DECORATIVE LIGHTING IN ARCHITECTURE #14 JAN/FEB 2016
EMMA MAXWELL | SKY WAY TOAN NGUYEN | SEXY FISH RESIDENTIAL FOCUS
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Welcome EDITOR • PAUL JAMES The residential sector is an important, and highly lucrative, element of the decorative lighting market. The pendant or chandelier that is the centrepiece of the hotel lobby, restaurant or bar is just as applicable to the lounge or dining room. In the home, the visual impact of the decorative lighting fixture personalises the space more than in any commercial project. The home owner is making an emotional, as well as financial, investment. We are delighted that Rebecca Weir, creative director at London lighting design practice, Light IQ, has shared her wisdom on this fascinating facet of design as an introduction to our residential lighting feature (page 62). Her new book The Languages of Light: A Creative Approach to Residential Lighting (in collaboration with interior designer Allyson Coates) is a tour de force of what can be achieved with good lighting in the home. Indeed, the collaboration is the perfect example of design professionals working together to create lighting schemes in harmony with their environment. Written with the student, interior designer or enthusiastic home owner in mind, the inspirational and visual guide to the creative process highlights all kinds of lighting techniques including the use of decorative lighting to put the finishing touches to a practical scheme. It’s something we strive to highlight in the pages of darc and I highly recommend it. DEPUTY EDITOR • HELEN FLETCHER Welcome to the first issue of darc of 2016! We’ve got some great projects to kick the year off with, including the headquarters of TeamBank in Nuremburg on page 18, which has been given an innovative facelift by Evolution Design; Skyway Monte Bianco cable car stations, which feature striking lighting design thanks to Roberto Rosset and Danilo Montovert on page 24; and the Kollazs Bar & Brasserie in Budapest, which features intricate lighting design from dpa lighting consultants on page 44. Our main interview this issue is with product designer Toan Nguyen on page 28, where he explains the importance of traditional design processes and the poetry of objects; and on page 56, we hear from newcomer Jette Scheib on her design influences and most recent work with Innermost. As always we have a round-up of some of the latest decorative lighting products to hit the market, as well as our take on the Neue Raume show in Zurich and Sleep in London. If you’re heading to northmodern in Copenhagen, keep your eyes peeled for Editorial Assistant Femke Gow who will be walking the aisles and if you’re heading to Paris for Maison et Objet, well... I’ll see you there!
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NEWS OPERA CITY ART GALLERY • TOKYO MURMURATION CHANDELIER • LONDON PAE WHITE, SPECIAL NO.127 • BERLIN TEAMBANK HQ • NUREMBURG SKYWAY MONTE BIANCO • MONT BLANC TOAN NGUYEN INTERVIEW • MILAN HOTEL EKTA • PARIS LITTLE SAIGON RESTAURANT • LONDON MARIE SIXTINE BOUTIQUE • PARIS KOLLAZS BAR & BRASSERIE • BUDAPEST SEXY FISH RESTAURANT • LONDON LA MAISON DU GREC RESTAURANT • ATHENS HOTEL DU ROUGEMONT • THE ALPS JETTE SCHEIB INTERVIEW • BERLIN FOLIO: EMMA MAXWELL • SINGAPORE RESIDENTIAL FOCUS: REBECCA WEIR SGA PRIVATE RESIDENTIAL • TAKAPUNA BEACH RAYNOUNARD APARTMENT • PARIS SPOTTISWOODE APARTMENT • SINGAPORE ROUSSEAU DESIGN PRIVATE RESIDENTIAL • UK FAIRWAYS HOUSE • ISLE OF WHITE CHURCH CONVERSION • CHICAGO SOUTHBANK PLACE • LONDON NEW PRODUCTS NEUE RÄUME PRODUCT REVIEW • ZURICH SLEEP PRODUCT REVIEW • LONDON CALENDARC IF...
EDITOR : PAUL JAMES : firstname.lastname@example.org DEPUTY EDITOR : HELEN FLETCHER : email@example.com EDITORIAL ASSISTANTS : FEMKE GOW : firstname.lastname@example.org • LAURENCE FAVAGER : email@example.com ADVERTISING : JOHN-PAUL ETCHELLS : firstname.lastname@example.org PRODUCTION : DAVID BELL : email@example.com / MEL ROBINSON : firstname.lastname@example.org darc magazine, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK Printed by Buxton Press, Palace Road, Buxton, UK • ISSN 2052-9406
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Hitting the Headlines For the most recent decorative lighting news head to www.darcmagazine.com and sign up to the designline newsletter.
Media 10 launches new show
Design Miami/ breaks records
(UK) - Events company Media 10 launches new decorative show LuxuryMade as part of London Design Festival 2016. Read the full story online...
(US) - Design Miami/ ends its week on a high with highest attendance figures yet. Read the full story online...
Buster + Punch meets Rolls-Royce (UK) â€“ Presented by The Rolls-Royce Enthusiasts Club, Buster + Punch showcases bespoke version of Buster Bulb at Saatchi Gallery, London, UK. Read the full story online...
Swarovski celebrates with crystal sun
HAY opens in Sydney
(US) - Swarovski celebrates ten year partnership with Design Miami/ in making a geodesic sun-like installation. Read the full story online...
(Australia) - New HAY store opening soon in the heart of Surry Hills, Sydney, Australia. Read the full story online...
Maison et Objet Paris to go ahead (France) â€“ Following the recent events in Paris, France, SAFI confirms the next trade show will go ahead as planned from January 22 to 26 2016. Read the full story online...
STAND & DELIVER The Enna presents the desk light in its most elemental form. The elegant stance is maintained thanks to a pure architectural structure. Meanwhile the fully adjustable head allows perfect illumination of the task at hand. Because good design demands simplicity.
SIMPLER IS BETTER
focal point OPERA CITY ART GALLERY TOKYO, JAPAN In her first large-scale solo exhibition in Japan, both Zaha Hadidâ€™s past and current projects were presented at the Opera City Art Gallery in Tokyo. Showcasing her ideas from a broad perspective, her works were displayed through a dynamic installation - from drawings during her unbuilt period to designs of completed projects around the world, including product designs such as Aria and Avia for Slamp. The exhibition aimed to give visitors the chance of experiencing the architecture of Zaha Hadid from their respective points of view - whether they were hearing her name for the very first time or knew of her since the early days - as well as being exposed to the ideas behind her work. www.operacity.jp
focal point MURMURATION CHANDELIER LONDON, UK Commissioned by property company The Collective, Brighton-based design studio Harvey & John has created Murmuration Chandelier - a kinetic lighting sculpture inspired by the murmuration of starlings found at Brightonâ€™s seafront every autumn evening before dusk. Spanning over fivemetres across three floors, it sits as a permanent installation at The Collective HQ in Bedford Square, London. The piece consists of 20 rings that taper in diameter, finished with patinated steel to produce a textured gunmetal exterior and a light reflecting brushed steel on the inside. Abstract starling shapes are laser cut from each ring, which align at certain points in its spiralling sequence. Each ring has its own counterweight, which perfectly balances the sculpture whatever the shape, and its own micro-controller and motor. It can also be controlled by an app to change the colour of light, speed and direction of movement. www.harveyandjohn.com
focal point PAE WHITE, SPECIAL NO.127 NEUGERRIEMSCHNEIDER, BERLIN Pae White, an American visual artist, explores material phenomenology, sculptural compositions, and light through her recent immersive installation at Neugerriemschneider, Berlin. Delicately rendered discs and cones are suspended from the gallery skylights at varying heights, a complex composition that balances between weight and weightlessness. The suspended conical forms containing the artistâ€™s personal nuances, memories and samples, connect themselves through a dynamic tubular framework, which reaches ends ever so often with a glowing lamp. The light almost presents a release from the dynamic materiality of the structure, leading into new perceptual avenues through the space, and creating an involving ďŹ eld of transition and transformation. Reminiscent of architectural and electrical compositions, the installation seems to visually organise and associate the ephemeral sense of memory within the structure of constructed space. Pic: Jens Ziehe, Berlin
Easy Does It Consumer credit expert TeamBank's new headquarters in Nuremburg, Germany, makes going to work the pleasure it should be, thanks to the innovation of Evolution Design. Pics courtesy of TeamBank / easyCredit
Left View of Lightnet's Ringo Starr pendants amongst blue and beige circular fixtures looking up from the ground floor lobby. Above Lightnet's Amorphicon pendants offer playful curves to a third floor Meeting Room.
Swiss architecture and design studio Evolution Design provided a different way of working for leading German consumer credit expert TeamBank, with a new HQ for its main brand easyCredit in Nuremberg. The building itself was the result of a design competition, created by Austrian architecture firm Baumschlager Eberle and executed by Nuremberg architects GP Wirth Architekten. Aiming to reflect openness, transparency and communication, the pioneering design brief for the competition was already in line with easyCredit’s values. Evolution Design developed an interior design scheme to converse with the building’s large open-space work areas, placing great importance on expressing TeamBank’s easyCredit brand philosophy: an agile, constructive approach to the work environment that clearly expresses easyCredit’s claim of being a leading innovator and trendsetter in the banking sector of Germany. Upon entering the atrium, the 700+ employees are met with a spacious,
high-ceilinged area in which the divisions between each floor can be seen when looking up. The building features floor to ceiling windowed structures, letting an abundance of daylight wash through each level. Lightnet’s Ringo Starr pendant lamps glow in rings on the ceiling amongst blue and beige circular fixtures that span across the top floor. The functional organisation of the building’s interior utilises the idea of a city; the building was divided into Homezones consisting of several Homebases and Meet & Create zones, with a main staff restaurant and barista bar. These public areas are part of the city concept with parks and street scenes to encourage a higher frequency of informal and accidental meetings. Evolution Design's biggest challenge was the change from a traditional workspace with dedicated desks to a completely new activity-based style of working. Each Homebase consists of a unique mixture of different workspace typologies to cater for the different needs of employees depending
on their daily activities. The Meet & Create zones are specially designed in the inner ring of the building for creativity and focus. One of the informal Homebase areas, which are spread over the first and second floors, seats employees at high, gleaming white tables on stools under the illumination of Lasfera’s soft plywood Sophie pendants, giving off a gentle glow. The space is practically suitable for work without being corporate. Employees of TeamBank can even spend their working days swinging back and forth on a suspended cushioned bench in the Green Lounge. David Trubridge’s Coral pendants complement the natural theme of this space, as the use of wood casts a soft shadow in the fragmented shapes of the lamp's design. As well as the profusion of leisurely spaces, even this office needs more traditional meeting rooms to cater for the more regulated moments. Nevertheless, they are not just standard meeting rooms, as Lightnet’s Amorphicon pendants
Above David Trubridge's Coral pendants above hanging bench in first floor Green Lounge. Right Moooi's Dear Ingo pendant suspended above table in first floor Project Room. Top Right Floor plan of ground floor. Far Right Lasfera's Sophie pendants in Informal Homebase area.
immediately cast a playful tone around one of the meeting rooms on the third floor. Their white light marks clearly their bulbous outlines, reminding staff of their innovative and inspiring physical environment, while aiming to instill those properties mentally and in conversation. Another meeting room on the ground floor, interchangeable as a lounge, features Marset's playful TamTam pendants suspended in clusters. Designed for TeamBank employees to collaboratively exchange ideas is the Project Room on the first floor, featuring a long wooden table with industrial metal legs, whiteboards on wheels and a projector. Above this high table, Moooiâ€™s Dear Ingo pendant lamp designed by Israeli designer Ron Gilad sits on the line between abstract and functional. With fifteen spider like arms stemming from its main body, it works perfectly for a large group as each arm can be extended and directed out to different points at varying angles.
