours. From this, the practice looked at fabric which had a



Top Left Gubi desk lamps and built in bed reading lamps from Chelsom bring warmth to the Flemings hotel rooms and suites. Far Left With a nod to 1930’s style, Bibendum chandeliers from Martin Huxford Studio bring a striking look to the hotel’s various spaces. Left The exterior of Flemings Mayfair exudes style and substance - replicated inside through considered design.

modern interpretation of 1930’s elegance and from that, the furniture was designed and fittings chosen. The importance of the lighting wasn’t underestimated, especially in the hotel’s bedrooms and bathrooms where guests need to feel comfortable and at home. Bronwen Tully explained: “It was important for us to have a mixture of LED and incandescent lamps to create comfortable lighting levels suitable for the bedroom and bathroom, most of which were on dimmers so that a variety of moods could be created to suit the time of day and guests using the room. A mixture of light sources has always been important in our schemes: task – in the form of bedside reading lights, desk lights, backlit mirrors and illuminated magnifying mirrors; occasional – in the form of standard lamps and bedside table lights; ambient - in the form of dimmable down lighters and decorative in the form of the chandelier.” Visually, the decorative lighting brings the scheme together and gives a more luxuri-

ous, homely feel to the personal space of the rooms. It was very important to the designers to get the right balance of different fixtures to enhance the design while practically providing the correct type of lighting. This included using Porta Romana wall bedside lights, Chelsom built-in bed reading lights, Gubi desk lights and Bestlight floorlights in the hotel’s bedrooms. Additionally, a Porta Romana chandelier was used in the lobby of one of the hotel’s suites. The resulting interior is very much in tune with Tully Filmer’s signature style: very much classic with a touch of modern, sumptuous fabrics, attention to detail and beautiful pieces of furniture. With the Martin Huxford chandeliers such a focal point in the hotel, Tully explained their reasoning for working with the manufacturer: “The Bibendum chandelier reflected our slight 1930’s style but in a modern way suiting our design perfectly. The generous mass of the fitting is shallow

and wide, working well with our high ceilings and simple ceiling mouldings. The gold of the chandelier added a hint of glamour to our interior of textural greys and palette of signature colours – indigo, mustard and teal. It’s mass is akin to a UFO hovering just below the ceiling, making one aware of the generous high ceilings.” When asked if the practice could go back and do the project again and would it do anything differently? Tully answered: “Design wise probably not – we would have liked to have used real shagreen on the desk but it would have been impractical for a hotel.”

PROJECT DETAILS Flemings Mayfair Hotel, London, UK Client: Flemings Mayfair Hotel Interior Design: Tully Filmer Lighting Suppliers: Martin Huxford Studio, Porta Romana, Chelsom, Gubi, Bestlight



AVIVO LIGHTING is a design company who create and manufacturer their own beautiful designs of decorative lighting using the latest LED technology wherever possible. These are our statement designs Cascade and Halo. We offer a bespoke service manufacturing clients designs from concept to reality. Avivo is aimed to be a one stop lighting solution for all our customers. • Tel: 01865 245931




Crown Jewels From screen to showroom, Heal’s has transformed London’s former Queen’s cinema to display the best contemporary design in lighting. With a history spanning more than 200 years, Heal’s remains the go-to store for contemporary design and discovering emerging talent from around the world. From the simple and decorative to unexpected designs and innovative lighting brands including Bocci, Brokis and Seletti, Heal’s hosts an extensive spectrum of designs from the classic to the contemporary. As part of its ongoing retail strategy to provide the best in-store and online experience possible, Heal’s has opened a new concept showroom in The Queens Building on London’s Westbourne Grove. The fully-digital store features a range of multimedia displays that pay homage to the cinematic heritage of The Queens Building, formerly an Art Deco cinema. Heal’s has embraced the latest technology to offer a unique retail experience, placing it at the forefront of British design. Will Hobhouse, Chair of Heal’s, commented on the vitality of the new store and digital platform: “We are two years into a programme of change to ensure Heal’s remains at the forefront of British design, putting the customer at the centre of all we do. Shopping habits have changed beyond recognition in the past ten years and we needed to respond to the new consumer digital age and how customers research and shop. Service,

whether online or in-store, is paramount.” A stone’s throw away from Kensington Gardens and prime avenues for high-end fashion and designer boutiques, the new Heal’s concept showroom is situated beneath sixteen individually designed residential apartments, on the ground floor of The Queens Building. The new showroom houses the most comprehensive lighting collection in London, catering for all specialist lighting needs, shrouding West London with Heal’s innovative style and service. The Queen’s store was designed and project managed through a collaborative effort; British designer and former finalist of the ‘Heal’s Discovers’ competition Matthew Elton brought together his furniture manufacturing company Tendeter and Heal’s to form the Heal’s Tendeter partnership. Elton commented on the union and collaborative project: “The Queens Building is a local landmark with its cinematic heritage; the team and I are proud of what we’ve created, and feel privileged to be part of the Heal’s programme of change.” Tendeter specialises in bespoke joinery and interiors, having also designed and installed the spa, kitchen and home furnishing departments at Heal’s Tottenham Court Road store. Heal’s Tendeter then spans across furniture and interiors from retail to residential. As



a London-based workshop, it allows clients to be fully involved from the initial concept stages of design through to manufacturing. “Working with Hobhouse and being part of the Heal’s programme of change is a fantastic opportunity for both Heal’s and myself,” said Elton. Elton first got involved with Heal’s after meeting designer John Jenkins for whom he created his limited edition Clue Table design. Following this, Elton was instrumental in launching Heal’s Ambrose project with the A Frame collection in 2014. Commenting on this as his pivotal design project, he said: “That is when my name became associated with Heal’s and furniture design. I’m very proud of the collection.” The Queens store is Elton’s largest project to date, from design concept, plans to build. “It was a quick turnaround that needed to run like clockwork. Hobhouse trusted me to get the job done. It helps having a great client and a strong team. It gives you the confidence in your ideas to see them through,” said Elton on the design process. Since partnering, the Heal’s/Elton collaboration has given the team the ability to design and implement larger projects, thereby

Top Heal’s Westbourne Grove store featuring designs from Seletti, Tom Dixon and Anglepoise, as well as bespoke pieces by Heal’s lighting designers. Above Farrier’s Cage Tear Drop suspended above table, with Multi-Bulb Farrier’s Cage Pendant and Farrier’s Cage Five Bar along the wall, all by British design brand Made By The Forge.

Property: Milwaukee Marriott Downtown Designer: Simeone Deary Design Group Purchaser: Wave Renovations



Above Tom Dixon’s Melt Pendants and Made By The Forge pendants feature in the show window. Right Anglepoise table lamps appear alongside Heal’s designed Cohen pendants suspended along the back wall.

expanding the Heal’s Collection range with Elton’s experience and skills as a designer, craftsman, manufacturer and business owner. “Growing up in London, I always knew of Heal’s and what it stands for,” he said. “Now, in my new role heading up the Heal’s Contract Furniture/Kitchen and Shop-fitting division, I have a hand in keeping that tradition going.” The extended team creates what Elton describes as an infectious dynamism: “You can’t help trying to do more than one

thing. Personally, I like working this way. It keeps you on your toes.” As the one-stop shop for interior designers and specifiers, the Heal’s showroom also offers a Heal’s Styling Service with an interior expert team on hand to discuss projects using Heal’s extensive collection of exclusive and designer furniture, stand-out fabrics and made-to-measure services. In addition to being the prime destination for specialist lighting, the showroom includes an all-en-

Matthew Elton A born problem solver, designer Matthew Elton has been a maker and creator since his school days through to his current position as Director of Heal’s Tendeter. Elton has always enjoyed working in a creative field from his beginnings as a studio photographer’s assistant shooting live bands, to a joiner and kitchen fitter. He values a systematic approach and constant drive for innovation in process and use of materials in his own work and that of his inspirations. Having grown up in East London, Elton studied Art and Design at Central St. Martins while spending many a summer sailing with his family and future wife Chantelle. His family has played a large role in his achievements in design with his late mother Stacey Tendeter, an actress, after whom he named his furniture manufacturing company as a testament to her endless belief in his goals. Further to this, his father was a sculptor – Elton spent many a year in his father’s foundry, with his current workshop having grown out of his father’s in Leyton. The

work space has since changed tracks and developed since its move to Hackney Wick, where they were able to expand and refine. From here grew the A Frame collection that headed up Elton’s Ambrose project for Heal’s in 2014; this was his first design in the new workshop space and was a pivotal point for both his own designs and his collaboration with Heal’s. With regards to his current surroundings, Elton feels he has “come out from hiding”, having run his own business for the last thirteen years. “I feel like I have been in my own bubble. I’m now constantly interacting with a diverse range of skilled individuals. It’s taken me out of my comfort zone and for this my work has improved.” Design and creation runs through Elton’s history by choice and heritage. He has firmly established his place within the design community and stands as the marked epitome of passionate creation - an irreplaceable figure in British design.

compassing library of designer fabrics for customers to browse through in-store. Heal’s new concept showroom is a multipurpose platform for designers and consumers to immerse themselves in the most exciting and current trends in interior design. With Elton’s expertise and Heal’s range and reach, it is truly a hub, and a stunning one at that, drawing in West London strollers with its polished style and charm.