Throughout the building, all spaces have been designed to bring the company’s culture and vision alive, thereby realising TeamBank’s identity and the easyCredit brand. The result is a building in which easyCredit and its employees can find an inspiring home that reflects their company spirit and enables them to identify strongly with their new workplace and headquarters in which they can share their values of fairness, teamwork and communication. The new easyCredit headquarters successfully brings together a new workplace concept while strongly expressing the company’s identity through physical structure and thoughtful design. www.evolution-design.info
PROJECT DETAILS easyCredit, TeamBank, Nuremburg, Germany Client: TeamBank Interior Design: Evolution Design
LIGHTING SPECIFIED Lightnet Amorphicon pendants Lasfera Sophie pendants David Trubridge Coral pendants Marset TamTam pendants Moooi Dear Ingo pendant
A Light Ascent Bringing decorative lighting and interior design to new heights, the journey along the new Skyway Monte Bianco cable car to the peak of Europe is not one to be missed. Pics: Daniele Domenicali
Inaugurated in June 2015, leading Italian design and general contracting company Paolo Castelli decked out the new Mont Blanc cable car stations, Skyway Monte Bianco. With a modern and majestic flair, the interiors of each station feature striking lighting schemes designed by architects Roberto Rosset and Danilo Montovert. Unique in dimension and complexity, the three stations stand at increasing altitudes, each structure marking a technologically advanced expression of the classic ‘Made in
Italy’ slogan. Having begun in 2012 with the installation of the ropeways and basic structures, Skyway Monte Bianco was a long journey to the peak. With no indication from the client in terms of lighting design, Architects were given free reign in choosing the lighting “based on the interior decoration and furnishings specified in each setting along the ropeway,” commented Rosset. “The goal was simply to create a specific and unique atmosphere for each room in
keeping with the interior decoration.” The funicular ascent of Mont Blanc begins at the first station, Pontal d’Entrève, where visitors can start their journey in style at a sleek bar, mixing a few drinks in with the steadily increasing altitude. With a curved metal ceiling high above the bar, tossB’s slender HOOP 950 pendants are suspended half way, emitting a clean white light reminiscent of the surrounding white crystal in cloud and snow. Ensuring bright lighting for both the bar area and the ceiling, the
lighting stands at a sharp juxtaposition to the wood, steel and ceramic panels, creating a mix of materials that evoke the magnificent surrounding mountain range. Becoming increasingly more light headed as the altitude kicks in, visitors can carry on to second stop along the ascent to Europeâ€™s peak, The Bellevue Restaurant at the 2,173-metre high Pavillion Station, featuring a casual dining and relaxation area. A modern reinterpretation of a dining space commonly associated with the traditional use of local wood as a finishing material again creates a conversation with the grand surroundings, letting the lighting steal the interior show. Luceplan brings the interior space to life with Silenzio pendants suspended above each table in oversized jolts of orange fabric. In another contrast, albeit secondary to the lighting scheme as a whole, Viabizzunoâ€™s c2 rotante wall lamps designed by Italian lighting designer Mario Nanni stand on the white walls, adding a seemingly unnatural colour in contrast to the earthly surroundings, emphasising this modern feat that works alongside tradition and nature. The final stop, the peak of the cable car journey at 3,462-metres high, houses the Punta Helbronner; an angular yet soft Top Bar at the first station, Pontal d'EntrĂ¨ve, featuring tossB's HOOP 950 pendants. Above Punta Helbronner, final station where daylight takes precedence at the top of Mont Blanc.
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space to sit and admire the awe-inspiring surroundings. Here, daylight is given the spotlight, with no shortage nor competition in such panoramic glory. Those brave enough can step out onto the Helbronner roof to immerse their heads in the clouds in what is surely heaven on earth. “The project was a challenge,” admitted Managing Director Paolo Castelli, “and not just because of the complications associated with working at an altitude of 3,500-metres. Our designers, engineers and architects have succeeded in expertly and accurately developing Arch. Rosset and Montovert's projects, creating settings that are both convivial and refined, achieving a perfect union with their majestic natural surroundings. Establishing a decorative and architectural dialogue with the beauty of the Mont Blanc was no easy matter.” The balance achieved in this project is one of expertise and passion; interior natural tones draw the mountains into each station while the lighting serves to make each space stand out in its own right, affirming the modernity of the project while respecting its natural scale. Bringing lovers of nature’s grandeur to the highest of Europe’s heights, the journey along Skyway Monte Bianco is undoubtedly the pinnacle of funicular journeys. www.paolocastelli.com www.rossetarchitetto.com
Top Skyway Café at the Pavillion Station with Luceplan's sound absorbing Silenzio pendants. Above Viabizzuno's c2 Rotante wall lamps in the Skyway Café at the Pavillion Station.
PROJECT DETAILS Skyway Monte Bianco, French Alps Client: Funivie Monte Bianco General Contractor: Paolo Castelli Interior Design: Arch. Roberto Rosset and Danilo Montovert
LIGHTING SPECIFIED tossB HOOP 950 pendants Luceplan Silenzio pendants Viabizzuno c2 Rotante modular lighting system
[romeoegiulietta] Light + Building Frankfurt 13-18 March 2016 hall 1.1 stand F41
Pics: Andrea Basile
The Poetry of Objects Toan Nguyen designs product collections with fine-tuned elegance. Parisian born but immersed in Italian design culture, in this exclusive interview Nguyen explains the philosophy behind his design and why traditional approaches should never be overlooked.
Raised in Paris and now residing in Milan, Toan Nguyen knew from an early age there were only two career paths he was willing to choose between… the life of a filmmaker or the life of a designer. And so, having graduated from the exclusive ENSCI-Les Ateliers in 1995 – the only French school completely dedicated to industrial design - it was product design that took the lead and his career began. Initially working with Italian designer Antonio Citterio as head of design, Nguyen co-signed more than forty products over ten years for Axor-Hansgrohe, B&B Italia, Flos, iittala, Kartell, Technogym and Vitra to name just a few, before founding his own studio in 2008. “My father always wanted me to follow in his footsteps and become an engineer,” Nguyen tells darc. “My brother became an architect but it was always product design that interested me, I achieved good grades from Les Ateliers and wanted to get going with my career as soon as I could. There is a strong relationship between architecture and design of course, but it was the amazing freedom you get with product design that drew me towards this career.
“Design is my job, yes, but it is also my hobby and passion. For me, it has always been about working in collaboration with companies to create something that is connected to the world of the end user. This element excites me; comparing it with the world of art, where there is just one buyer who wants to own a unique piece - to produce something that will go out into the world in its thousands is really fascinating and what sets art and design apart.” For Nguyen, his passion for design also lies in the process. Having worked in France and Spain before setting up his studio in Italy, he is of a generation that maintains the importance of sketches, craftsmanship and prototyping. He tells darc, he feels that designers of today are losing out thanks to the development of technology: “I come from what is now considered a niche generation,” he says, “the computer was still in its infancy when I graduated and there was a real mix of how things came together, how products were designed. When I see young designers starting out, it feels as though they have lost out because they haven’t experienced it as I did – everything is computer-generated now.
“We had to draw everything and so we thought long and hard about what we did mistakes cost time as everything would have to be done again. Now, it’s too easy to just keep printing until you’ve got it right. I think this affects the formation of ideas, there is still great value in sketching and technical drawings. It’s not just a process, it’s a way of thinking.” A reflection of this shift in processes, according to Nguyen, is the huge amount of media interest in ‘small object designers’, as though this is a new phenomenon. “Everyone seems fascinated with it,” he tells darc, “and it’s because it is so uncommon to see craftsmanship on such a small scale, people producing prototypes and so on… it’s like ‘wow’ and this is because we’re in a world dominated by computers.” An important decision in Nguyen’s move to Italy to set up his studio in Milan was the opportunity of working with many materials and product types. He left the Parisian design world in 1996 in search of freedom; for Nguyen the thought of working with just one product type was not something he relished, finding the Parisian way of specialised design
too stifling. “What is nice about this job and what is refreshing, is facing different challenges and fields every day,” he says. “Whether it’s working with ceramics, designing a new sofa, a new lighting fixture… it makes you work in different ways as they all have different requirements. “Milan for me, is the place where I can get to grips with a lot of different designs because the philosophy of design in Italy is much more multi-task focused rather than specialising in one area as I experienced in Paris.” For great design, Nguyen also believes it is essential to become close to the partner he is working with at the time, telling darc: “I like to get deep inside the technicalities of the project to begin with, absorbing the DNA of the company, their processes and so on. The company you’re working with might specialise in a particular area, so to surround yourself in what they do can give you a new perspective or point of inspiration, it is about getting under their skin.” One of the difficulties faced by product designers and brands is defining a need or reason to create new objects. Consumers
don’t necessarily need a new sofa design or new desk or new lamp and so it is Nguyen’s job to find a reason for the design. “It’s very subjective,” he says, “so people could argue there’s never a real reason for new design but I try to make sure my work is not connected to just marketing reasons. Yes, this is a reason for the brand but it cannot be the only reason an object is put out into the world.” In terms of lighting, having worked with Flos for many years, one of Nguyen’s most recent accolades through his own independent design studio, was his work with Vibia on Algorithm shown in its first form at Euroluce in April 2015. With the final product due to be exhibited at Light + Building in March this year, Nguyen explains why, for him, working with light is so different to any other form. “It’s a really fascinating world, where a lot of people do a lot of simple things and adopt a basic approach to design. A lamp can often be seen as a support component to an existing product on the market. My work with both Flos and Vibia has taken a different approach as I really considered the impact the products would have, not only in terms of
“The ideal validation is long-term. Objects that are too loud or speechless will irrevocably be forgotten.” - Toan Nguyen
Via Vivarini 7 Milano Tel. +39 02 89502342 email@example.com www.lollimemmoli.it
lolli DARC.indd 1
Ugolino slim photo Lorenzo Pennati
the lighting quality but also the efficiency, all while thinking about the general vision of the companies involved. Lighting has to be more than functional as you can get light in many different ways.” Algorithm, just as with nature, is the physical expression of compositional grace governed by the mathematical order that lies beneath it. Like a constellation of globes, a flock of birds or a frozen shower, this collection fuses beauty and geometry into a system of illumination. “The intention was not to design a completely defined and finished product, but a tool which allows any customer to create their own lighting system, in relation to the architectural space, the area to light, and the desired graphic pattern,” says Nguyen. Algorithm consists of endless compositions of light globes suspended at different heights from a ceiling anchor of tubular metal mesh, which generates its own shadows and visual effects. Manufactured from blown glass, the light globe features a striated pattern that itself creates a translucent and constantly changing lighting
effect; the globes are provided with 3.15W LED dimmable light fittings. Nguyen notes that while efficiency and the implementation of LED is extremely important, as an industry we must not forget about the physical form of the light and the materials being used; it is about “the poetry of the object.” “Sustainability in design is something that depends a lot on the client,” he says, “but regardless, you should make sure the product will last a long time - quality comes first. As well as this, every time we find a new way of being sustainable, it becomes a reason to do another project. It is important to reduce waste, transportation, consumption, material waste and so on, which is why LED has fast become the standard. Yes, incandescent is nice but it’s not sustainable. “Lighting is so important, it’s everywhere,” Nguyen concludes. “People like Ingo Maurer dedicate their lives to finding ways of expressing something through light. Lighting defines the quality of an ambience and its possibilities are almost endless.” www.toannguyenstudio.com
3D printing processes at the Toan Nguyen Studio were used for the prototype light globes used in the Vibia Algorithm light fixture. The globes are provided with 3.15W LEDs and are dimmable. For Nguyen, while the use of LED technology is extremely important, it is also important that we do not forget about the physical form of the light and the materials being used.
Artistry from Nature Belle Pendant davidtrubridge.com
Pics: Christophe Bielsa
Marset's Ledtube lights discretely recessed in the headboard provide more direct illumination for reading. Lampadaire designed for Louis Poulsen peers elegantly over the chair in the lounge area.
Sixties Sass Hotel EKTA is a 60's blast from the past in Paris, France; an abandoned office building transformed into an eclectic hotel bursting with character.
Envisioned by interior designers and decorators Jean-Philippe Nuel and Natasha Stojkovic, Paris’ chic Hotel EKTA features a sleek and stylish retro interior in black, white and bright bursts of yellow. Known for his work across both residential and commercial projects, with hotels being is favourite, Nuel aims to capture the essence of a chosen era in his designs. Stojkovic is also known for her work on in the hotel sector, where her bold and playful interiors are reflected in the encapsulation of eras of her choice. Working with hotel owner Nelly Roland, the collaborative project between Nuel, Stojkovic and Roland began with the idea of transforming an alternative office building into an innovative hotel. With the existing architectural style of the building typical of the 60’s and 70’s, and atypical amongst other architecture along the ChampsElysees, the designers were set apart from the norm, ready to create an outstanding graphic design. Stojkovic commented on her excitement on the collective project: “Artistically, the audacity of the project was an exciting challenge in revisiting the style of the 60’s and 70’s, and drawing on the work of French fashion designer André Courrèges. I was also very excited to work with Nelly Rolland, and the idea of a collaborative project with Jean-Philippe Nuel was really enticing as well. ”
The design team first explored how to transform an empty office space to accommodate the desired number of bedrooms for the hotel. The existing entry was removed and a new staircase was created with a high ceiling space. Each of the rooms house a carefully selected collection of decorative lighting pieces that stand as stylised features of the hotel’s design as well as functional lighting for the guests’ comfort. The rooms are split into a bedroom space, bathroom and a small lounge area. Suspended next to each bed are Designheure’s Cargo suspension lamps casting a more general illumination, while Marset’s Ledtube reading light by Spanish designer Daniel Lopez are recessed in the headboard for more direct illumination.
“Lighting has a very important part in this project, as in all projects. It emphasises the interior design, the furniture and the detail in the iconography adorning the walls of Hotel EKTA. Each space is an atmosphere enhanced by light.” Moving through the bathroom to the small lounge space by the window, Danish designer Arne Jacobsen’s Lampadaire floor lamp designed for Louis Poulsen stands elegantly and thin as a discrete yet discerning lamp. Each of these products were carefully selected for their bold and unusual shapes, with black and white patterns and striking lines conversing between lamps and furniture drawing guests far back to a long gone time. www.jeanphilippenuel.com
Designheure's Cargo suspension lamps give off a 60's glow next to the bed, through a black and white shade that lines up with the angular patterns found throughout the hotel's interior.