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Minimalist. Design. Art. Decorative Pendants. Rhythm for Spaces.












Left Incorporating the brand’s signature blue colour, PNLD used integrated lighting from MJ Lighting in the glass balustrade of the staircase, leading customers to the first floor restaurant. Right Using Soraa lamps, bespoke bone white china pendants from Ceramics by design, hanging throughout the restaurant, provide intimacy and define the sleek style of the space.

Let the Lights Dim Sum In collaboration with the Hakassan Group, Paul Nulty Lighting Design worked with interior designers GBRH to bring a purposeful and dramatic lighting scheme to Yauatcha - a two-floor dining experience like no other.

Only its second venue to open in the UK, Yauatcha, a contemporary dim sum teahouse from the Hakassan Group, is situated within a unique semi-circular restaurant overlooking Broadgate Circle in the City of London. In collaboration with Hakassan, Paul Nulty Lighting Design (PNLD) worked alongside architectural firm Gensler and interior design company GBRH to create a dramatic lighting design concept that is consistent with the brand’s identity and also adapted to the unique space and physical needs of the new restaurant and retail unit. Set over two floors, PNLD has designed a lighting scheme that complements the darkness of the interior design. The lighting entices customers upstairs by incorporating the brand’s signature blue colour within an illuminated glass balustrade and integrated staircase lighting from MJ Lighting that leads from the ground floor entrance to the first floor restaurant. To draw visitor’s attention upwards, spar-

kling fibre optic lighting from Linealight is used to create a starry theatrical ceiling while cladded geometric lattice panels are illuminated with in-ground recessed uplights from LightGraphix, bringing texture and depth to the space. Upon entry, guests are greeted by three large white bespoke silk pendants from Metro that hang above the concierge desk, forming a focal point and an illuminating glow. Moving up the staircase, the reception on the first floor features the same soft blue back lighting from MJ Lighting within key brand elements such as the fish tank and the first of many orange columns that are downlit by Soraa lamps to punctuate the space and provide rhythm. LED Light Sheet from Applelec has also been used to showcase a large pastry display, which runs alongside the reception area. The lighting levels in the restaurant are designed to be low, with contrast ratios high to




Left Greeting the guests, three large white bespoke pendants from Metro hang above the concierge desk. Above Neutral stone columns are illuminated with soft uplighting from Mike Stoane Lighting on the restaurant’s terraces.

create a dramatic environment throughout the space. Simplicity is key to the design throughout, with architectural details housing discrete lighting such as integrated luminaires within joinery. Using this technique, PNLD was able to pick up and highlight brand elements within the interior, such as small brass crosses from Metro integrated within the brick walls, which house LED candles from Electric Candle Company, creating a warm illuminating ambience for an intimate dining experience. Further decorative elements include clusters of bespoke bone white china pendants from Ceramics by Design, hanging throughout the restaurant to provide intimacy and define the sleek style of the space. The two bar areas continue to use the brand’s signature cove lighting above, whilst providing additional drama through the use of a rear illuminated corian bar-top again using LED Light Sheet from Applelec. Claire Hamill, intermediate lighting designer at PNLD, said: “Throughout this project

it was important for us to focus on key characteristic lighting design elements that make the brand recognisable whilst creating an atmosphere that is inviting and dramatic.” Two large terraces run alongside either end of the restaurant, with soft uplighting from Mike Stoane Lighting used on neutral stone columns to define the space. In addition, low level lighting used under planters around the edges form a halo of light, framing views of the city and adding a softness to the outside space. The new Yauatcha Patisserie on the ground floor, selling tea and desserts, continues with the brand’s distinct blue backlighting and features soft downlights from Lucent to bring focus on the products for sale but still keeps the same ambience and charm as the restaurant upstairs. PNLD has provided a lighting scheme that is both detailed and modest, whilst creating a mood suited to restaurant Yauatcha’s dining experience.

PROJECT DETAILS Yauatcha, London, UK Client: Hakassan Group Interior Design: GBRH Lighting Design: Paul Nulty Lighting Design Decorative Lighting Suppliers: Ceramics by Design (using Soraa lamps), Metro, Davide Groppi, Avalon Design Lighting Architectural Lighting Suppliers: Soraa, LightGraphix, Lucent, Alpha LED, Mike Stoane Lighting, Linealight, Osram, Applelec, iGuzzini, acdc, Global Pro, MJ Lighting



Pics: Courtesy of HUGO LIGHT DESIGN LTD.

Geometric Dynamism Taking inspiration from the great Plato, Hugo Light Design has created a fully customised and bespoke centrepiece for the atrium of The Third Space, building a connection between light and human interaction.

The Third Space health club & medical centre in Soho, London was originally designed by architect Mark Goldstein of Goldstein Ween Architects. Offering a more creative take on the traditional health club, it includes a climbing wall, altitude training area, boxing and power lifting facilities as well as a sports medical facility. The space was also filled with fine works of art and sculpture adding to the luxurious nature of the club. The skylight in the centre of the original interior was essential to the design, allowing natural light to flood through the well to all areas, down to a glass floor above the swimming pool. However, due to the Crown Estate taking over part of its space, the skylight was removed. Within this void, the need for a feature arose, which wouldn’t just fill the space with glare-free light but would also become a talking point, adding value to the club through association. With the knowledge of Goldstein’s honest approach to materials and the celebration of engineered structural elements, Kinetica was born - a bespoke light sculpture by Hugo Light Design (HLD). HLD had an existing relationship with Ollie Vigors and Joel Cadbury, the directors of Longshot Ltd. - previous owners of The Third Space - as it had provided lighting design services to them in the past. From this, they recommended HLD to the new director of The Third Space, Eric Dunmore, to provide a lighting design for the new reception. The brief was to create something that filled the space without dominating it and without blocking the views through to different levels. It would also attempt to replace the lost natural light, creating a bright and enjoyable space with enough light to safely train in and create a comfortable environment, energising the club’s visitors. The sculpture had to be designed in a modular fashion to ensure it could be assembled quickly and simply, considering the limited hours that the club is closed. Therefore Kinetica was put together in situ with Set Works quickly and easily, from component parts manufactured by B Hepworth and Co. Given the club’s long opening hours, about

90% of the light sources used in the club are low energy, with a system installed to run these at 90% of full output, reducing the energy consumption and increasing the life of the light sources. Above the sculpture, an 8m x 5m space made the installation process difficult and therefore required scaffolding and careful planning. Additionally, two of three bulkheads above the sculpture had limited recess within them and due to the building and steel being very old, there were very few opportunities within limited runs to mount control gear to ensure the sculpture would work correctly. Therefore a detailed plan of the wiring and suspension points was put together, including weights and positions. Suspension points had to be carefully calculated by a structural engineer considering the old existing steels. In order to further make up for the loss of natural light, a mirror finish was installed on the ceiling prior to installation to create the illusion of a limitless void above. Using a Pharos control system to animate the sculpture, Kinetica engages health club visitors to appreciate the architecture of its surroundings through dynamic lighting. Along with Kinetica, the reception and medical centre lighting was designed by HLD to ensure that the general lighting in the space was integrated within the structure, concealed and celebrating the architectural design. This was accentuated by more decorative industrial luminaires, which were chosen to compliment the scheme and to create a more intimate atmosphere where necessary. These included: Historic Lighting’s Verdgris pendant in the reception, Bocci’s illuminated glass pendant in the medical reception and Verner Panton’s Flowerpot pendant in the reception meet and greet area.