PROJECT DETAILS Hotel EKTA, Paris, France Client: Nelly Roland Interior Design: Jean-Philippe Nuel and Natasha Stojkovic
LIGHTING SPECIFIED Designheure Cargo suspension lamps Louis Poulsen Lampadaire floor lamps Marset Ledtube reading lights
Phamily Pho Little Saigon hits the nail on the head with street food as a family owned restaurant that immerses guests in traditional Vietnamese culture, illuminated with a contemporary twist.
Bringing authentic Vietnamese street-food to a discerning East London crowd, Little Saigon is a brand new 100-seater family owned restaurant based in one of London’s most vibrant areas. With a dream to bring their family’s cooking to a wider audience, the Pham family opened their debut Leytonstone restaurant in May 2015. With London-based interior design studio Avocado Sweets' expertise, lead by designer Evros Agathou, the restaurant now appeals to the local London market, capturing a casual street-food vibe while maintaining a strong link to the Vietnamese family’s
cultural traditions. Street-food in Vietnam is a laid-back affair with friends, served at low-level tables on the street outside a restaurant. To create the right pared-back atmosphere indoors for Little Saigon, the building was stripped back to its original shell to start afresh. “We installed exposed steel ventilation ducting on the ceiling, and painted the steel support beams and an original brick wall in pastel colours,” said Agathou. “Using these bare bones as a base, we built the design layering colour and texture to the building’s structure in order to create a pared-back,
yet playful and stimulating interior.” The lighting was a crucial part of giving the design an individual yet authentic feel. New York-based lighting brand Niche Modern’s smoky glass pendants from the Edison Industrial range, were selected, speckled throughout in a range of shapes and pastel colours echoing the paper lanterns found in Vietnam, giving an original twist to the well-known look. A dynamic playfulness was injected by adding colour to the varying textures of the building’s structure, a theme reflected in the lighting products used. Further to this, light modern chairs
Pic: Andrew Beasley
and an original wall mural add to the playful and creative feel of the laidback restaurant. Meanwhile, vintage tables provide an earthy quality to the seating, exposing the raw of tradition of Vietnamese culture, with vibrant pieces of art depicting scenes from Vietnamese life. An open window into the kitchen provides tantalising glimpses of activity, while being careful not to overwhelm the space. A selection of lowlevel tables and chairs are on offer for those who want to experience their food in the truly traditional Vietnamese style.
As the Pham family’s first venture in food, Little Saigon has proved a success with queues outside the door from day one. Owner Robert Pham commented on the family’s collaboration with the interior designer: “We have been very impressed with Evros’ ability to deliver an identity that perfectly symbolises our thoughts and vision, conveying the stylish and modern image we were seeking. He made it personal. It’s brilliant to have someone feel and understand what we felt, and to transform that feeling into an amazing interior.”
With Niche Modern’s trinkets of light echoing the low glow of Vietnamese street dining, Little Saigon brings home the comfort and colourful flavour of South East Asian cuisine, letting everyone experience the traditional Pham-ily flavour. www.avocadosweets.com
PROJECT DETAILS Little Saigon, London, UK Client: Robert Pham Interior Design: Avocado Sweets Lighting Specified: Niche Modern Edison Industrial pendants
Parisian Pastels French fashion label Marie Sixtine calls on Parisian interior design group Studio Janréji to coat its Paris-based store in soft hues and a spring-like air. Resembling a sketch of a Parisian apartment, Marie Sixtine’s store in Paris, France, is designed with a fresh interior by Studio Janréji. Holding a bohemian chic air, the store's feminine clothing create a conversation with the exuberant daylight streaming in through large windows and softer illumination sprinkling down from porcelain lamps. Quietly decadent with a refined style illustrated by a delicate selection of raw materials, the store envelops guests in a breeze of muted colours and feminine accessories. Porcelain lighting pieces designed by French artists Axelle Sabatier and Louis Barbaray were produced by Studio Janréji to reflect the gentle sophistication of Marie Sixtine’s collections. Suspended from the ceiling, the porcelain hives are
associated with a selection of vintage designs and contemporary furniture, also designed by Studio Janréji with the help of interior stylist Sandrine Place. The soft and subtle graduation of off whites, pastel pinks and raw materials are specifically highlighted by iGuzzini’s Palco LED spotlights lined around the porcelain installations, directed at the clothing and display tables that stand strikingly on the herringbone floorboards. The store also features a small seating area for those waiting for their shopping companions. To provide more direct illumination for this area, DCW Éditions rediscovered an old floor lamp design by Bernard Schottlander from the 1950’s, which was put back into production a few years ago. The lamp leers over the cushioned seats, standing
as beautiful ornament and functional product. In such a gentle combination of lighting and attention to soft, clean detail, Studio Janreji provides the most enjoyable experience in both shopping and design. www.janreji.com
PROJECT DETAILS Marie Sixtine, Paris, France Client: Marie Sixtine Interior Design: Studio Janréji
LIGHTING SPECIFIED DCW Éditions Bernard Schottlander floor lamp iGuzzini Palco LED spotlights Studio Janréji custom designed lighting feature
Pics: Julie Ansiau
Porcelain lamps designed by Sabatier and Barbaray create a twinkle through their small holes in the pastel coloured shells, drawing a link between the lighting and fashion on display. With iGuzzini LEDs providing more direct illumination, a seating area also includes a 1950's standing lamp design by Bernard Schottlander, reproduced by DCW Ă‰ditions.
Brasserie Best dpa lighting consultants worked with EDG Design to create a vibrant and welcoming space for the Budapest Four Season's new bar and brasserie.
The Four Seasons Hotel Gresham Palace Budapest is a historical landmark that combines the luxurious comforts of the 21st Century with the elegance of the past, considered by many to be the best hotel in Hungary. The hotel appointed dpa lighting consultants to design the lighting and work with California-based interior designers EDG Design, when it embarked upon the development and launch of its new restaurant. The Kollรกzs Brasserie & Bar is a contemporary European brasserie in a vibrant location, overlooking the Chain Bridge and the Danube River. The decorative interior makes many historical references through beautiful details, sensitively selected artwork, furniture and materials. Along with the dining rooms the restaurant features an elegant patisserie, dramatic rotisserie and striking bar design, all of which are enhanced with carefully coordinated lighting. dpa lighting consultants proposed a mixed palette of concealed, integrated lighting, decorative luminaires and discreet downlighting to sympathetically provide the elements to create a vibrant and welcoming restaurant. The hotel and EDG were extremely receptive to the ideas and together worked on developing the proposals with dpa lighting consultants, integrating details within furniture and pulling the scheme together throughout the detailed development of the interiors.
dpa lighting consultants worked closely with EDG to develop the decorative lighting with a strong local aesthetic and historical reference. The Gresham Palace is an outstanding example of Art Nouveau architecture and has retained the original decorative interior. It was this beautiful interior which set the direction for the restaurant's redevelopment; EDG produced a skillful blend of historical and contemporary design making a sumptuous interior and fantastic guest experience. To ensure the lighting enhanced the experience in the appropriate way the design team worked with Preciosa Lighting to develop decorative chandeliers that feature multiple light sources to provide a great visual impact but soft and warm lit effect. As well as this, various decorative lighting fixtures from Patinas feature throughout the space, including a number of wall lamps from the Prague and Snooker ranges; table lamps from the Prague, Zurich and New York ranges; Genoa pendants and a floor lamp from the New York range. These were placed carefully throughout the space bringing the light sources to varying levels across the interior. The materials palette sensitively links the lighting elements together using solid brass and handblown glass, retaining the quality of craftsmanship associated with the heritage at the Palace. Stained glass panels brought colour into the scheme and offered opportunity to highlight signage using a
dpa lighting consultants proposed a mixed palette of concealed, integrated lighting, decorative luminaires and discreet downlighting to sympathetically provide the elements to create a vibrant and welcoming restaurant. Working closely with EDG, decorative lighting with a strong local aesthetic and historical reference was developed.
backlit technique. This variation of lighting throughout the space also forms part of the success of the end result and gives a good level of flexibility to alter the emphasis that the lighting can play. A backbone of discreet architectural down lighting provides the functional framework of lighting for the decorative elements to build upon and create the drama and experience within the restaurant and bar. The decorative lighting on this project is especially important in the later dining scenes where it provides the key visual interest, spilling warm light onto the interior furnishings and picking up textures and tones of the materials used. A large feature chandelier was developed with integrated linear LED lighting as well as 20W eco low voltage tungsten halogen lamps. This offered the benefits of tiny dimensioned linear equipment and ease
of integration with the warmth of the dimmed point sources. Excellent dimming was critical in achieving the scenes via the lighting control, setting moods and shifting focus within the restaurant as the evening progresses. The restaurant is in operation all day from early breakfast to late night cocktails. In response to this flexible use the lighting changes through the day to best suit the service at any particular time with the bright and fresh daytime scenes to a more intimate dining experience in the evening. The bar becomes the main attraction after dinner when the lighting provides focus to the bespoke furniture and sparkling glassware creating a cosy and relaxed place to enjoy a late drink. www.dpalighting.com www.edgdesign.com
PROJECT DETAILS Kollรกzs Brasserie & Bar, Budapest, Hungary Client: Four Seasons Hotel Interior Design: EDG Design Lighting Design: dpa lighting consultants
LIGHTING SPECIFIED Preciosa Lighting bespoke chandeliers Patinas Lighting custom chandelier Patinas custom table lights Patinas Snooker wall lights Patinas Genoa pendants Patinas New York table lights Patinas Zurich table lights Patinas New York floor lights Patinas Prague table lights Patinas Prague wall lights Lucent Lighting Prospex Pinhole Edge Accent downlights Lucent Lighting Prospex Focus 60 Accent downlights LightGraphix LD57, LD51, LD10238, LD151 fixtures LED Linear Hydrea HD25 uplights Osram LINEARlight Flex Shortpitch linear lights
Patinas Lighting Ltd. www.patinas-lighting.com Bajza u. 62, 1062 Budapest,Hungary T: 00 36 1 312 6232, 00 36 1 608 2645 M: 00 36 20 5745 145 firstname.lastname@example.org
See us in Hall 6.1/C70
Tails and Scales It's all in the name. Martin Brudnizki Design Studio aptly filled the interior of London's new Asian seafood restaurant Sexy Fish with sea-themed floors, walls, ceilings and lights; a true underwater submersion.
Pic: James McDonald
If any restaurant were to draw in hungry passers-by, it would be none other than Sexy Fish in London, UK. Designed by Martin Brudnizki Design Studio (MBDS), Sexy Fish submerges guests in a restaurant interior like nothing London has ever seen before. Focusing on designing spaces that are comfortable yet beautiful, MBDS creates a sense of story-telling and intrigue in its designs. The hotly anticipated Asian fish and seafood restaurant from Caprice Holdings restaurant group opened in October. “We have had a long established business relationship with Caprice Holdings and Richard Caring (owner),” commented Brudnizki. “I’m constantly in conversation with Richard, so when he told me about the new project, we were the natural partner.” Working with what used to be a NatWest bank, the design brief for Sexy Fish was fairly broad – to create something very different from the building’s original identity. Brudnizki commented on the restaurant interior’s encapsulation of the quirky name: “The core of Sexy Fish’s interior is influenced by the style and sophistication of a mid-century brasserie. We created a space that was contemporary and relevant to the restaurant’s name by incorporating patterns and motifs of the ocean.” Sexy Fish is brought to life with installations from international names in the world of architecture, art and fashion. Entering the restaurant from Berkeley Square, guests find their feet on the Esmeralda onyx floor beneath the striking coral reef mural ceiling designed by fashion journalist Michael Roberts. The ceiling, created from a cut out design carefully printed onto a fabric panel, was lit by bespoke spun dish uplighters, specially designed to project light upwards and outwards, to avoid detracting attention away from the artwork. The statement bar provides a visual and original focal point, as the largest collection of American architect Frank Gehry’s iconic Fish lamps hang above, shimmering and glowing against the water feature behind as if undulating at sea. “Frank Gehry’s fish lamps are an integral part of Sexy Fish’s design,” said Brudnizki. “Positioned above the bar, they emanate a soft glowing quality whilst simultaneously drawing upon
the aquatic theme. Shaped like fish and complete with scales, their ethereal quality creates a magical focal point to the bar area.” Positioned at either end of the lava stone bar stop, artist Damien Hirst created a pair of cast bronze mermaids rendered in a blue patina. Further adorning the bar are seven of MBDS's own product design studio And Object's Cheriton desk lights. MBDS sees lighting as one of the most important aspects to restaurant interior design, in the way that it creates atmosphere, sets the tone and helps diners feel at ease. “We always spend a lot of time trying to create the perfect ambience and at Sexy Fish, it was no different,” said Brudnizki. “We used uplighters in the ceiling to bring Michael Roberts’ mural to life and highlight the aquatic beauty of the design while creating a softer, more natural lighting effect. The bar is illuminated too with the use of desk lamps, with the overall effect as soft and seductive.” Across the restaurant behind a section of raised banquettes, diners find another Frank Gehry sculpture; a glossy black crocodile in shattered formica tiles crawling across the wall. Joining this reptilian artwork in the raised area is the kitchen-dining counter with space for six, and a 3.5-metre long illuminated crustacean display. Though Sexy Fish is busy and bold, the overall effect aims to be light and breezy, thanks largely to MBDS’ clever use of lighting. “Sexy Fish certainly creates a statement when you walk in, but once the original shock and awe of the artwork is over, you can appreciate the smaller interior details which put you at ease,” assured Brudnizki. Dining at Sexy Fish is an experience for those who like adventure and dare to delve into the depths of the sea. It is not one to be missed, and promises to tide you over from hunger to immense satisfaction. www.mbds.com
PROJECT DETAILS Sexy Fish, London, UK Client: Richard Caring Interior Design: Martin Brudnizki Design Studio Architectural Lighting Design: Maurice Brill Lighting Design Lighting Suppliers: And Objects; Frank Gehry
Pics: Ioanna Roufopoulou
Greek Revival Recapturing the glory of Greek Neoclassicism, Greek architect Minas Kosmidis' design studio applied contemporary style to La Maison du Grec, a modern bistro in Athens.