PROJECT DETAILS Kinetica, The Third Space, Soho Health Club & Medical Centre, London, UK Client: The Third Space, Soho Health Club & Medical Centre Lighting Design: Hugo Light Design Lighting Suppliers: Pharos, MonoLED, Historic Lighting, Bocci, Verner Panton





School’s Out Cinimod Studio recreates a playful reference to the core business of Caviar House & Prunier through its sculptural expression of the light patterns created by a school of fish. When Caviar House & Prunier won the bid for the most important retail space at the epicentre of London Heathrow Airport’s new terminal, T2 ‘The Queen’s Terminal’, it also undertook the requirement to deliver a central sculptural feature to be integrated within the restaurant. Upon the recommendation from the retail directors at BAA (British Airport Authority), it commissioned Cinimod Studio to conceive, develop and produce an iconic sculptural intervention to mark its presence within the terminal, and to provide an impressive and memorable addition to the overall terminal. Emergence captures the re-imagined movement of a school of fish moving underwater, a playful reference to the core business of Caviar House. It is a sculptural expression of the light patterns and shimmers that are created as a school of fish moves in harmony within water. The structure comprises bespoke LED arcs spiralling thirteen metres up to the ceiling, made from engineered carbon fibre composites as found in the newest airplanes. The resultant form manifests a kinetic moment frozen in time and then re-animated through cutting edge interactive digital lighting. The sculpture is an iconic and memorable scene that sets the brand up for incredible exposure to the millions of travellers flocking through the terminal on a daily basis. Each arc of light, controllable in movement, mimics the shimmer seen against each fish when they move in unison. Held together through beautiful mechanical fixings, each sits in the space above the bar, as a weightless mesmerising glow. This fragmented shimmer of scattered light translated as a fish vortex achieves a light movement that mimics that of the lateral line system that fish have, where each arc or ‘fish’ picks up

the movement of its neighbour and mirrors the action in perfect synchrony. This disparity between the perspectives of an outside observer of the shoal and that of a member of it leads into an interesting area known as Emergence. Cinimod extracted these natural principles by arranging each component, carefully creating absolute synchronisation within the overall form, where light sequences played through each arc really brings it to life. Emergence has been extremely well received by the public, and has delivered on the design intent to provide a unique lighting installation that captivates the public. So much so that it has been shortlisted for a darc award. It is interesting to see how Cinimod Studio has delivered a complex and ambitious installation that is firmly rooted within the commercial sensitivity of the client. Emergence serves as another example of how Cinimod Studio utilises innovative lighting technologies to underpin ambitious and memorable lighting interventions. In common with the studio’s other works, the lighting takes centre stage, it is the playful manipulation of light that the public engages with and has impact from. Prior experience has demonstrated a link between Cinimod’s lighting features and attracting business to its customers, with Emergence it has developed one of the most ambitious and commercially rewarding iconic lighting features for this superb brand.

PROJECT DETAILS Emergence, London Heathrow Terminal 2 - The Queen’s Terminal, UK Client: Caviar House & Prunier Interior & Lighting Design: Cinimod Studio




Deco 3 Chandelier LONDON, UK For the entrance lobby of a luxury housing development next to the river Thames in Chelsea, the Deco 3 was commissioned to introduce a sense of contemporary grandeur to what was previously a relatively bare and stark interior. The chandelier is a modernisation of the Deco 2 where the original globe lamp has been replaced by a bespoke LED light source. Designed inhouse at the George Singer studio, Deco 3 throws light throughout the fluted glass tubes creating a more striking, modern deco aesthetic.

Our regular feature highlighting the importance of decorative lighting in the work of one interior design practice. This issue, we present George Singer. George Singer’s bespoke chandelier and lighting designs give his international clientele a taste for his conceptual thinking. Using all UK-sourced materials in his London studio, Singer is known for his objects of arresting beauty that allow materials to dictate the aesthetic without using decoration. As well as designing for a variety of London-based architects and interior design companies, Singer carries out installations in countries such as Switzerland and Dubai, amongst others. Be it a residential or commercial project, Singer exhibits a thorough understanding of the space and the vision of the customer in his intelligent and sensitive designs, where the aesthetic of the chandelier brings a new form of contemporary beauty.

If you’re an interior designer with an eye for decorative lighting and have projects worth sharing, contact:

Starlings LONDON, UK Singer was approached by architectural firm Gensler to design the feature lighting installation for the atrium of 103 Wigmore Street, just off Bond Street. The brief was to simply find beauty in a corporate environment. A murmuration of Starlings is a beautiful example of how individuals can appear to be one. Its sense of harmony and togetherness carries charm and elegance in creating a large organic entity which is constantly moving and evolving – rather like a large company. The installation was created using thin screen-printed stainless steel disks, each of which was fitted by hand. The distribution of the disks allows the installation to appear to move as you pass by, a subtle visual trick designed to emulate the beautiful movement of starlings.


Butterfly Chandelier DUBAI, UAE The Butterfly Chandelier, a three-storylong installation in the new Radisson Blu hotel in Dubai, consists of thousands of folded photo-etched stainless steel disks, screen-printed in a variety of shades of yellow and orange. The overall form, an abstract representation of a large swarm of butterflies, is designed to contrast against the strong geometric lines of the space. In a city famous for its skyscrapers, on the edge of the desert, the Butterfly Chandelier serves to re-enact the energy and elegance of butterflies.

Hurricane Chandelier LONDON, UK Commissioned by Conran and Partners for the entrance of the new boutique hotel, South Place, the Hurricane Chandelier introduces playfulness, Englishness, and evokes childhood memories. 100 solid polished aluminium Hurricanes, cast in Birmingham, are individually suspended to form nine different paths of flight, including swooping underneath the lamps and banking round in circles, narrowly missing the electrical cables. The hand-polished stainless steel ceiling tray, stitched together much like the wing panel of an aluminium aircraft, consists of three equal parts where the split-lines are reminiscent of a three-bladed propeller.

Void Chandelier GENEVA, SWITZERLAND The Void Chandelier reflects all things beautiful in and surrounding Switzerland’s Lake Geneva; vast quantities of water, snow-covered mountains, and views of Mont Blanc and its glaciers. It is specifically designed to work well with the low ceiling of the beautiful lake-side house in which it is installed, providing feelings of safety and relaxation under a landscape of more than a thousand hand-made, fluted glass tubes, illuminated by fibreoptic spotlights. The shallow, bell-shaped void, generated by the varying wire-lengths, creates an aesthetic of lightness and anti-gravity. Like a block of ice, the person under the chandelier is responsible for forcing the glass tubes upwards and melting the ice to create the void.




Dima Loginoff From humble beginnings to rising stardom, Moscow-based designer Dima Loginoff discusses his cultural heritage and relentless hunger for all things new. Fuelling his creative process, seemingly opposing forces of contemporary design and tradition meet to produce timeless, personal pieces, as illustrated through Fedora (pictured) designed for Axo Light.



At the age of 37, Dima Loginoff has already accrued a sterling reputation and shows no signs of stopping. Having designed for world famous brands including Artemide, VitrA, Axo Light and Studio Italia Design to name a few, Loginoff has won international awards such as the iF and Red Dot product design awards, the International Design Award, and was awarded the Designer of The Year 2014 by Elle Decoration in Russia. For an imaginative boy in love with design, growing up in Soviet Union Moscow meant a childhood spent with almost no food, goods

nor exposure to interior or product design. It was a dark time during which Loginoff sought a spark. The dissolution of the Soviet Union initiated a frenzy of excitement and an influx of inspiration: “I was like a hungry teenager desperately trying to see, to read, to find any magazines, books, videos, music that came to Russia from the West.” Loginoff described this period as a new reality for Russians, a time during which he absorbed as much as he could and developed a still-prevalent hunger for anything new. Loginoff began his career as a hair stylist

where he developed his ‘3D imagination’, as he calls it, a vital attribute to any creative. He then went on to study interior design in Moscow, followed by further studies at the British Interior School Rhodec in the UK, after which he established his own design practice in 2008. Loginoff’s cultural heritage and experiences have shaped his designs today, and are most evident in one of his most current, signature works, the Fedora pendant. Presented at Euroluce 2015 for Italian designer Axo Light, Fedora is strongly reminiscent of his cultural


Pic: Nostalgia by Studio Italia Design

heritage. Loginoff commented: “Objects you design have a hidden connection with the past.” In the shape of the traditional Fedora Russian doll, or Matryoshka, Loginoff keeps close to the history of shapes and his own roots, with Fedora being the name of his Great-Grandmother and the Russian doll now seen as an iconic symbol of his culture. Loginoff commented on his collective approach: “I am a big fan of minimalism. But at the same time, I always have this contrast in my mind of historical influence,” while he plays the delicate game of marrying moder-

nity with tradition in his everlasting hunt for something new. Loginoff’s commitment and passion for design is evident in his admiration for his design-hero Zaha Hadid. Commenting on her career, he said: “She waited decades for her first project. Imagine the passion! I deeply respect it.” Loginoff prides himself on impassioned devotion, humbly disregarding titles of fame or popularity that he deems irrelevant to the simplicity of everyday life. With regards to plans for future product designs within the decorative lighting industry,

Loginoff hopes that his own work, as well as that of others, will focus on hand-made products that nurture a proliferation of culture and identity. With his favourite lighting material of the moment being glass, as in his Memoria pendant, moving forward Loginoff hopes to experiment further with plastic and fabrics due to their experimental potential and versatility of patterns lending themselves to unique and personal expression.



Pallavi Dean Designer in her own right and head of her practice Pallavi Dean Interiors, Pallavi Dean has made an international name for herself. With a focus on narrative in design that uses space as its protagonist, Emirate Pallavi Dean builds spaces around the people who use it. As founder of her own studio Pallavi Dean Interiors (PDI), Dean is the driving creative force with a positively fiery energy that feeds on a relentless compulsion for entrepreneurship and design. Born in India and raised in Dubai, Dean spent years working in London; her designs reflect these eclectic influences with her portfolio including a string of high profile projects across the Middle East, North & East Africa and the UK. Dean is an architecture graduate of the American University of Sharjah with a Masters degree in Interior Design Theory from Savannah College of Art and Design, and an environmental agenda as a LEED Accredited Professional. Having previously held a number of esteemed professional positions, she has been an Associate in the interior design department of Godwin Austen Johnson, one of the Middle East’s leading architecture practices, and has also been an assistant professor of interior design at the American University of Sharjah. Her work was recognised in 2010 when she won the Middle East Young Interior Designer of the Year award. More recently, in 2013 PDI won the Sustainable Interior Design Initiative of the Year.