After years of managing eateries from other owners, first time restaurateur Ntoumis Konstantinos struck out on his own to create a Greek-style bistro La Maison du Grec in Athens, Greece. Working with architect Minas Kosmidis for the interior and lighting design, having previously designed two other restaurants in Cyprus together, they approached the Greek bistro with collaborative confidence. Kosmidis’ studio undertakes architectural and interior design projects across both private and commercial sectors, focusing mainly on food service and entertainment. Konstantinos asked Kosmidis to design a restaurant like a Greek version of a bistro, where the products used would be exclusively Greek from small local producers, with a design style similar
to that of 1920’s-1950’s Athenian urban houses. This was based on the design philosophy of remodelling objects of forms of the past to help them regain their glory, so “none of the traditional elements were used without a rethinking and adaptation of contemporary living,” said Kosmidis. Located in the affluent suburb of Kifissia, the café slots neatly into the locale’s leafy streets. “The design complements its surrounding to a tee: the airy main dining room is adorned with updated homages to classical Greek architecture," explained Kosmidis. "A mezzanine and inner courtyard at the back modelled on old Athenian houses provides shelter from the thrum of the street outside, offering a menu overseen by acclaimed Greek chef Dimitris Skarmoutsos.”
Kosmidis commented on the importance of the bistro’s lighting design to the project as a whole: “The starting point of a project is the way in which an architect manages natural light. Consequently, designing the artificial lighting of a space is an equally interesting and integral part of the process.” One of the first points of the project to consider was the lack of natural light in the kitchen space. This was dealt with by creating a transparent wall towards the entrance, which allows natural light to enter into an opened kitchen. Now working with an abundance of daylight, Kosmidis could consider how decorative lighting would work in conjunction. His studio custom designed all of the decorative lighting fixtures used at La Maison du Grec,
Top Left Custom made wall fixtures accentuate the wooden wall coating's channels. Above and left Custom made pendants featuring throughout the bistro are a combination of the forms and shapes of custom designed tiles and the classic bistro pendant globe lights.
except for the chandelier, to accentuate the characteristics of the bistro that make it truly Greek. “All decorative lighting pieces designed by the studio were inspired by lighting and decorative elements of the first half of the 19th Century found in urban Athenian houses of that period,” said Kosmidis, while the old chandelier was found and bought at a flea market in Monastiraki, Athens. Be it a custom designed piece for the project or one with a history already in tow, the lighting fixtures at La Maison du Grec were carefully selected to capture the essence of Greek authenticity. The custom made wall mounted fixtures serve to accentuate the channels of the wooden wall coating, which were influenced by the fluted ancient Greek columns found
in neoclassical Athenian houses. The custom made pendants on the other hand were a combination of the forms and shapes of the custom designed tiles and the classic bistro pendant globe lamps. La Maison du Grec’s lighting design does not just serve to cover the lighting needs of each space but creates a cosy and warm atmosphere, accentuating or darkening specific materials and textures, while most importantly reinforcing the identity that both client and designer wanted to implement. “The final outcome of the project was actually identical to the original vision for the space," said Kosmidis. "Thanks to an open-minded client and his ability to understand complex design concepts, and his willingness to create an original
restaurant, the studio was able to design and carry out the original vision to the finest detail.” As the bistro serves to bring to life the glory and artistry of Greek neoclassicism, the lighting design itself serves to do no less. It is an intelligent selection of contemporary and classic designs that recreate an era so integral to the country’s culture, making it accessible to the modern needs of today’s Athenian bistro-goers. www.minaskosmidis.com
PROJECT DETAILS La Maison du Grec, Athens, Greece Client: Ntoumis Konstantinos Interior Design: Minas Kosmidis Lighting Supplier: Minas Kosmidis custom designed fixtures
Heart of Gold Italian design firm Plusdesign selected a golden array of Catellani & Smith lamps to lend an earthy glow to the heart of Hotel de Rougemont chalets in Switzerland.
Pics: Giovanni Frisardi
Surrounded by panoramic views of French Switzerland, the Hotel de Rougemont provides the ultimate Alpine experience in Gstaad with a complex of five chalets. Designed for a sophisticated and international audience, the hotel underwent a skilful renovation with the interior carried out by Italian architects Claudia Sigismondi and Andrea Proto of Plusdesign. The discreet luxury of the interior has its roots in the traditional and handcrafted Alpine style chalet, predominated by warmth of local natural materials; the contemporary interpretation of this style seen in Hotel de Rougemont combines the strong aesthetic impact with a warm and family-orientated style of hospitality. In the common spaces, panels of ceiling
light fixtures and large windows on the panorama widen the space, combining internal and external, thus breaking the uniformity of the rustic surfaces, covered with wooden planks recovered from ancient chalets. Light in this project plays a fundamental role, going far beyond its mere function of illumination to really complete the style of its environment; Catellani & Smith’s gold light fixtures were an inevitable choice. “Natural light is received, reflected and amplified by the window,” said Sigismondi, “while the integrated ceiling illumination contributes to articulate spaces with the accent lamps that break the homogeny with metal touches and elegant textures.” The metal textures work to create a
dynamic space, generating suggestive reflections and amplify the sense of preciousness, materiality and elegance. Guests are greeted in the hotel lobby by Catellani & Smith’s PostKrisi chandelier, comprised of small globes that glisten in the daylight. The wooden reception desk is illuminated in its panels, creating a warm and sophisticated glow in conjunction with the Catellani & Smith’s statement piece. Moving through to the hotel’s accommodation, each of the nineteen bedrooms and fourteen suits have a customised layout; clean lines and handpicked natural materials combined with glass surfaces, in contemporary and warm chalet style apartments. The palette of colours are mainly based on natural,
Above Left Restaurant dining area with Luna Piena pendants adding to the hotelâ€™s golden glow. Above Stchu Moon pendants glow in chalet dining area, with Disco pendant suspended over the lounge.
earthy and sandy tones, as seen throughout the rest of the hotel, with rough-textured surfaces conversing with the rugged surroundings. Dark stone accents and some metal glitter help to break uniformity. To complement this scheme, Catellani & Smith’s Disco pendant features above the coffee table in the lounge where guests can sink into a soft sofa after a long day’s ski. Lucenera floor lamps also provide more specific illumination for those reading in the lounge area. Adjascent to this is the dining area, where Stchu-moon pendants glow above a chunky wooden table, creating a warm ambience for guests to enjoy each other’s company while a sharing a meal in their home away from home. Alternatively, the hotel features a bar and restaurant for guests to enjoy their evenings in a livelier atmosphere. The theme of gold running throughout the lighting products continues here, with eye-shaped Malagola
Above Malagola pendants provide golden illumination for bar area. Right Lobby featuring PostKrisi chandelier. Above Right Stchu Moon pendants glow in chalet dining area, with Lucenera floor lamp in the background. Far Right Restaurant dining area with Luna Piena and Macchina della Luce pendants.
pendants glowing above the bar. In a separate dining room, high ceilings with strong wooden beams and small chalet windows hold the restaurant. For what is essentially a vast space when empty, solid, sophisticated furniture stands beneath Macchina della Luce and Luna Piena pendants, making statements with their large physical presence emitting a gentle light above the tables. Catellani & Smithâ€™s ceiling suspensions and floor lamps throughout the hotel in conjunction with the interior scheme enrich the chalets, reinterpreting light and transforming it into charm, dream and romanticism. Marking its territory in the field of luxury chalets, Hotel de Rougemont is hard to beat in luxury and comfort, when after all, nothing more is needed after a hard dayâ€™s skiing in the Swiss Alps. www.plusdesign.ch
PROJECT DETAILS Hotel de Rougemont, Gstaad, Switzerland Client: Hotel de Rougemont Interior Design: Plusdesign
LIGHTING SPECIFIED Catellani & Smith - PostKrisi chandelier, Disco pendants, Lucenera floor lamps, Stchu-moon pendants, Malagola pendants, Macchina della Luce pendants, Lune Piena pendants
Pic: Koos Degeling
“Without light, there is no life.” German designer Jette Scheib discusses how she steers her designs toward the unknown, away from cliché and into the light, beginning her journey with the Membrane pendant for Innermost.
Remembered through a drab and desolate filter, East Berlin has never been known to nurture the creative heart. German designer Jette Scheib started out on the East side, born in 1977 in a small pocket of artistry nestled deep within the regime. Scheib’s mother is a costume and stage designer and her father Hans Scheib an artist, now internationally renowned for his stylised, sculptural works. darc magazine’s Femke Gow talks to Scheib about all things inspiring and enticing along her journey into the world of light, from how she entered the world of design to how she has now found herself designing for Innermost. When did you first realise you wanted a career in design? My mother was always building stage models for theatre plays and my father was always working with wood, graphics, and drawing a lot. We really didn’t have much money, so I had to be creative. I had a Barbie doll, and she needed clothes and a house, so for me, that was the fun part. My mother would make clothes for my doll, and I could make things for her out of whatever materials I could find around the house. For me, the playing was the making. I think that’s where it began, in East Berlin. We left for the West in 1984, five years before the wall came down.
What kind of jobs did you have before entering the world of design? Well, after a disastrous stint working as a waitress, I worked in a felt design shop. I later taught at the Berlin University of Arts as an artistic co-worker under my old professor. It was really great and interesting to work with students, with all of this creative potential looking for the right direction to express itself. They learned from our experience but I also learned a lot from them. Who were your main influences starting out? That would probably be my parents. I used to go to the zoo with my dad to watch and draw animals. Later I wanted to become an artist myself. This was difficult though because people could see the influence of my father in my drawings or sculptures. I didn’t want to always be in the shadow of my father, so I had to find a different way to live my creativity. I applied to study design. Aside from roots, everything has an influence on the creative process. You grab things with your senses and it keeps working on your brain without you even knowing. I also love scrolling through Pinterest. You can really get into a mood and it’s like taking a walk through a design world. I am in love with designs, not designers.
For example, Arik Levy’s Wire Flow is one of those magical designs for me. It’s a lampshade created out of technical supplies. It’s graphically strong, and he really made something out of nothing, and that is just…wow! So what is it about lighting that appeals to you from a design perspective? Light itself is fascinating. You can have the nicest furniture, the softest couch, but if the light is not right, if it is not presented in the right light, then you won’t sit comfortably. Light makes a room; the shade around the light, how it is presented, the material that shines through it. Light brings a room together. Do you have a signature style? I like to question the order of things; take a look at clichés and habits. This is what I also intended to do with the Membrane for Innermost. Usually there is a fragile lamp a shade to protect it. With the Membrane, the shade is independent, a fragile being that is attacked by three lamps that conquer the shade. I wanted to give both parts a different character and part to play, so the typical order of a lamp is reversed. I’ve also heard that people think it looks a bit like fertilisation … so you can also see it like that if you want. Light is life and without light, there is no life.
Tell me a bit about one of your most notable projects. During the last few years I have been designing mostly for gift and home accessory companies, so I am quite new to the world of lighting design, even though I have always been fascinated by it. One of my most notable projects besides the Membrane is probably the “wine light”, which I designed for a German homeware company called sidebyside. It is a tea light holder made out of a wine bottle top with a wooden base. That was one of my first successful experiences working with light, and still is a very successful product. The Membrane is your first big lighting project. How did your collaboration with Innermost come about? We met at a trade fair years ago, when I was still doing collaborative designs with a friend. I had recently made a lamp out of lasercut pp-foil that buyers could put together themselves, but that wasn’t very popular… apparently people want to open their products to find a finished piece. So at the time I was talking to Steve Jones
from Innermost, who is a really great guy and I knew I wanted to work with him at some point. So I approached him with my idea for the Membrane and he liked it. What I really liked about working with Innermost is that they are simply in love with good ideas. They dare to not only work with the big names; they trust their own judgement in designs and they believe in smart, thoughtful creativity. The Membrane presented a challenge and it took quite a while with physical glass blowing, which I have no experience in, and a lot of trial and error from all of us. The glass ‘egg’ looked a bit wobbly in the beginning but we all communicated a lot and it gradually became more and more rotund. Innermost did a really great job with product development. Designers can have really great ideas but when put in the wrong hands, it can turn out so horrible. But this didn’t happen with Innermost – it was a really collaborative and communicative effort. They took this project very seriously and every technical and aesthetic detail was well thought out and elaborated.
As you’re new to the world of lighting deisgn, what kind of trends are you seeing and where do you see things going? I see a lot of geometric shapes in bright colours, wire construction and traditional materials; metal, glass, stone, wood – these materials have honesty, and wealth. It is like a more colourful Bauhaus style of 20th century modernism that brought creativity and the beauty of manufacturing together. Of course for every movement there is an opposite movement, so I think organic shapes and softer materials will have a come back too. It has already started with the whole Macramé hype of knitting combined with industrial styles. Any idea what we can expect to see from you next, Jette? If only I knew! Membrane was exciting and it made me hungry for more. I’m curious what life will bring me, where it takes me and what I will produce. It has given my work a new focus and puts me in a new light, which is great. www.jettescheib.com www.innermost.net
BRITISH HANDMADE & BESPOKE LIGHTING +44 (0)330 223 3940 │ email@example.com │ www.thelightyard.com EXHIBITING AT CLERKENWELL DESIGN WEEK 24th-26th MAY 2016
83 SINGAPORE Without being the most progressive or revolutionary, 83 restaurantâ€™s chandelier design presented Maxwellâ€™s toughest challenge to date. Debating between cheaper, architectural internal spotlights to illuminate the restaurant, and a decorative lighting fixture, Maxwell undoubtedly convinced the clients of the importance of decorative lighting in hospitality and dining areas. With tight financial budgets, Maxwell was asked to design a light fitting that cost less than the originally proposed spotlights. The result is an extraordinarily affordable chandelier that offers nothing short of an elegant and inviting atmosphere.
Our regular feature highlighting the importance of decorative lighting in the work of one interior design practice. This issue, we present Emma Maxwell. With a focus on designing restaurants, Singapore based interior designer Emma Maxwell looks to attain a certain sense of theatre and narrative within an interior scheme. Holding decorative lighting as the ultimate flourish for all of her designs, decorative lighting fixtures take a leading role in bringing the ideas and atmospheres of her interiors together. Varying between sourcing the best and most beautiful decorative lighting pieces for her spaces, and designing her own when in need of something only she has imagined, Maxwell is a trained sculptor and thrives on the process of sitting down with craftsmen to design lights. From artisanal wood carving workshops in the forests of Indonesia to glass blowing workshops in Beijing, Maxwell is a hands-on artist with international influences teased out through a raw creativity that emanates through her interior designs. www.emmamaxwelldesign.com
If youâ€™re an interior designer with an eye for decorative lighting and have projects worth sharing, contact: firstname.lastname@example.org
Petit Cancale SINGAPORE Petit Cancale French seafood restaurant in Singapore took its inspiration from the nineteenth century Belle Epoque. As an art student, Maxwell was fascinated by Ernst Haeckel, a German biologist who published prints of microscopic sea life in the late nineteenth century. The sand case metal light fittings were inspired by his prints, casting an uneven shadow reminiscent of the world under the sea.
La Cantine SINGAPORE
Sabio SINGAPORE Sabio Tapas Bar offers an Asian-Spanish fusion approach to tapas, specialising in a life affirming hangover brunch. The interior design takes a distinctive approach fusing traditional Spanish features with contemporary elements. Roll and Hill’s Superordinate Antler Chandelier designed by Brooklyn artist Jason Miller makes a glowing statement against the painted Catalan tiles and hand carvings. Inspired by a 200 year old bar in Seville, the traditional features mix effortlessly with the warmth of Tom Dixon’s Beat pendants; a relevant and conceptually strong interior.
Maxwell designed 3 Michelin starred Parisian chef Bruno Menard’s restaurant, La Cantine, with a dose of the chef’s cheeky culinary spirit. Turning her interpretation of Paris upside down, Maxwell turned the skyline on its head and illuminated the structures from above with locally sourced lamps. The piece was hand carved out of mahogany in an Indonesian village by two older craftsmen, a cultural authenticity and refined skill that resonates in the detail of the design. La Cantine also feature’s Maxwell’s Rosen Raven lights, inspired by a trip to the Tower of London. Amazed by the raven’s intelligence and behaviour at the tower, Maxwell loved the myth surrounding them; if they ever leave the tower, England will fall – a rather dramatic and heavy weighted job to bear. Carved from teak, Maxwell lined up 20 Ravens, each with different poses in a row, holding a locally sourced lamp in their beaks as if guarding a Citadel.
Arcaid Images Pic: Richard Bryant
Residential Radiance Rebecca Weir is Creative Director and founder of Light IQ, an award-winning London-based practice which specialises in international lifestyle projects. Following Weir’s recent book release The Languages of Light: A Creative Approach to Residential Lighting here, she takes us through a journey of residential lighting design and the importance of understanding the client.
I believe deeply that in this crazy world the home should provide a sanctuary, a retreat from the madness and stimuli that threatens our existence. We live our lives at a frantic pace, switched ‘on’ to every new development whether in global politics or the changing nuances, loves and limitations of our friends and family. We should not have to find solace in a yoga studio, or on holiday but create that same wonder within our own world, the one we inhabit every day - our homes. For many years residential lighting has been seen as the underdog within the design community, not quite as sexy as lighting those large public spaces, even the awards ceremonies often fail to recognise the small achievements in creating these perfect places for families. Yet I believe that by changing the lives of one you change the lives of many. The inspiration provided to a person in their own home will often lead to commissions in their work place and to the wider community. My views on lighting may seem extreme, but I passionately believe that lighting impacts us in ways we are yet to fully comprehend, perhaps further than our imagination will take us. For years we have known that we often feel better in summer than winter, that it is harder to get up on those dark winter mornings and at long last we have
the knowledge to understand it. I believe science will shortly reveal more; why some of us are drawn to purple and others red, why young boys often prefer blue and girls pink - these views are often found under the psychology of colour but with a little more understanding and research our intuitive responses will be founded on empirical data. It is easy for the quiet minimalist, cool in their white cave to turn their nose up at colour, just as I once did. French PostImpressionist Paul Cezanne wrote, “Colour is the place where the mind and the universe meet’’. Never have I felt more passionately about this; daylight is dynamic in its essence full of hues of varying qualities, from the warmth of the setting sun to the crisp coolness of the northern light on an overcast day - forever changing, forever colourful, mesmerising and invigorating. Should our homes not reflect this? Interior designers are often inspired by the palette and variance of nature. So too are lighting designers who look to the sun as their source. It has taken years for me to see the true value of colour in a home, as I love the peace white brings, whether it is with light, paint or bed linen. However, through the eyes of my clients, who have often employed me to bring colour into their lives
I have had to revisit my views and learn to ‘see’ as they do. I have noted that people often need the stimulus of colour just as others need more light in winter. It is a deep primal need. We are lucky that with today’s advances in technology a rich palette of colours is nothing more than a dmx interface away. With so many easy to use standalone systems, clients are able to play to their hearts content through a multitude of shades. An intimate relationship often develops when lighting a family’s home, secrets are often shared to ensure needs are met. I recently worked for a famous couple whom I had incorrectly supposed shared the master bedroom. When I asked which side of the bed the lady of the house slept I was shown through to an adjoining suite. Another example is the beautiful young client who recently married a much older man, she discretely asked for a night light - I had assumed it was for the soon to be patter of tiny feet. It was in fact for her ageing husband’s frequent visits to the bathroom. It is easy for us to make assumptions. We often do about many aspects of life and particularly the people we meet. A great lighting designer I know stated very clearly at a lecture recently, “Assumptions are there to trip you up, the M…. F….’s of Design,” I could not have put it more succinctly. Light in all its magnificence informs our world. From dawn to dusk the sensational play of the sun creates theatre by manipulating our senses, stimulating our
Peter Leonard design Pic: Richard Bryant
responses and shaping our perception of space. Many of our clients see lighting as a key component to the success of their home whereas others have the architect and finances but need educating. There are many mediums in which we can encourage them to think of the importance of light in their lives. One is their use of language and their often unconscious responses; common phrases such as ‘light of my life’ or ‘light hearted’ illustrate the positive associations between light and people. It is our job as lighting designers to realise and make visible that intangible link, to create the magic, the sparkle and the brilliance. The greatest lighting designers have a keen eye for detail and an empathy with their clients. Lighting is intimately tied to the architecture and its historical context. However, the real needs of a project are met through the careful consideration of every action and every task to be undertaken and the focus on the ergonomic relationship to the position of every switch. Once the smallest details have been considered and the requirements of the family understood then the layering of light within a room becomes infinitely easier. When designing the lighting for someone’s home you are creating an emotional medium, a sanctuary in which to meet their psychological and physiological needs. By understanding the importance of this we are able to embrace a design philosophy that enables us to unlock the exceptional power of light. www.lightiq.com
C.W. Eisner Inc Pic: Laura Kelly
The Languages of Light: A Creative Approach to Residential Lighting is Weir’s first book and was written to provide the student, interior designer or enthusiastic home owner with an inspirational and visual guide to the creative process of lighting. The philosophical and humancentric approach incorporates a journey through understanding light as a basic tool, unveiling the emotional and physical responses to light, case studies and lighting effects. Lighting principles and practicalities are seamlessly illustrated through stunning photography. The fundamentals of lighting are clearly conveyed, showing how contemporary technology can assist in driving the creative process.
Left Recessed uplights set within the window frames draw the eye to the decorative plasterwork. Centre The warmth of the fireplace is accentuated by the soft hues of the lighting scheme. Right The Swarovski ceiling provides a hypnotic and peaceful nighttime effect.
Peter Leonard design Pic: Richard Bryant
Beach Life Strachan Group Architects has created a home that reflects the beliefs and needs of the family while referencing the boating and beach culture of the area.
Inserted onto a small and very difficult corner site, this elegant, light-filled assemblage of three boat-shed like structures is a superb response to the lives of a busy boating and sporting family. Robust yet elegant, full of surprises, and making inspired use of wood, glass and steel, the house is beautifully built throughout. A superb, relaxed, confident family home with real personality, it makes a vivid streetscape contribution to its neighbourhood and as such has won numerous awards including the NZIA Architecture Award 2015 for housing. SGA, in association with Rachael Rush, designed the house, which sits on a constrained, compact urban site, a stone’s throw away from Takapuna Beach. The three-stepped gables of the black ‘boatsheds’ appropriately reference the boating and beach culture of the area, with the sliding forms revealing a solution beyond the standard connotations of a home - a bespoke incubator for the clients’ lifestyle.
Along with their love of the ocean, the clients’ affinity for natural wood played a part in SGA’s inspiration for the house design. The clients share a passion for the warmth that wood contributes to a home as well as its ability to express exquisite craftsmanship. The corner site, challenged by two 5m front yards and the blunt presence of a three-storey neighbour hard on the NorthWest boundary, stimulated an approach of layered complexity with ample transparency to capture light, sun and glimpses of the Pohutukawa and baiting ocean. Simplicity of the exterior form is contrasted by the highly crafted timber interior, exhibiting the skilled artistry of the builder. A diverse succession of multi-connected spaces creates a threaded flow of movement, whilst each maintains a distinct and sequestered quality. The house opens and closes in response to shifts in weather and programme, with walls that lift, fall, slide, fold, shut down
or disappear. This is a house with intent to engage the viewer, the viewed and the operator with sense and intrigue. The overall feel is consistent with a monochromatic approach to materiality, finishes, fittings and furniture, with the result enveloping and intricately detailed. Feature lighting from David Trubridge was chosen for the house and at night the lights cast unique shadow effects across the voluminous patterned ceilings in lapped plywood. Commenting on the importance of light in the project SGA Director Pat de Pont told darc: “A great deal of what this house is about is related to light, and particularly with transmission and transparency. The intention is to enlarge and animate space with light from the inside and to dissolve the building's exterior to reduce its bulk and dominance on the corner site. The building is crafted like a jewellery box with a simple, recessive exterior and a warm golden glowing interior, a lantern that only really
Pics: Patrick Reynolds
shows itself at night.” Some of the challenges associated with this project revolved around the building’s structure. Spread over ten split levels, with a large area of either glazing or fully exposed structure, integrating services, lighting and wiring circuits was particularly complex, according to de Pont. Wiring runs for power and lighting had to be carefully planned prior to structure being put in place and the positioning of lighting controls and fittings had to be both practically functional and aesthetically seamless. de Pont continued: “As the owners are keen and accomplished sailors they have a unique understanding of their environment,
sun, moon phases, wind direction and the vagaries of weather patterns. Partly, as a reflection of this, the house is designed with an emphasis on its relationship with the outdoors and the ability to ‘tune’ the house to the exterior conditions. This principle extends to the lighting and is particularly evident in the feature light fittings, which evoke the patterns of dappled light through the trees of our coastline or the reflecting of light off rippled water.” Concluding, de Pont said: “The lighting provides the house with the ability to transform gracefully from a light receptacle by day into a glowing lantern at night.” www.sgaltd.co.nz
David Trubridge fixtures Flax, Kina and Floor Reed provide the house with the ability to transform gracefully from a light receptacle by day into a glowing lantern at night. The house is designed with an emphasis on its relationship with the outdoors and tunes in to the exterior conditions.