PDI’s projects have delved across the spectrum of hospitality, commercial and residential sectors, including the Executive Office project in Dubai. As an extension of the office on the floor above, the design of this space drives home the idea of continuation, with floor surfaces morphing into walls, ceilings and furniture pieces. Accentuated with subtle design statements, the floor lit reception desk placed against the depth of the darkened backdrop sets the mood for the space. Playful Muuto lamps add a hint of spirit, while highly reflective surfaces maximise the available natural light. Composed in stark movements of black and white, the design is crucially informed by local culture with black ribbon wrapping across horizontal and vertical surfaces with a reflective white finish, representing the traditional abaya and kandura Islamic clothing.

The Executive Office, Dubai

Executive Office, Dubai



PDI’s work on residential projects includes The 8 apartment site in Dubai; a contemporary Miami-inspired design with a chic sophistication maintaining a spacious and airy quality throughout. With wide-open balconies and sleek interiors, the space mimics an art gallery more than a residence, bringing natural light in from the seascapes to work with the artificial lighting in the home. While the common areas are dramatic with crystal chandeliers and image projections, the reception desk sits in front of a kinetic light feature serving as a backdrop.

The 8, Dubai

Similarly, PDI designed the Burj Residence, a three-bedroom apartment facing Burj Khalifa in Dubai’s vibrant Downtown area. Catering to the client’s need for creating a space to entertain business contacts and holidaying with family, the apartment was remodelled to maximise the floor plate and create multifunctional spaces. Melogranoblu’s pendants from its Perfume LED collection hang delicately above the solid marble table in the dining area, creating a poetic juxtaposition of materials. Henge’s brass finished light rings are suspended over a geometric sculptural form in the living room, accentuating its sophisticated simplicity, adding a touch of extravagance to the neutral palette. Playing with subtle accents and dramatic moments, PDI has made pronounced design statements with decorative light fittings throughout the space.

Burj Residence, Dubai

Ugolino oval photo Gionata Xerra

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Showroom Via Vivarini 7- I-20141 Milano Tel. +39 02 89502342

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Moving into hospitality, PDI’s IHG hotel project in Dubai stands in the foreground of the city’s skyline and Creek waterway, which form a striking backdrop for this venue. The monochromatic interiors and bespoke carpet takes inspiration from the sinuous lines found in aquatic forms, while the custom designed chandelier in the pre-function area emulates the shape of waves. Acrylic rods in different diametres were cut to varying lengths and attached to a sheet of reflective rolled aluminum to create the installation. The mirrored backdrop helps elongate the space by forming an illusion of height. Dean’s international influences and range of experience within the design and architectural sectors are evident in her style and the scale of her practice’s projects. As an individual, she brings a certain passion, a distinguishable stamp, and in conjunction with her team at PDI, together they mould conceptual creative flair into physical grandeur, using light to draw out the detail in the narrative of design.

IHG Hotel, Duabi

Bar & Restaurant Retro Lighting

Wide range of lighting and furniture available for next day delivery Bespoke and unique design • Competitive prices • Trade discounts available

Visit our London showroom or call: 020 7971 7871



“It was quite early on that I became a maker, it felt so natural I’m not really sure it counts as a decision.”


Bec Brittain Having tried her hand at various aspects of design from architecture to furniture, to hardware it was lighting that in the end, stole Bec Brittain’s heart.

Born into a family of architects, painters and furniture makers, a career path in design was something of a natural progression for Brooklyn-based lighting designer Bec Brittain. Having grown up in Washington DC, “as part of a rare non-government associated family”, Brittain continued the family tradition of design by studying at Parsons and NYU, where she received a degree in philosophy before heading to London,

gaining a degree in architecture from The Architectural Association. “It was quite early that I became a maker,” Brittain tells darc, “it felt so natural and it was through work experience that I was inspired and had the confidence to try it on my own.” With a career firmly focused on design, Brittain sights her parents as some of her greatest influences when it comes to creat-

ing and making: “My father is an excellent woodworker,” she says, “and definitely instilled in me to be very detail orientated; my mother, a painter, helped cultivate a more intuitive side. I always find it so difficult to explain my inspiration… trying to track down where exactly an idea came from is nearly impossible! I have however, really been interested in late ‘60s / early ‘70s Fontana Arte recently!”



A selection of Bec Brittain’s latest designs debuted at ICFF 2015. Opening spread L to R: Zelda 2 in brushed brass; Skyhook 3 in brushed brass; Zelda Links 2 in polished brass with white glass; Zelda Orbits 2 in oil-rubbed bronze Above The Shy Sconce in polished nickel with two way mirror. Left Zelda 2 in polished brass with white glass diffusers and Zelda Orbits 2 in oilrubbed bronze. Pics: Lauren Coleman

Having tried her hand at various aspects of design - from architecture to furniture design and hardware - it was Brittain’s work with Manhattan-based lighting designer Lindsey Adelman that “truly crystalised what had previously been a wandering path”. For Brittain, it is very much about the unique place lighting resides in that she enjoys: “It is functional yet sculptural. I love working within the boundaries of having to make the piece illuminate and work well in a space, yet also feel very formally free – the ergonomics of lighting are very different than those of a chair for instance.” Commenting on her career highlights, Brittain continues: “It’s funny, having my own studio has really been an exercise in moving goal posts – there is always something new to accomplish. Growth always feels very sig-

nificant to me, whether it’s getting a bigger studio or hiring someone new, it’s a satisfying moment of seeing work pay off.” Having launched a number of new lines, as part of her own collection, at ICFF earlier in the year, Brittain has also been involved with designs for lighting supplier Roll & Hill, also based in New York. Having known Roll & Hill’s Jason Miller from her early days of working at Lindsey Adelman’s studio, Brittain had always been impressed by how he approached design, engineering and manufacturing work and so when the opportunity to work with him came about, it was of course an exciting moment. “His team shares so many of the philosophies about how to make things, yet has more manpower and experience to devote to projects,” says Brittain. Looking ahead, as well as promoting her

latest designs, Brittain is set to take part in Design Miami later this year, showcasing a piece in collaboration with the Patrick Parrish Gallery. Commenting on the lighting industry as a whole, Brittain concludes: “Lighting allows me to think about what is being made in multiple ways, not only towards what the form will be, but also in the effects the lights will create. “It’s been amazing to see how many new lighting designers have sprung up in the last year; I think it will be very interesting to see what results from it. Is this an indication of what a broad market there is for lighting? Or, will it be a case of survival of the fittest? In any event, I try my best to stay true to my style and vision and make the best work I can.”

SANT design: Rob van Beek

INDI design: Matúš Opálka



“For me, there has always been something else as appealing as cool architecture; I have a craving to design products, foremost lighting products.”

Mai Waelkens Through a lifetime full of travel Mai Waelkens sees inspiration for her designs all over and with an unmasterable desire to create things of beauty, Design By Mai was born.

After growing up in Ghent, Belgium and a lifetime full of travel, Mai Waelkens returned home, which she considers “a small treasure to live in”. It’s in this same town that she once studied interior design at the Sint-Lucas Institute where she received a degree in Interior Design in 2007. Following graduation, Waelkens was given the opportunity to do an internship in Capetown, South Africa where she was able to conceptualise interior designs, furniture and lamps for clients with lofts, houses, hotels and apartments. Upon returning to Belgium, she felt ready to become an independent entrepreneur. “After founding my own design company, for the next seven years I designed interiors,” Waelkens tells darc. “I wanted to be involved in every step of the process, personally coordinating each construction site myself in close collaboration with a team of


experienced contractors. Working on construction floors taught me the link between my idea and the realisation of it.” Interior architecture was just the beginning for Waelkens. “For me, there has always been something else as appealing as cool architecture; I have a craving to design products, foremost lighting products. It’s something I’m drawn into. One day I took a deep breath and I jumped.” What Waelkens calls an “unmasterable desire” to create resulted in her first series of carefully crafted design products, known as the Carve Your World collection: consisting of lamps, lounge chairs, flower pots and sculptures. For months and months - for some products it took years - she travelled and researched, contacting craftsmen and factories in an attempt to find the right people. During her travels, Waelkens found herself

in Milan and launched into the life of a fashion designer. However the Marangoni Fashion & Design Institute wasn’t suited to her ambition. After extensive research and cultural exploration, Waelkens returned to Ghent ready to create. Citing her inspirations she makes her fondness for Ingo Maurer, Ross Lovegrove and Ron Arad apparent but explains that she is “more of an observer - I’m fascinated by people and how their environments influence them”. She continues: “The conditioned way in which humans think is often something I chew on. We all should be rebels instead of robots. Contemplating on all of that fills my heart and soul and my brain with more than enough inspiration to just try to do what I do... create things of beauty.” With this mantra in mind, the slogan of her very first collection encapsulates her ‘true

self’, with inspiration coming from nature. “There’s no better field of art than that.” Waelkens continues, “Not just the colours or the laws of nature, but the simplicity of it. The way nature functions, seemingly effortless. When it’s silent in my head I can make the crystallisation of all of that.” The Belgium-based designer also notes that for her light is emotion. “The way light breaks, drops or just floats in a room can keep me busy for hours. Light is the kind of phenomenon that reaches an almost palpable level, changing mood, mind and inner feelings. Whether it’s just an accent, emphasis or soft and muted, the ricochets of light never fail to touch, inspire and move me.” Ahead of releasing her first collection, Waelkens had worked for six months to create two different models of lamps Skybeamer and Grid. On top of this she



Above The ‘Grid’ provides a warm, subtle light through its aluminium foam framework. Left The UFO-shaped Skybeamer projects a sharp beam of atmospheric light onto the wall of any space, with adjustable beam width achieved by twisting the lower shell.

presented a loungechair and her version of a design flower pot. “Seeing hundreds of people walking by, touching the stuff I’d come up with, hearing their comments made it clear for me that I wanted to design,” she tells darc. As it is widely acknowledged, in only 20 years time, a revolution has taken place; LED and the miniaturisation of electronic components. In light of this, Waelkens believes that...“in the future, there will be (even) more interaction between object and space because of all the new tricks designers can use. On top of that, new materials are in sync with organic shapes that used to be only conceptual. Chemical melting points can be pushed so that coagulation can be manipulated, resulting in the creation of wild shapes that you could previously only dream of. Tomorrow, the sky will be limit-

less. I hope that these new technologies will make design simpler and bring the essence of things to the foreground.” Waelkens continues to be driven in her conquest of design, requiring a particular way of thinking. “Every lamp I make has a twist of movement, a playfulness or joy. I reach that place only through turbulent processing. I experiment, stumble and fall. In that subtle balance between harmony and curiosity, organic designs, sculptures, concepts and light are born. I try to make a connection with people through my designs.” Often, at the birth of Waelkens’ intensive design process is the imagination that “if the sun would cease to shine, the only thing pounding in my eyes would be the memory of light, the essence of life”.

27-30 OCTOBER 2015 | DUBAI








Capital of Style London Design Festival continues to prove itself as a must-attend event for the design world. With darc magazine once again out in force for the entirity, over the next few pages we bring you just a slice of what you can expect to discover from the various exhibitions and events taking place.










A partnership of leading international brands, much loved independent retailers and cultural institutions, hosting a renowned pop up programme, curated by the respected Jane Withers. With around 30 exhibitions, including the festival hub at the V&A, visitors can wander through the wide streets and take pit stops at the notable cafes and restaurants. • LATE NIGHT OPENING: Thursday 24 @BromptonDesign

The Islington Design District returns for its second year, bringing together a growing collection of design-led shops, showrooms and cafes in the Islington area including SMUG, Aria, twentytwentyone, Present & Correct and Folklore. Starting at Arnwell Street, through to Camden Passage and along Upper street, visitors will discover new designers, product launches and one off exhibitions and events. • LATE NIGHT OPENING: Tuesday 22 @IslingtonDD

The Shoreditch Design Triangle is now in its seventh consecutive year and brings together a collection of designers, stores, galleries, studios, cafes, bars, brands and one-off events for a week of design-led festivities. Truly collaborative, the event revels in the true spirit of London’s new ideas, historical places and spaces and the colourful characters who reside there. • LATE NIGHT OPENING: Tuesday 22 @ShoreditchDT







Tent London and sister event Super Brands London will present some of the world’s newest design ideas from a mix of established and emerging designers. The show will exhibit the work of designers and manufacturers from over 280 companies. @tent_london

Focus/15 at the Design Centre, Chelsea Harbour offers a creative hub of over 500 international brands in 103 showrooms. A packed programme of international launches, design encounters and exchange of ideas, it brings the design world together for an unmissible event. @DesignCentreCH

designjunction2015 takes on two spectacular new venues. lightjunction will take place on the ground floor of The College and present a curated selection of international lighting brands alongside pioneering, design-led lighting installations. @_designjunction


darc at LDF You can pick up extra copies of darc from distribution points across London Design Festival - including 100% Design, Decorex, Tent & Super Brands and designjunction.










One of London’s oldest boroughs, and now home to some of the most established furniture brands in the world. With a long and glorious tradition of royalty, religion and revolution, Clerkenwell is now the beating heart of British architecture and design. Visitors will be able to enjoy brands and showrooms and see hundreds of new design products. • LATE NIGHT OPENING: Tuesday 22 @ClerkenwellDQ

One of London’s freshest and most eclectic interior design hubs where classic and contemporary sit cheek by jowl. With the largest and most diverse selection of established interiors specialists concentrated in one area, this Quarter is located in and around the southern end of King’s Road running along Lots Road to Imperial Wharf. • LATE NIGHT OPENING: Monday 21 @ChelseaQuarter

The Queen’s Park Design District will encompass a series of open studios, live design events, art installations, and workshops centred around Lonsdale Road, Salusbury Road and Kimberley Road. Hop on a rickshaw (connecting all locations) and explore world class design businesses and brands that sit side by side with independent, specialist, creative talent. • LATE NIGHT OPENING: Thursday 24 @Q_P_D_D







For 2015, the show will take over a new venue, moving up the road from its previous home of Earls Court to Olympia London. Staged over 20,000m² and across two floors of the venue, 100% Design is the commercial cornerstone event of the London Design Festival. @designlondon

Syon Park once again provides the setting for this year’s Decorex International, showcasing more than 400 leading British and international luxury design brands. The site offers greater space for feature areas, larger stands and an expanded seminar programme. @decorex_intl

Bankside Design District is new for 2015, showcasing the area’s creativity. The only design district south of the river. Buster + Punch will also open the doors to their Bankside showroom, giving an exclusive preview of the new collection. @BanksideDesign




Rebecca Weir THE LANGUAGES OF LIGHT The talk will introduce ‘The Languages Of Light’, Light IQ’s Creative Director Rebecca Weir’s inspirational and visual book on the creative process of lighting the home. The philosophical and human-centric approach incorporates a journey through understanding light as a basic tool, unveils the emotional and physical responses to light, case studies The LDF seminar programme running from September 19 - 27 continues to educate, stimulate and inspire, with leading names in the design world coming together for a series of insightful talks. With designjunction’s ‘Design for a Reason’ programme amongst others held during the week long festival, these talks are set to influence, inspire and initiate movements amongst the public and professional sectors. Take a look at a few noteworthy seminars from esteemed members of the lighting sector presenting their thoughts for this year.

and light effects. Lighting principles and practicalities are illustrated through photography, with the fundamentals of lighting clearly conveyed, showing how contemporary technology can assist in driving the creative process. Sunday Sept 20 2015 Time: 1:00pm - 1:45pm

Rogier van der Heide COLOUR AND LIGHT

Ilse Crawford British lighting and furniture designer Ilse Crawford opens the show with her headline talk about design that engages with the senses. Having designed for Ikea, Crawford discusses feeling in her design, from the Danish concept of ‘hygge’ to being driven by the human, emotional side of design. Wednesday Sept 23 2015 11:00am - 12:00pm

Leading lighting designer Rogier van der Heide is Chief Design & Marketing Officer of Zumtobel Group and has 25 years experience creating engaging, three-dimensional designs that fuse light, image projection, architecture and product design to create memorable experiences. Rogier will speak about how light plays such a key sensory role in our lives and how colour can’t exist without light. Friday Sept 25 2015 1:45pm - 2:45pm



Andrew Orange AN LED SURVIVORS GUIDE In the fast-paced world of LED lighting, designer and supplier of classic and contemporary lighting, Andrew Orange, of his brand House of Orange, will discuss the difficulty in keeping up with constant developments in lighting technology. He provides essential tips on lighting in the LED era, reviewing the changes, fittings, fixtures and the impact of new technology on today’s lighting schemes. Topics include: Where to illuminate? What light for which job? What colour of light do we use? Monday Sept 21 2015 10:00am - 10:45am

Industrial designer Terence Woodgate launched his lighting brand under his own name, designing and manufacturing lighting collections that optimise the benefits of LED technology. Calling on 25 years of lighting design, extensive knowledge of LED technology and a partnership with MEGAMAN, Terence Woodgate produces accessible, design-led lighting optimised for high performance, low energy LEDs. Through a philosophy pertaining to attention to detail, Woodgate’s meticulous nature has somewhat become his trademark: “I have always been considered obsessive in the way I design,” commented Woodgate. “Now I have the opportunity to influence every single aspect of the final product right down to the instructions and the box. It is simply fueled by a desire to make the whole experience more pertinent and beautiful.” Follow the journey of the designer whose stripped-down aesthetic is the basis for countless designs worldwide, from carbon fibre super-slim tables to his own lighting brand. Friday Sept 25 2015 4:00pm - 5:00pm

Tom Dixon IN COVERSATION WITH MAX FRASER Tom Dixon (OBE), an internationally renowned British Designer, Creative Director of eponymous brand Tom Dixon and founder of Design Research Studio, will discuss the importance of the changing landscape of industrial manufacture to design. In 2010 Dixon authored and selfpublished Industry, which proposed alternative policies of manufacture, distribution and consumption of design. Dixon has experimented with forms of ‘flash’ or pop-up factories that make a spectacle of the industrial process of laser cutting, stamping and etching. His interiors and architectural studio recently completed his first ever hotel project, a redesign of Sea Containers House on the Thames in London. Friday Sept 25 2015 1:45pm - 2:45pm



London’s Calling First staged in 2003, the London Design Festival is one of the world’s most important annual design events. Taking place from 19-27 September, this year’s festival programme is made up of over 400 events and exhibitions staged by hundreds of partner organisations across the design spectrum and from around the world. For the decorative lighting industry, some of the most important exhibitions include: 100%


Design, Decorex, designjunction, and Tent & Superbrands London. Over the next few pages you’ll find darc’s selection of some of the brands that have got us excited most. With so many companies exhibiting it’s impossible for us to include them all but we hope you find our selection a useful insight into the delights of this year’s London Design Festival.