PROJECT DETAILS Private Residential Project, New Zealand Architect: Strachan Group Architects in association with Rachael Rush
LIGHTING SPECIFIED David Trubridge - Flax pendants, Kina pendants, Reed floor lamps
THE JOURNEY CONTINUES IN 2016
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Halcyon Home is a place of comfort, where minds can be set at ease. The Raynounard apartment in Paris reflects this notion in every sense with an intricate balance between modernity and tradition; a light-filled space of repose.
Pics: Jennifer Sath
Camille Hermand Architectures saw a traditional Hausmannian apartment, named Raynounard, in central Paris, France transform into a stylish and contemporary four-bedroom family home, bathed in natural light elevated with decorative fixtures. Designed for a family of four with two young boys, Hermand described her creative vision for the energetic family: â€œThey entertain at home a lot. Both the husband and wife have busy careers and didnâ€™t have the time to look after decorating their home after the renovation. They wanted a functional family home, with enough space and the right atmosphere for hosting dinner with family, friends and colleagues." Situated on the highest floor of the apartment building, the south-facing apartment underwent little structural change. In order to create a coherent living space for its new occupants and to maximise natural light, Camille Hermand Architectures removed the doors from the compartmentalised star shaped living, dining and kitchen zones. The floorboards were lightened and the walls painted the same shade of light grey throughout. These simple and creative solutions offer the feeling of fluidity to the apartment that it was previously lacking, while retaining the original charm of the Haussmanian woodwork, mouldings and flooring. â€œWe wanted to conserve the charm of the original features while at the same time giving a modern twist to their home," said Hermand. "We decided to remove all of the doors in the living areas to make the space feel more open. The wall and suspension lighting was a key element to bringing a
Above Petite Friture's Vertigo suspension lamp in apartment hallway. Left Upon entering the apartment, guests look straight through to the living room where Tom Dixon's Base wall light appear in pairs on either side of the window in the living room.
contemporary edge.” These traditional elements find new life through their association with a careful selection of decorative lighting fixtures. “We opted for contemporary lighting throughout with two statement pieces – the Petite Friture Veritgo suspension light in the entrance hall and the ClassiCon Bell pendants over the dining room table, giving a contemporary edge that respects the apartment’s traditional nature.” Entering the apartment beneath the wide brim of Petite Friture’s Vertigo pendant a dramatic yet playful statement is made to welcome guests into the spacious home while setting the tone for the blend of contemporary and tradition that is so key to Hermand’s designs. “I like to play with contemporary design codes, mixing graphic motifs and blocks of colour with areas of transparency,” explained Hermand. “I aim to reinterpret the Parisian-chic design philosophy for a contemporary audience with femininity and practicality, always bearing in mind the personality of my clients.” Standing beneath Veritgo looking into the apartment, guests are presented with a view into the living room, where a light grey couch sits beneath a semi-circled window framed on either side by Tom Dixon’s Base
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wall lights in copper. These fixtures stand as eclectic personalities, standing out amongst grey tones. Moving through to the dining area, German designer Sebastian Herkner’s Bell pendant lights for ClassiCon take centre stage in a suspended cluster of three over the dining table. The variety of colour and texture in these pendants creates conversation between other objects around the apartment, recalling the copper of Tom Dixon's Base wall lights. Beneath an angular, staggered shelving unit sits the Panthella table lamp by Verner Panton for Louis Poulsen, to the left of Foscarini's Lumiere Grande table lamp by Italian designer
Rodolfo Dordoni. Together, these provide additional lighting for the room and stand as a beautiful ornaments when not in use. This intricate interior is bathed in a flood of natural light washing in from the inward opening French balcony doors. An open plan hallway connecting the dining room to the kitchen features Plumen’s 001 low energy lamps, also turning to copper as the material for its fitting. Meals are prepared in the kitchen beneath the light of Danish design store Bloomingville’s Wall lamps, also in copper; this repetition creates a wonderful sense of movement and continuity throughout the apartment. Further adding to the contemporary yet
traditional theme of the apartment’s interior design, the bathrooms use Astro Lighting’s Cabaret and Cube wall lights to brighten these spaces with a flair of fun sophistication. Residential projects can be vastly different to those that are more commercial by nature, as homes are such personal and private spaces. Having worked on residential projects before, Hermand had a good idea as to how to work with her client on their family home: “The relationship with the client on a residential project is often much more intense. The architect has to manoeuvre delicately between the different needs and preferences of each
family member. Sometimes it is the first time the family will have undergone a major renovation to their home, so you have to analyse quickly what the client wants and needs, when in reality they aren’t actually clear of this themselves.” From the first instance when Hermand and her client sat down to write the brief together, there was no major deviation; simply clear communication and respect for the home itself and all those involved. The result of this open and creative process is a home where a young family can grow, surrounded by the intelligent produce of creative thought. www.camillearchitectures.com
PROJECT DETAILS Raynounard Apartment, Paris, France Client: Private Residential Interior Design: Camille Hermand Architectures
LIGHTING SPECIFIED Astro Lighting Cabaret and Cube wall lamps Bloomingville Wall lamp ClassiCon Bell pendants Foscarini Lumiére Grande table lamp Louis Poulsen Panthella table lamp Petite Friture Vertigo pendant Plumen 001 suspension lamps Tom Dixon Base wall lamps
Far Left Sebastian Herkner's Bell pendant lamps for Classicon suspended over dining table. Panthella table lamp by Verner Panton for Louis Poulsen sits on the shelving unit adjascent to dining table, to the left of Foscarini's Lumiére Grande table lamp. Middle Bloomingville's wall lamps in copper in the kitchen. Above Plumen's 001 lamps suspended from a copper fitting in open plan hallway between dining area and kitchen.
Spatial Awareness A small space is not always a limitation; Flair Illume saw the restriction as a creative opportunity to use light in developing an intelligently thought out Singapore home.
Lighting company Flair Illume in Singapore developed a futuristic interior with a thoughtful lighting scheme, making use of Innermost products for the Spottiswoode Residence. Managed by Flair Illume Product Specialist Ian Tan, who has a strong foundation in the interior design sector for providing functional, aesthetic and revolutionary lighting solutions, Flair Illume was able to meet the client’s brief of using light to create irregularity, while meeting the purposes of different spaces. Drawn to Spottiswoode for its intelligent space planning, the client's interior designer Sabrina Ang had transformed this small, compact and double volume ceiling height space into a luxury furnished residence, where office and home could be integrated. Tan explained how light was used across this space: “The initial concept was to use different light fixtures to create a futuristic feel for the designed space, with a functional yet decorative appearance, where illumination is sufficient for dining, working and presentation.” Light enhances spatial design and effects emotion; “without light, all is darkness,” said Tan, who holds close to his designs the idea of healthy lighting. In developing the scheme for Spottiswoode, Tan focused on the notion that the human body uses protective measures against lights that are too bright or too hot. Natural aversion from bright lights creates discomfort, which is a danger “when lights are not properly designed.” The space within the house was divided up, each with its own purpose, yet with a uniform light colour temperature throughout to create a sense of unity. The double volume space uses Innermost’s Buckle pendant light to create an ambient light sculpture, making use of a mirror to make the smaller space appear larger. The irregular shape of Innermost Buckle
pendant lights, one at a 70cm diameter, and the other at 120mm, is the key to the futuristic style of this interior scheme. “Neither too bright nor dim, Buckle scatters light around creating background lighting for the space, rather than using harsh lights directed straight down from the ceiling," said Tan. "As for the Circus pendant lamp, it illuminates the dining area in a gentle atmosphere, while projecting sufficient light for the surrounding working areas.” The team faced a challenge in mounting Buckle at the double volume ceiling height. Tan explained how working with a residential project, they were restricted by space: “By wiggling through the narrow space and getting the centre portion clear, we could lay the pendant down. Scaffolding was then erected to put the two Buckle pendants up.” While most commercial spaces have more room to work with, “all designs are about looking at the space available and allocating appropriate products based on applications and requirements, so a different approach is necessary for every application.” Through thoughtful design and intelligent allocation of space, light has been used enhance Spottiswoode, showing that the right materials, beautiful lighting fixtures and a good imagination are all that is needed to bring luxury and comfort together. www.flairillume.com.sg
PROJECT DETAILS Spottiswoode Residence, Singapore Client: Private Residential Lighting Design: Flair Illume Lighting Supplier: Innermost Buckle and Circle pendant lamps
Right Innermost's Circus pendants in dinging area. Far Right Innermost's Buckle pendants in double height living space.
Pics: Sabrina Ang
Pics: Jake Fitzjones
Victorian Revamp Rousseau Design has brought an elegant modern touch to a beautiful Victorian property, ensuring that the lighting works to complement the bespoke furniture and feature installations.
The challenge was to bring to life a beautiful Victorian building - once a school, once a retirement home - a grand property in need of a little lift. With the property lacking much personality or wow factor, it was down to Ben Rousseau and his team at Rousseau Design to make the residence work to the needs of it owners. “I could see a lot of potential but wondered if my ideas would be outside of the client’s comfort zone,” Rousseau told darc. “I made a conscious effort to really understand what they liked and disliked and more so, how they wanted to use the property as a family and the functionality of its contents. “Residential projects are so much more personal and I like that! It can be very hard work but the results always seem that bit more worthwhile. I like to get to know a customer and feel quite proud when I know I’ve given them what they want but taken it even further with my attention to detail and creative imagination.” Following an initial client meeting, it was decided that the house style was to be glamourous and sophisticated with touches of high technology mixed with modern, yet durable luxury materials and finishes.
“The main area of focus for me is to always start with how the lighting will work and complement the bespoke furniture and feature installations,” said Rousseau. “Then, it’s about making it work with the textures and colours that are being considered.” The Victorian residence had many features that were perfect for illumination and according to Rousseau, the client had some really clear ideas about what they wanted. They just needed that bit of direction one way or another so that everything sat together nicely as an overall scheme. “The starting conversation was around a venetian plaster element for a potential feature wall in the hallway or drawing room,” said Rousseau. “We must have gone through around 30 paint colours and complementary plaster finishes before we came to a stunning combination of gold drop ceiling surfaces covered in a metallic fleck plaster. “We created a warm wash of light around each ceiling to give a rich and warm glow and reflection into the spaces below. We used a common language of lighting detail throughout the property with materials also following a similar pattern, but with slight tonal differences depending on the
room and how often it was used. We toned it down in colour for the rooms used most regularly but had consistent pallets of teal blues and champagne golds that ran through the main areas.” The lighting at this Victorian property had to work in an unobtrusive way, which worked both visually and practically, while enhancing the period features. This was built on with a layer of contemporary bespoke fittings that brought everything up-to-date. “The lighting was essential to show off the details and we spent a lot of time bringing it together, but not so it takes over,” continued Rousseau. “Clever schemes work because you almost don’t notice the lighting. You need to have fantastic user-friendly control to use a space as a practical environment, but then at the flick of a switch it becomes a chill out space or an entertaining space, where you can show off the lovely fireplace or enjoy a film on the 4K screen, or simply enjoy a meal in low lighting… it's about enjoying the ambience and calmness of the space.” One of the rooms the client wanted Rousseau and his team to really get involved in was the media room. It was decided that
Above The bedside table lamps come from Stiffel USA, complementing the bespoke chandelier. Above Right A Christopher Wray chandelier fills the entrance hall. Right Rousseau Design Torus pendants in teal complement the rug in the living room.
was the media room. It was decided that the AV control for this room, along with the lighting control, needed upgrading. This then spread to the entire house and so the level of automation became a complete home solution. Rako was implemented for the lighting and dimming, while Crestron was used for the complete house media control. Another element of the project was his and her's offices, with the customer requiring a very detailed spec office that was both personal but complementary to the whole house. “This required a lot of design thought and clever material combinations,” said Rousseau. “I never expected to be using a combination of polished corian, bamboo, almond gold wallpaper and bronzed mirrors alongside RGB LED details.”