Mina, Sirah & Isar Martin Huxford


This new trio of jewel-like pendant lights is an elegant contemporary blend of Eastern style and English cut crystal. Individually made from hand cast highly polished brass sections, juxtaposed with coloured mouth blown crystal shades. To be hung individually, or as a group.

Arc arturo alvarez


Arc is inspired by the arcades of Santiago de Compostera, composed by two crossed arches. Its strength is channelled along the interior LED light that escapes through the recycled Japanese cord, wrapping it in a mysterious dignity.

Eau de lumière Designheure


Created for Designheure by Davide Oppizzi, these lamps, wall lamps and chandeliers symbolise the luxury perfume bottle playing on full volume and hairlines on which reflect light. Masculine and feminine forms, curves and angles offer a diverse collection with a strong personality.

Krystallkule Hadeland Glassverk


Designed by Maud Gjeruldsen Bugge, each pendant combines traditional mouth-blown glass-production techniques with the craft of crystal cutting by hand, creating a minimalist modern shape with an ornate, nostalgic pattern. The lamps are made to order, and available in four patterns, various colours and three sizes.


Glow in a Dome XL Ebb & Flow

PILKE Showroom Finland



The PILKE plywood lamp family consists of five pendant lamps in three colour options. It is also available as a table lamp and floor lighting. Assembled by numerous plywood parts in a way that brings together traditional Finnish handcraft techniques and ultramodern computer geometry. No glue or screws are needed.

Glow in a Dome XL - a new floor lamp by Ebb & Flow measures 50cm in both height and diameter and features a brushed metal base and mount. The hand-blown glass dome is a true testament to the craftsmanship of the glass blowers and factories that produce Ebb & Flow’s lights.

Cheshire Range FontanaArte


The Cheshire range echoes the studio’s Nordic imprint in its simplicity and functional aspects. The opaline polycarbonate diffuser ensures soft lighting, while the coloured option spreads the light downwards in the table and floor versions or upwards in the hanging model.

Trumpets Curiousa & Curiousa

Skyline Series Örsjö



Designed by Folkform with blocky forms based on the concrete buildings of a Stockholm suburb, Skyline comes in black and white, and is made from powder-coated aluminium, as well as brass. Different models can be suspended from the ceiling, attached to the wall or bought as a floor lamp

These striking hand-blown glass lights combine the boldness of a heraldic brass instrument, with the delicacy and grace of trumpet flowers. When hung singularly its strength comes to the fore. Hung as a pair or in multiples and their mood is transformed to create a dramatic, elegant centrepiece.

F28 Cyclone Fabbian


Designed by Bartek Mejor, this pendant is the result of research into porcelain products and the tactile aspects of ceramic - the purpose was to create a soft yet well-defined object. The round shape shows the movement of the fluid ceramic thrown in space. The result is a vortex reminiscent of natural forces such as hurricanes or cyclones.



Petite Machine Lindholt Studio


Petite Machine table lamp designed by Lindholdt. An adjustable black and brass table lamp with manoeuvrable elements. To achieve the perfect positioning, the lamp shade turns at right angles and the pipe turns at 45ยบ angles. Grooved glass diffuser. Black silicone flex. All moving parts in brass.

Stampa Zero Lighting

Lobmeyr Chandelier Harlequin London


Fusing 1970s inspiration with modern production techniques, the 70s Retro collection focusses on customisation and confident design. Working with Viennese crystal designers Lobmeyr, a bespoke version of the Fingers chandelier - originally conceived as a wall sconce in 1970 - has been created.


The starting point of each Iris pendant is a mouth blown glass globe. As with a real soap bubble, colours, transmission and reflection change depending on perspective and lighting situation. Iris reflects its surroundings in various colours causing object and space to seemingly be in constant transition.

Cloche Wrong for Hay


Designed by Cate & Nelson, a sound-absorbing fixture, flexible and adaptable in its structure, Stampa easily changes in size, levels, colour and shape. Available as a ceiling fixture and pendant, it features LED modules and comes in standard colour of grey, with other colours available on request.



A directional table lamp that counterpoints materials and shapes. Made from a sand-cast iron base, an aluminium powder-coated arm and a spun steel shade, the weight and texture of the base provide a perfect balance to the smooth domed shade.

Dot Pendant WOUD


The Dot pendant is designed to create a playful and cosy atmosphere. Inspired by perforated metal and the fantastic patterns the light creates when shining through the holes. Dot comes in three different sizes to mix and match and to shine both when switched on and off.

designjunction 24–27 Sept 2015 London’s leading design show returns

One show Two venues Victoria House B1 37 Southampton Row London WC1B 4DA

Ticket offer: Use the code DJDARC at checkout for 50% off ticket price

The College 12-42 Southampton Row London WC1B 4AP

To redeem offer register at london/register

designjunction_2015_London_DARC_01.indd 1

09/07/2015 16:20

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Crystal Clear Swarovski and Norgwegian artist Kim Thome produce a crystal installation sparkling through the grand entrance to the V&A Museum for London Design Festival.

Decorative lighting is not always a direct use of artificial or natural lighting, but can be an indirect use of the two to accentuate architectural features of a space. Norwegian designer of objects, spaces and installations Kim Thome joined forces with Swarovski to create his Zotem installation as part of London Design Festival at the Victoria & Albert; the collaboration could only be described as an organic process. Having studied at the Royal College of Art prior to his abundance of international exhibitions, Thome’s tutor and industrial product designer Tord Boontje, a long-standing creative collaborator with Swarovski, connected the two. Thome commented: “Swarovski is really supportive of emerging talent and saw great potential from my past projects to produce something incredible for the London Design Festival.” Zotem uses prismatic colours to create a

rainbow refraction. The eighteen-metre tall structure has over 600 bespoke cut crystals set into the fascia panel. Artificial light is used indirectly on the crystals; Zotem requires a strong light source that can only be achieved with artificial light that is diffused within the structure. The light source is a static LED set behind the crystals, projecting light outwards through them. A roll of vividly printed mesh runs in a continuous loop inside the two aluminium faces. “Artificial light shines through the graphic mesh to illuminate a printed canvas, which moves on rotation inside the structure,” Thome explained. “The colours are then reflected and refracted through the crystals.” At the top of the structure, which can be viewed from the V&A’s Contemporary Ceramics gallery, the crystal grid pattern fans out in a crescendo of colour and light. The brief for the project was open ended,

rendering the scope for Thome’s designs in the initial stages illimitable within the V&A’s grand entrance using Swarovski crystals. “I pitched the concept using the stock crystals that I had been given and tested,” said Thome. “When I met the team at Swarovski we concluded that with the V&A as the venue we had to go up in scale. We then had the crystals made specifically for this installation - just over twice as big and all made into flat-back versions, so they sit solidly in the grid material that we had designed.” Even with the grandness of the entrance demanding something large to create an impact, Thome wanted to use the experience of the space that was already there. The area and the installation work to shape each other; Zotem was made specifically to complement the traditional interior features of the grand entrance while


Pics: Mark Cocksedge

connecting the space with the ceramics galleries. “For me it was important that the motions of the crystal patterns lead your eye upwards,” said Thome. The deviation from the standard pattern leads the eye up to the top of the structure, like an explosion of colour when it fans out. Zotem is not directly an interactive piece, but stands to help people explore the building as well as the crystals. “Normally, crystals are used for their brilliance, which is a result of light reflecting and refracting off of its facets,” continued Thome. On the contrary, this project focuses on light and colour that is projected through the crystal facets to create prismatic colours and linear patterns resulting in an entrancing visual illusion. Zotem will be on display from September 15 to October 31. Standing in the entrance of the V&A, the installation will entice and envelop visitors in a mesmerising spectrum of colour and shine, adding a further sense of wonder to the already encapsulating building.

Zotem installation in V&A’s grand entrance shining artificial LED light and natural light on a handmade printed canvas, diffused through Swarovski crystals.



Architectural Art In partnership with Arik Levy, Tabanlıoğlu Architects debuts art installation Transition; Warm/Wet at Somerset House as part of London Design Festival 2015.

Istanbul-based Tabanlıoğlu Architects has been chosen to showcase its latest installation with world-famous artist and industrial designer Arik Levy at the inaugural Somerset House 10 Designers in the West Wing during London Design Festival 2015. An exciting time for Tabanlıoğlu Architects, as it opens its London office, its involvement in London Design Festival and partnership with Levy, brings together two like-minded spheres of talent to create Transition; Warm/Wet, a striking installation in a tworoom space at Somerset House. Their collaboration involves the creation of a lowered ceiling of light by Levy made of LED strips – an extension of his eponymous ‘Fractal Projects’, a light sculpture that represents no beginning and no end’ – and simultaneously, a multi-faceted kinetic object placed underneath that has a reflective surface, by Tabanlıoğlu Architects.

One room will host a dense layer of light that is reflected in the floor, creating the ‘warm’ room. The other will be more sparsely lit with opaque qualities over a solid pool - an endlessly shifting metal platform that holds dispersing water drops - evoking a ‘wet’ cooler sensation for the individual. The joint work of Tabanlıoğlu Architects and Arik Levy will use diverse mediums of light and solid, dry and wet, warm and cold, in an interdisciplinary collaboration between architecture and art. Both parties’ prior works reveal keen understanding of transparency, light, opacity and transition between them. The installation is shown alongside Faye Toogood, Barber & Osgerby, Nendo, Luca Nichetto with Hem, PATTERNITY with Paperless Post, and Alex Rasmussen and Neal Feay, as part of the 10 Designers in the West Wing exhibition. Levy commented: “I was delighted to be

asked to work with the Tabanlıoğlu team on this prestigious project. Our disciplines merge perfectly and our installation will reflect themes that are consistent throughout both our bodies of work to create a striking collaboration that will be one not to miss.” Tabanlıoğlu Architects added: “We are thrilled to partner with such a talent for our first London Design Festival; Arik is a long-standing friend of Tabanlıoğlu Architects and we are excited at this opportunity to work closely with him at what is sure to be a thriving hub at the heart of this year’s festival.” Transition; Warm/Wet will be on display as part of the 10 Designers in the West Wing at Somerset House during London Design Festival: 10am - 6pm Mon-Weds and Sunday, 10am - 9pm Saturday.


Disco Fever Haberdashery brings the disco vibe to London Design Festival with its sound-reactive light sculpture.

Design studio Haberdashery will display its DiscoDisco sculpture at the John Cullen Store on the Kings Road during London Design Festival. DiscoDisco is a sound reactive light sculpture initiated by creative entrepreneur Alex Asseily and Haberdashery. Inspired by the humble disco ball, the sculpture uses an array of custom made light pipes to channel programmable LED light to hundreds of large pixel surfaces. Animated content plays across these pixels in response to either a soundtrack via a line-in, or to audio collect-

ed via a parabolic microphone. The result is an organic wash of delicate white light across the surrounding walls, floor and ceiling, responding in real time to quiet sounds like a blown kiss all the way through to a prime ordeal scream. Each of the acrylic fins can be individually orientated to allow a custom profile to the sculpture. Whilst currently arranged on a ring structure, the fins can also be arranged on different shaped spines to work along a corridor or vertically through an atrium space. This modular system can be scaled up, with

an indefinite number of fins technically possible. The system is available as an off the shelf unit, or in custom configurations. DiscoDisco is an example of Haberdashery’s core interest of merging interesting aesthetic form with interactive technology woven together by a strong narrative. Haberdashery’s Vortex sculpture - in collaboration with photographer Julian Abrams - will also be on show at the John Cullen Store. Haberdashery will also take part in designjunction from 24-27 September.




Summer Style Launched in January, northmodern is a new show for the design industry and following the growth at its most recent instalment in Copenhagen from 13-15 August, it would seem the concept is being well received by the industry. There was an increase in brands exhibiting - amounting to 480; an increase in overall exhibition space and a 62% increase in visitor numbers compared with the inaugural edition - ending on 4,400. “It is fantastic to see how the vision of northmodern is taking shape,” said Kristian W. Andersen, Fashion & Design Director at northmodern / CIFF. “The ambition to include Copenhagen is being realised and we are happy to see that the industry, nationally and internationally, is behind us. northmodern is more than a trade show. It is a movement puttin Copenhagen back on the world map as a leading destination for furniture and lifestyle. Collaborating with Design Denmark and Danish Design Center, we have worked together for a broader design event encompassing Copenhagen and Denmark as a whole.”

Arkiturbine Darø

Forms in Nature HildenDiaz

Inspired by a fundamental predilection for aesthetics and asymmetry. The asymmetric structure of flowers and the constructive aesthetics of airships have been important sources of inspiration throughout the design process. A fascination of the asymmetry of turbines has also been a focal point.

Using 3D printers, a light source is surrounded by a dense and unruly tree and root system created in miniature sculpture forms. The forest is mirrored around its central axis and forms a circle of 360º around the light source. Shadows engulf the room, transforming walls into unruly shadows.

Peak Cph Lighting Designed by Morten Flensted, Peak is an elegant pendant in turned oak wood. The soft look of the wood stands in contrast to the angled design, which when brought together create an exciting and elegant whole. Peak emits a direct and downward light, making it ideal above dining tables, alone or in clusters.

Apollo International Studio Winner of D3 Design Award, Koeln 2012, the Apollo range from International Studio is a modular pendant lighting range with hundreds of possible configurations. The system allows customisation of the breadth, warmth and intensity of the light as well as the overall aesthetic of the individual’s design.


Knekt Konsthantverk Knekt floorlamp from Konsthantverk comes in black with brass details. It is adjustable in two places, down at the foot and up at the shade. A maximum 60W E27 lamp should be used with the floorlamp. Its height is 1,350mm and width of the shade is 150mm.

Ambit Muuto

Mesh Space Resident

Ambit is a timeless pendant with strong character, designed by TAF architects a distinguished Stockholm-based design and architecture studio. Working well in living rooms or hallways as a very functional lamp with a strong character, Ambit´s lampshade is made from old brazier traditions, is press spun, polished and painted by hand.

Distributed through roam, Mesh Space is the newest pendant from Resident. Constructed around a seamless floating halo,it hangs horizontally with a very thin profile. The flattened mesh dome is a reflector and filter to the upward moving light and it is powered through three thin suspension wires.

Bowl New Works Designed by Knut Bendik Humlevik, this New Works table lamp distributed by Roomstore features toned glass that surrounds the lamp with a smoky aura. The two contrasting materials of glass and copper draw lines back to old lanterns, which inspired this modern version.

Clover Thomas Peter Lund

Globe Project Studio Floris Wubben

Clover rests on strict systematic structures which form a botanic whole. The shades are variations over one archetypical shape placed in an internal order, which provides a vivid and natural form. From the body of the lamp shines a soft diffuse light, which is caught by the shades illuminating their underside.

A gas burner’s flame etches a texture onto an unbaked porcelain object causing various layers to burst from the globe. As the fire burns off more and more of the globe’s layers, a translucent porcelain object emerges. The variation in layers and the glazing process make each object unique.



Radius No.0 esko design

Rimfrost Rimfrost

cappello molo design

Reflective material inside bends the light, while different surfaces and types of LEDs can alter the lamp’s look. Its design and function is for illuminating large space with high ceilings and for producing a pleasant light. The light can be calibrated and / or altered to suit the character of the space.

The sculptural lampdesign spans across different worlds of scale and context, reflecting both light and shadow through a complex geometry. Encompassing Scandinavian expression of light by two sheets of folded material keeping cost low and optimising space capital in a poetic but yet present way.

cappello is a lamp crafted from artifacts and ideas discovered in the travels of molo designers Stephanie Forsythe and Todd MacAllen. The white Carrara marble base is a leftover core from the iconic Arco lamp designed by the Castiglioni brothers and the paper cap is a Japanese soup bowl.

Bloom Pendant V3RS

Stacked Sander Wassink

With an emphasis on radial symmetry this pendant lamp is just as aesthetically pleasing when turned on as when turned off. The stainless steel construction has multiple appearances from different viewpoints. An LED light source creates a warm golden glow that softly reveals the complexity inside.

A series of lamps incorporating reclaimed glass into its production process, making every single lamp unique. The re-use of materials is something that interest Sander Wassink greatly with materials, textures and shapes given to them practically for free - allowing them to spend more time on the design a system for producing a lamp.

BAI Family Parachilna Designed by Neri & Hu studio, taking inspiration from ancient Chinese lanterns, the BAI family consists of several luminaires of different sizes and shapes. The metal structure is imperfectly finished in bronze, while the transparent amber or grey blown glass diffusers are lit by a strip LED column.