In order to ensure the house flowed, Rousseau made sure he was consistent in the materials and colours he chose, working with the same principles of what was enhanced and what was left alone. Rousseau used a few signature lighting details and materials, combined in ways that ensure they look modern and luxurious, but won’t date and will look good with the client’s own artwork and personal items. “The project can never be about me and my design,” said Rousseau. “It has to be about the customer and what they want and what they have. I just elevate their items and give them the best solution I can.” Decorative lighting featured throughout the property includes three Rousseau Design Torus pendant lights in custom teal, used in the living room to coordinate with the rug;
a huge fully custom-made chandelier with 18 G9 LEDs, designed and built by Rousseau himself using 500 lead crystals, and a series of pendant lights and chandeliers from Christopher Wray. Architectural illumination adds further to the ambience of each room and works to highlight specific features; 80 Aurora LED baffled spotlights in warm white are used throughout the house. Over 200-metres of warm white LED tape was used for the ceiling covings and furniture detail and approximately 40-metres of RGB LED tape for the furniture in the offices and media room. As well as this, a starscape fibreoptic ceiling in custom blue flocking was installed. In the entrance way to the house, John Cullen wide beam focus spots were used to illuminate the golden plaster wall arch
Left In the master bathroom Rousseau custom made wall lamps with electronics from Sirmon Technologies are featured. Above Left The media room features Rako lighting and dimming control and complete media control from Crestron. Above Right His and her's offices were a focal point of the project and feature decorative pendants from John Lewis.
and a John Cullen narrow beam adjustable spot to focus detail light on the shadows of the antique Thai cart-wheel in the drawing room. Commenting on the progression of the project, Rousseau told darc: “The biggest challenge by far was the deadline. We had a two-month period to renovate five bathrooms, three bedrooms, two offices, kitchen, a drawing room, hallway and front porch. The client wanted to move out of a rental property and had a date set in stone. It was a very tall order and I thank my team for the late nights, my pressures and demands! “I love the combination of rooms we produced and as always it is was a very collaborative job. I want clients to be involved, I want them to be excited as we go,
I want them to get nervous that they may not like it, as I know that when they open the door to their new room they are going to be blown away by the combinations they helped me put together. “Every project I do like this grows organically as the customer becomes more relaxed with my crazy ideas and feels confident that I know what I’m doing and how much it will really be enjoyable to have. It’s still very hard for people to imagine the benefits of good lighting and control and how, with the right combination of planning and equipment, it can be a life changer.” www.rousseau.co.uk
PROJECT DETAILS Private UK Residential Project Interior Design: Rousseau Design
LIGHTING SPECIFIED Christopher Wray chandeliers Christopher Wray pendants Rousseau Design Torus pendants Rousseau Design customised chandelier Rousseau Design customised wall lamps Stiffel USA table lamps Aurora LED spotlights John Cullen spotlights Crestron media control system Rako wirelss lighting control system
Pics: Julian Winslow
Fair and Square One of the largest houses ever to feature on self-build architectural television programme Grand Designs, Fairways house on the Isle of Wight comes alive under Light Partner's illumination scheme.
Grand Designs’ Kevin McCloud was in no doubt about the significance of the ninebedroom, 700sqm house built by Isle of Wight based architect Lincoln Miles for Bram and Lisa Vis. Aired on the British architectural design television programme in September this year, McCloud claimed the Fairways house as “one of the largest homes we’ve ever filmed… a powerful building.” Tasked with illuminating the property was Frank Kelly of Newport-based practice Light Partners, who knew that the modern home required nothing less than an extraordinary lighting scheme to do it justice. With more than 230 Astro luminaires including trimless downlights, marker lights, pendants, shades, wall lights inside and out, this oneoff beach house has them all. Astro’s scope of supply ranged from small quantities of models such as the Ithaca pendant for over-table use, to dozens of
Blanco recessed downlights, including round, square and angled varieties to suit the different spaces where they were fitted. In a few areas, the opposite approach was taken to the recessed downlight, using Astro's Osca, which sits 140cm deep in the ceiling, creating a feature in its own right. Of nearly 140 downlights fitted throughout the property, there were just 22 standard, surfacemounted downlights, which were Astro’s Vetro luminaires in black. Downlights were the main approach for the ceilings, with the exception of pendants for the kitchen and dining spaces and the dramatic, large Bevel semi-flush shades, which set an alternative tone in the huge games room. A number of Astro’s trimless luminaires were installed in the walls before plastering, allowing the light to sit seamlessly in the wall. This includes Borgo marker lights, which were used to create an
Above Astro's recessed downlight Blanco provides the game room's foundation light, while Bevel semi-flush ceiling shades shine brightly. Pella presents an interesting dual-directional light on the walls. Left Blanco illuminates the hallway from above, while Borgo trimless wall lights line the wall.
atmospheric wash of light across the timber floors. Various approaches were used in the numerous bathrooms, three of which feature Astro’s Cabaret bathroom wall lights, reminiscent of theatre dressing room mirror lights. Others used Palermo, a tubular light fitted beside the mirror finish in polished chrome, and another featuring squared-off Romano mirror lights. Plaster, a material favourite in Astro designs, featured strongly and was the main approach for wall lights in the living spaces and corridors. “Plaster is one of our favourite materials to design with thanks to the clean, sharp lines it makes possible,” commented Astro Design Director James Bassant. “It allows the lighting to make a complementary architectural statement
which is particularly appropriate for the Vis’ stunning home.” Plaster luminaires included 18 Pella wall lights, which project light above and below the fitting, acting as an architectural feature whether switched on or off. For the exterior, Astro supplied six Arta Squares, finished in painted silver and twelve of the more subtle Elis wall lights. “For its variety and architectural vision, this stands out as a very special lighting project,” said Bassant. “We know that Frank Kelly and the Vis family went to considerable lengths to ensure the lighting was appropriate for the unique spaces created at Fairways. The end result is stunning and we are proud to have played a part.” www.light-partners.com
Top Blanco illuminates open plan kitchen space, with both round and square Osca ceiling lights sitting 140cm deep in the ceiling, making a statement of their own. Above Blanco shines in living room, working with daylight to create a natural illumination.
PROJECT DETAILS Fairways House, Isle of Wight, UK Client: Bram Vis and Lisa Vis Architect: Licoln Miles Lighting Design: Light Partners Ltd
LIGHTING SPECIFIED Astro - Arta wall lamps, Bevel ceiling lights, Blanco spotlights, Borgo wall lights, Cabaret wall lights, Elis wall lights, Ithaca pendants, Osca downlights, Palermo wall lights, Pella wall lights, Romano wall lights, Vetro spotlights
pub 333x236 london NB code 7350_pub basis 19/11/15 10:43 Pagina 1
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And on the first day... A divine place to call home, American designer Linc Thelen's church conversion is a stunning use of sonorous space and natural light, creating a comfortable family dwelling in Chicago, US.
Briefed to create a blend between modern, industrial, vintage and farmhouse charms, American designer Linc Thelen was tasked with the intriguing job of a residential church conversion. The Chicago home showcases Thelen’s style of using minimal but bold accents, giving every space room to breath. Using lighting to accentuate these elements, Thelen paid particular attention to the types of metal and finishes used in lighting fixtures to complement the architecture. “Brass fixtures blend well with the gold tones in the stained glass of the church windows,” explained Thelen, “while black industrial fixtures balance with the exposed metal and wood beams in the ceiling.” Entering through a lancet shaped door, the magnificence of the space is immediately exposed as light, confident, and fortified through thoughtful detail. “Having a raw and open space was the perfect playground for my creative process,” said Thelen. The open plan living space begins with the kitchen area where Tech Lighting's SoCo socket pendants appear in a golden cluster over Thelen's custom-made kitchen island. These globular lamps immediately draw attention up to the church beams, where several other pendants feature amongst a flood of daylight, accentuating the purpose of each divided space. The home features stunning lancet stained-glass windows, which in the kitchen space are highlighted by Hudson Valley Lighting’s Cortland wall fixtures. Moving through from the kitchen to the dining area, another stained-glass window appears behind the table, above which sits Aerin’s Charlton wall sconce to illuminate the window and draw out colours from above. This curved window sits at an angular juxtaposition to Lambert & Fils' Atomium brass chandelier, suspended above the dining table as an integral feature of the open plan living space. Despite the obvious spatial advantages involved in an open-plan home, Thelen told darc of how they dealt with lighting such a vast space: “A better question would be what wasn’t a challenge on this project. Lighting the main room was a challenge due to the pitched ceiling and its height." Thelen's application of decorative lighting in conjunction with the fireplace clad in
quartz that stretches the height of the wall is a prime example of how the designer dealt with the vast space. Evoking golden tones of fire and wood in front of the charcoal grey flue, Thelen placed three large brass Zanadoo pendants designed by Dallas-based entrepreneur Mark Moussa for his decorative accessories company Arteriors, filling the space with a warm golden sparkle. "Determining the location and height for the three Zanadoo pendants was a fun experience to go through during rough construction," continued Thelen. "The ceiling height is 25ft, and we didn’t have the fixtures on hand to determine how they would hang and how much space they should have between them, so that took some serious thought.” Further illumination for this space is provided by Arterior's Yasmin sconces, appearing on either side
Pics: Jim Tschetter
PROJECT DETAILS Church Conversion, Chicago, Illinois, US Client: Private Residential Interior Design: Linc Thelen Design
LIGHTING SPECIFIED Aerin Charlton wall sconces Arteriors Yasmin wall sconces Arteriors Zanadoo pendants CB2 wall chord pendant David Trubridge Coral pendant Flos IC ceiling pendant Hive Fandango chandelier Hudson Valley Lighting Cortland wall sconce Lambert & Fils Atomium chandelier Studio 1a.m. Bell ceiling fixture Tech Lighting Soco socket pendants
Far Left Kitchen area with Arterior's Yasmin wall sconces on either side of window. Above Tech Lighting's SoCo socket pendants above the kitchen island, Arterior Zanadoo pendants in front of fireplace, and Lambert & Fils' Atomium chandelier above the dining table. Centre The Master bathroom with Suzanne Kasler's Camille long wall sconces either side of the mirrors. Centre Left David Trubridge's Coral pendant in boys' bedroom Left Right Flos' IC ceiling lamp in powder room.
of the fireplace and elsewhere in the open plan living area. Moving up to the private living areas, the master bedroom further evokes the elegant air of the former church, with Dutch designer Danny Fang’s Fandango suspension lamp above the bed. The ensuite bathroom uses Atlanta based designer Suzanne Kasler’s Camille long wall sconces in polished nickel for a sophisticated, soft illumination between the mirrors. The guest powder room is in keeping with this, using the Flos IC ceiling lamp designed by Michael Anastassiades’ to provide a soft glow in the small room. For the young boys’ room, a slightly more boisterous design was chosen. Next to their very own climbing wall hangs CB2’s wall sconce chord pendant light, creating an outdoors theme complemented by David Trubridge’s lime Coral pendant. “David Trubridge’s fixture was chosen because it was playful and added colour to the room,” said Thelen. “The boys’ bathroom with classic white and black subway tiles has a vintage look so we used wrought iron fixtures with exposed Edison lamps.” For the daughter’s room, Studio 1a.m’s Bell white flush ceiling lamp was selected to blend with the ceiling, making way for a leafy green wall paper while providing illumination for her playful duplex room. By looking at each of the family member’s bedrooms, it is evident how much of a role personality plays in residential projects. “The main difference,” said Thelen, when comparing them to commercial designs, “is that residential clients play more of a role in final decisions on products chosen. This can add to a project, or can be a hindrance when the client isn’t able to envision the final idea. A designer has to take calculated risks that require experience to understand.” Despite the challenges that this church conversion presented in space and structure, Thelen used his experience to achieve something truly special. “Walking through the home is an architectural wonder,” he concluded. “Everywhere you turn there is something interesting to look at, and it is light that defines the space both visually and constitutionally.” www.lincthelen.com
Riverside Luxury In preparation for the opening of Southbank's newest residential development, DesignPlusLight worked with Goddard Littlefair to produce a high-end, luxury lighting scheme for the Grade II listed marketing suite in the Country Hall building, communicating the quality of the final development.