20–23.09.15 SYON PARK LONDON

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From Paris With Love K Lamp Vitamin The handmade K lamp consists of two parts – a shade that acts as a diffuser and a base that houses the lamp. Two solid ceramic forms interact to create a single, striking silhouette, while the glazed inner shade gently reflects light into the room.

Having displayed only the best of what the last 20 years of decorative design has had to offer, Maison et Objet celebrated its 20th anniversay at this year’s September show in Paris. With a redesign of the exhibition floorplan and international professionals flying in to showcase their designs, Maison et Objet presented a unique experience to discover the unexpected. Serving as a springboard of brand growth for its exhibitors, the show presented an enticing array of new decorative lighting products. Peruse at your leisure

Tilt Wall Nyta Tilt Wall, an adaptation of Tilt Globe, emanates an open light with intuitive handling along an oblong opening, allowing light to be directed in every direction. Available in matte finish for the shade, the tube of stainless steel and optional cloth covered cord make it a versatile fixture.

Tim Bomma

ilLUsion LU Murano

The new collection of lighting objects, Tim, was designed by duo Olgoj Chorchoj consisting of Michal Fronek and Jan Nemecek. Named after the successful ‘Tim Burton and His World’ exhibition, the design duo created two crystal cupolas in the form of droplets at 70 and 50 centimetres.

ilLUsion designed by Fabio Fornasier is a chandelier with a built-in sound system. With cones made of fibreglass, the piece tolerates vibration, resonance, frequencies and sound pressure with a linear response on all audible frequencies.

Tension Hind Rabii Tension, like tightrope walkers, performs a balancing act on cables and shed its light close or far away, in a wide or narrow beam. Linked in a play of acrobatics by a magnet, Tension entices with the vision of unparalleled elegant movement. With its refined finish, this product is part of the timeless Haute Couture genre.


Lapis Lux Sarah Colson

Tilt OLED Inertia Projects

The Lapis Lux vertical pendant is part of the Lapis Lux 2015 collection, offering five new lighting solutions that play with light refraction and look at the relationship between glass and stone. The pendants play with a variety of multiple or singular arrangements. The solutions offer a certain elegance distinctive in Colson’s design practice.

Incorporating the latest OLED technology producing a new quality of light, Tilt is a soft, yet bright and energy efficient product. The square frame offers elegance, with the polished metal giving a luxurious feel. The base is made from soft touch black silicone rubber, with the body available in copper, stainless steel, brass and bronze.

In The Tube DCW éditions Designed by architect Dominique Perrault and designer Gaelle LauriotPrevost, the In The Tube collection features different lengths, diametres and colours. Made in borosilicate glass and closed with aluminium stoppers sealed in silicon, the mountings are in stainless-steel allowing it to be used as a suspension, wall or ceiling-mount.

Habana TAL

Formakami &tradition

Habana is a small wall fixture part of the Think Small Series inspired by the Cuban cigar. Its single beam generates indirect light in one direction to create a warm atmosphere. Functional as an uplight or downlight wall fixture, the small tube focuses on the purest form-follows function design.

Formakami, &tradition’s new pendant lamp collection, features three handmade rice paper lamps designed by Jaime Hayon. Available in ivory white rice paper with black stained oak, the effect is a pendant lamp that both gives light and appears light.

Hatha QisDesign Hatha Wall is a stylish and practical light, adaptable as a bedside lamp or wall lamp providing warm yet functional illumination. The LED lamp is energy efficient delivering 2,200 lux brightness and a 6W power consumption. With a flexible spine, users can adjust the lamp freely at different angles and heights to meet various needs.



Into The Wild FontanaArte's involvement in Paris Design Week 2015 in September brought together two art forms in an expectedly sonorous duo; taxidermy meets light art to showcase the company's historical designs and 2015 Collection. Representing life in various forms, Deyrolle temple of taxidermy in Paris housed FontanaArte's floor, table, wall, and suspension lamps from its 2015 Collection and historical archive; nestled amongst an encapsulating array of hauntingly real animals, the unlikely combination created an experience of life for its visitors with FontanaArte's 'lights to live'. The Italian design team showcased a range of products including some of the brand's most representative icons, together with a selection of new-generation lamps, for use in the contract sector and in homes. The historical and modern designs on show, set against the rich backdrop provided by Dey-

rolle presented the brand in an innovative light, standing out as a highlight; a spectacular part of Paris Design Week where creativity is displayed at its highest height. The display featured a number of the brand’s traditional designs, such as famous Italian architect, interior and product designer Gae Auleti’s Giova table lamp, which marked her debut in the field of designer lighting in 1964. These traditional pieces have provided inspiration for FontanaArte’s newest releases, such as those designs found in its 2015 Collection. A collaborative approach with designers of different backgrounds and varying experiences is a characteristic element of

FontanaArte. This display saw designers such as Karim Rashid, Carlo Colombo and Claesson Koivisto to name a few standing out next to stuffed tigers, bears and tiny chicks. Through this exhibition, FontanaArte made movements towards the brand image makeover it has desired with the release of its new website and publication of the FontanaArte Book, a volume giving readers a closer look at design products and projects from across the globe. Further to this, guests were given the FontanaArte magazine, a special edition illustrating the 2015 Collection and activities the designer has been involved in this year.









1. Fontana table lamp by Max Ingrand (left) and Uovo (right), both from FontanaArte's historical archive 2. Lunaire by FerrĂŠol Babin featuring a newly designed switch 3. Blom by Andreas Engesvik 4. Flex by Karim Rashid (top left) and Bonnet by Ovo Fioravanti (below and right) 5. Bianca by Matti Klenell 6. VolĂŠe by Odo Fioravanti 7. Daruma by Sergio Asti



Design Delights

New designs hitting the world of decorative lighting.

LINES FILD A range of decorative pendants creating geometrical volumetric shapes with their subtle lines. Adding space and light to an interior, establishing a bright and positive atmosphere, the model is presented in a variety of heights and there is the option of surface electrical wiring.

002 LED Plumen

Marall LUG

Following three ground-breaking CFL designs - the 002 LED is a revamp of the CFL model, upgraded with improved technology. The new lamp is dimmable and offers an improved quality of light and warmer colour temperature. The ideal solution for ambient light in bedrooms and bars, where warmer tones are desired.

Equipped with LED light sources, which combined with a microprismatic or opal plexiglass diffuser, provides high quality lighting. Made from polyester resin reinforced with fiberglass ensuring high durability and light weight, Marall emphasises the interior of a space with its high lighting parameters and shape.

Matrioshka innermost A fourth colour for the Matrioshka range by Stone Designs - smoke - a dark colour that evokes a sultry and mysterious feel. Hand-blow, this new glass collection launched in red, blue and yellow. A result of investigation into the beautiful medium of glass - translucent bodies of colour reflect and refract light.

Arc Collection Allied Maker The Arc Collection consists of three shade styles: half dome, half dome with globe and simply the globe and continues with the use of wood and metal seen before from Allied Maker. A repetition of geometric hand-bent arc shapes are featured throughout the collection.

Halo Range neo Based around the pairing of opal glass spheres and brass accessories in a series of pendant, wall and ceiling lights, the lights emit a soft warm glow, reflected in the brass details to enhance any interior ambience. Specified as grouped fittings or wall mounted features the range is available in bespoke finishes.


ARCHITONIC.COM Architonic is the world’s leading research tool for the specification of premium architectural and design products. Our curated data­base currently provides information about more than 200‘000 products from 1‘300 brands and 6‘200 designers. 16 million architects, interior designers and design enthusiasts annually choose Architonic as their guide to the very best.



On Show

A look ahead to forthcoming design shows with a strong lighting element.

DECOREX • LONDON, UK 20-23 September 2015 (

100% DESIGN • LONDON, UK 23-26 September 2015 (

DARC NIGHT • LONDON, UK 24 September 2015 (

TENT / SUPER BRANDS • LONDON, UK 24-27 September 2015 (

DESIGNJUNCTION • LONDON, UK 24-27 September 2015 (


DOWNTOWN DESIGN • DUBAI, UAE 27-31 October 2015 (

SLEEP • LONDON, UK 24-25 November 2015 (



13-15 January 2016 (

MAISON ET OBJET • PARIS, FRANCE 22-26 January 2016 (






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we owened an art gallery, we would want Olafur Eliasson’s Starbrick lighting piece illuminating our entrance hall too! Designed in collaboration with Zumtobel, Starbrick hangs pride of place in the dome hall of the Kunsthalle Mannheim Art Gallery in Germany. Thanks to an organic composition of 35 LED light modules and the resulting stratification of light, a special designed version of this unique light-art combination offers the perfect illumination for the imposing entrance hall. The Starbrick creates a seamless interplay with a famed centrepiece of the Kunsthalle Mannheim, Constantin Brancusi’s ‘Big Fish’ from 1930 – old and new brought together in perfect harmony. As a representative of both contemporary art and modern technology, Starbrick creates a striking contrast with the historic architecture of the beautiful Art Nouveau construction. / Pic: Florian Holzherr



darc is a dedicated international magazine focused on decorative lighting design in architecture. Published five times a year, including 3d...

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