Southbank Place is London’s newest exciting riverside development by Canary Wharf Group and Qatari Diar Real Estate Investment Company. Scheduled for completion in 2019, it combines architectural excellence with an iconic setting to create some of the most sophisticated homes on offer in central London. The mix-use development is situated opposite the London Eye, with exceptional views across the river Thames to Whitehall. DesignPlusLight (DPL) worked in conjunction with interior designer Goddard Littlefair to light the rooms of the Grade II listed marketing suite in the County Hall building, adjacent to Westminster bridge, in the former private offices of the GLC and the headquarters for The Diana, Princess of
Wales Memorial Fund. Steeped in British history, DPL was briefed by interior designers Goddard Littlefair to design a bespoke architectural lighting scheme with the level of luxury and finesse that would instantly communicate the quality of the finishes in the final development. DPL created a high end, luxury lighting scheme to enhance the journey and seamlessly connect the entrance reception, through to the meeting rooms, display pods and finally into the sample suites. The heritage-listed building was brought back to its original state and new features were added that would seamlessly integrate with the historic fabric of the building. “Our whole design ethos is to create layers of light that collectively enhance the
perception of space and communicate an instant feel of exclusivity,” said DPL Project Director Sanjit Bahra. “Good lighting should always complement, but never take precedence over the interior design. We were extremely mindful of the heritage elements of the building from the outset, and this proved to be one of the most challenging aspects of the project. By working closely with the site engineers and design team, we were able to find creative solutions to illuminate each space.” DPL stressed the importance of using an architectural lighting control system on the entire project so that all the lighting elements could be carefully balanced to create mood settings. Given the nature of the building installing mood lighting was
a challenge as not all of the cable routes in such an old building were known. DPL proposed a wireless control system by Rako Lighting that enabled the existing wiring to be utilised and expanded upon to create multiple circuits within each room. Lighting was integrated into joinery pieces to bring layers of light into each space. Careful attention was made to keep each element unique to enhance the journey through the marketing suite. As artwork was a passion for the client, the joinery elements created the perfect lighting display opportunity. Goddard Littlefair refurbished the entrance reception to give immediate sparkle and glamour to the space, with existing ceiling points reused and the fluorescent bulkheads
replaced with bespoke decorative chandeliers, which were specially designed by the interior design company with advice from DPL. A new reception desk was designed with vertical lines of LED light carefully detailed within the metal folds, offering a glimpse of the structure within, while discrete surface spotlights concealed within the ceiling coffers provide a focus onto the stone fireplace and clock. The window treatments of sheers and curtains were highlighted with a halo of light emanating from the head of the pelmet, softly lighting the display plinths below. In the stairwell, a bespoke 6m crystal chandelier from Preciosa Lighting, designed and commissioned by Goddard Littlefair,
Far Left The existing fluorescent pendants that were once the sole form of lighting within the corridors have been replaced with decorative glass and parchment lanterns. Left The Second Closing Room serves to represent the later phase of the development and is the grandest room in the suite. Right The boardroom features a custom created black raindrop chandelier by Tom Dixon.
emphatically draws the visitor up towards the first floor, while sixteen interlinking rings of light, supported from five storeys above, cascade down the central stairwell, sparking and shimmering as guests ascend. The existing fluorescent landing bulkheads were covered with parchment shades to soften their appearance and to provide a warm domestic like light. DPL created a sense of arrival on the first floor landing by up-lighting the arch reveal above the door header and illuminating specialist eglomisée panels either side. These reflected the light from the chandelier to provide further sparkle. On arrival, visitors are taken into the reception room where they are welcomed and shown brochures of the development. A stunning chandelier anchors the visual attention to the centre whilst custom
designed cabinet pieces frame the four corners of the room. These have a multi-purpose function, serving both as display pieces as well as housing the heating and air-conditioning mechanics required for the space. DPL worked closely with the interior designer to integrate a flush line of light to frame each cabinet. Individual display recesses were lit with under shelf lights. LED up-lights were concealed in the top of the cabinets to provide reflected light into the space. Subsequently only a few surface spots were required to light key artwork pieces. “The central chandelier should never provide more than a decorative glow, so it’s particularly important, in listed buildings, to consider how to bring light into the space,” commented Bahra. A boardroom features a stunning custom
created black raindrop chandelier by Tom Dixon, which hangs down from the ceiling with the perfect balance in tandem with the bespoke joinery pieces. The showroom also features two closing rooms to represent the height of luxury and finesse within the new residential project. Both rooms feature custom designed chandeliers with surface spotlights carefully concealed adjacent to the chandelier rose to light the fireplace and artwork. Smaller cabinets were designed as drinks cabinets, beautifully lit with concealed LED strip lights that provide a warm reflected light into the space. The second closing room is the grandest room in the suite and serves as a representation of the later phase of the development. The high bay window offers a magnificent aspect of Big Ben and is perfectly framed with curtains, softly lit
with LED strip-lights concealed behind the pelmet. Plug-in up lights illuminate the fireplace surround whilst the occasional surface spotlight illuminates key artwork pieces. An integrated corridor links the U-shaped 1,207sq.m suite rooms. The original timber panelling within the corridor was removed and meticulously restored, giving DPL the ideal opportunity to bring cables up the walls without damaging the fabric of the building. LED striplights were concealed to the top of the pilasters to up-light the vaulted arches and create a sense of rhythm along each corridor. At each junction, mini LED spotlights were concealed behind specially made plaster mouldings to highlight the cross vaults and punctuate the end of each corridor. The existing fluorescent pendants that were once the sole form of lighting within the space were replaced with
decorative glass and parchment lanterns. These could not be dimmed, as they were the emergency lights to the space, so DPL recommended low energy LED candle lamps that enhance the room with a soft glow. A series of exhibition rooms overlook the Thames, where potential buyers can view the individual elements of the development with scale models and information panels. DPL's work with Goddard Littlefair works to give potential clients an idea of what the final residential project will encompass. The lighting ighting approach was kept consistent to ensure a sense of continuity across the exhibition space. www.goddardlittlefair.com www.designpluslight.com
Left The central chandelier provides a decorative glow, something which is particularly important in listed buildings. Centre The First Closing Room features a custom designed chandelier with surface spotlights carefully concealed adjacent to the chandelier. Right A bespoke 6m crystal chandelier from Preciosa Lighting hangs in the stairwell to draw the visitors up towards the first floor.
PROJECT DETAILS Southbank Place, London, UK Client: Canary Wharf Group & Qatari Diar Real Estate Investment Company Interior Design: Goddard Littlefair Lighting Design: DesignPlusLight
LIGHTING SPECIFIED Preciosa Lighting bespoke chandeliers Tom Dixon Black Raindrop chandelier Goddard Littlefair bespoke chandeliers
New for 2016 A selection of latest releases.
Turciù Catellani & Smith
Designed by Italian designer Paolo Ulian, the Andromeda light fixture is composed of shifting polygonal-shaped pieces that appear to come together and pull apart all at once. It casts an artful scattering of light and shadows that bring to mind playful organic forms. www.zavaluce.it
The Mademoiselle collection from Lladro features colourful lighting designs including pendant and table models as well as spectacular chandeliers. The translucent porcelain of the lamps projects the decorative hand etched pattern creating a warm light around the room. www.lladro.com
The new LED range of Turciù lamps makes it easy to install and replace traditional lamps without the need for any modifications to the existing system. For the same power, they produce much more light than incandescent or halogen lamps and their average life-span is increased. www.catellanismith.com
Elara Charles Lethaby
The Patinas Hamburg wall lamp is handmade in Hungary. Made of solid brass and available in different finishes such as antique,shiny brass,nickel, the lights can be customised to suit the client. The sockets are made of porcelain allowing for the use of traditional, energy saving lamps and LEDs. www.patinas-lighting.com
Elara is a timeless and compelling golden star of light - and one of Charles Lethaby Lighting’s flagship designs. Its 40 identical arms are each screwed into a central body, which also houses two rod filament lamps. Available in solid brass or anodised aluminium, Elara comes packaged in a luxury black tube. www.charleslethabylighting.com
Mesh Space Resident Designed by Flynn Talbot this lamp is constructed around a seamless floating halo of LED light. Hanging horizontally with a very thin profile, a flattened mesh dome is a reflector and a filter to the upward moving light. The ring of LED light is powered through the thin suspension wires. www.resident.co.nz
Membrane innermost In conjunction with German designer Jette Scheib, Membrane is a blown glass pendant lamp. A tactile, sculptural piece, it captures the precise moment lamp and shade become one. Details such as a gentle gradient in smoky glass coupled with polished gunmetal fittings result in a sophisticated design well suited to upscale interiors. www.innermost.net
Sumo Lumen Center Italia
Junit Lighting Schneid
Inspired by the strong body of a Japanese wrestler, the Sumo collection is a family of lamps that includes pendant, wall, ceiling and floor lamps in several sizes. Each lamp diffuser is made of micro pierced self extinguishable polycarbonate, with a powder coated white metal frame. www.lumencenteritalia.com
A modular pendant lamp that consists of eight different elements. Available in a natural, clear finish or in different colours, the lamp complements the colours with its oversized milky glass that produces warm, ambient light. Eight different texile cable colours are also available. www.schneid.org
Cartoon Hagen ETC With its stature and curious kink in its neck, the lamp draws on references to the universe of cartoon characters. This cheeky fellow is full of mischief and keen to take part in whatever you are focused on. Cartoon can be placed on a desk, bedside table, or on the shelf to get the mood and light just right. www.hagen-etc.com
Mont Blanc Lights of Vienna
Frosted Teardrop Buster & Punch
Lights of Vienna presents a custom version of its Mont Blanc triangular private dining chandelier with rounded edges in a brushed silver metal finish. With full cut bead chains in random length and size, they appear in either a smoke or black finish, illuminated with colour changing LED-points. www.lightsofvienna.com
Suitable to pair with the brand's Heavy Metal and Hooked pendant lights, Teardrop uses old Edison filaments to product a soft golden glow. To achieve an optimum lighting effect, Teardop can be used with dimmers, and can be retro-fitted into any light with an E27 screw fitting. www.busterandpunch.com
Neue Räume November 18-22 2015, Zurich, Switzerland In its eighth year, Zurich design show Neue Räume exhibited designs from more than 100 carefully selected national and international exhibitors, in the 8,000sq.m ABB Event Hall in Zurich-Oerlikon. Formerly an industrial building, the hall provided a unique atmosphere for an overview of the latest trends, potentials and movements in contemporary design. Timeless classics and established manufacturers were on show alongside young and avant-garde creations. This year, the focus was on the theme of residential architecture, presenting projects by both Swiss and international architects, using new and fresh approaches in interior design to make projects accessible to visitors. www.neueraeume.ch
Luna SHAPES Luna can be used as a classic wall lamp. The top can be twisted to cast indirect light in various directions. Luna has a touch function with three levels of light to be chosen from, while the lamp’s body is available in black or white. www.shapes.info
BELL42 graypants BELL42 original elevates the beauty, function and versatility of classic scraplights. Suited to commercial and residential settings, the BELL42 has a durable dark steel frame and a recycled cardboard shade. With multi-socket lamping assemblies and sandblasted tempered glass diffusers, BELL42 provides impact and ample light. www.graypants.com
Florinda Desnuda ModoLuce
Arne Domus Santa & Cole
Florinda Desnuda is characterised by baroque opulence, interpreted with light freshness. Exposed to show its structure, this lamp is realised in metallic wire folded and welded by hand to create a circular composition. The plate that supports the shades is in metal, while the light sources are retro taste lamps with carbon filaments. www.modoluce.com
Arne Domus is an urban aluminium, industrial domestic spotlight, suspended to illuminate surfaces. Characterising contemporary technology in its most natural form, the suspension lamp was designed by Arne Jacobsen with the Santa & Cole team with LED technology. www.santacole.com
SOPHIE lasfera SOPHIE is lasfera’s sympathetic veneer lighting collection. Classic in shape and traditional in craftsmanship, SOPHIE holds a flexible veneer plywood shade and foot. The plywood is made of three layers; two natural wood and one an inner fleece layer to protect the wood from breaking. Each lamp is custom made to order. www.lasfera.de
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Sleep November 24-25 2015, London, UK As Europe's only event dedicated to hotel design, development and architecture, Sleep 2015 attracted a pool of international leading hotel owners, designers and architects. Each component of the event provided this hugely influential audience with valuable insight into the very latest industry and design directions from thousands of hand-picked exhibitors and unique installations from renowned industry names. Returning to the Business Design Centre in London, Sleep's two-day conference in November incorporated the Wonder Tale theme in the set up of the magical Drink Me Bar, a variety of competitions and conferences, all of which provided the perfect grounds for product designers and manufacturers to showcase their creativity. www.thesleepevent.com
In a collaboration between New York design brand Tzelan and Contardi, Ongo features convenient portability, high performance LED and an engineered battery operated power source in two adjustable light intensities. Providing a soft and elegant glow to any decorative setting, Ongo is available in metal finishes and handblown Murano glass. www.contardi-italia.com
Astro’s Atelier evokes task lamps of craftsmen’s old workshops. Conceived by James Bassant and engineered by Rob Speck, the lamp’s joints are fully articulated in a raw polished aluminium finish. Options include table, clamp, wall and floor versions in white, black or natural aluminium. www.astrolighting.co.uk
Flying Flames Ingo Maurer Flying Flames is a flexible chandelier system. The LED candles are combined with simple and functional downlight elements. Both elements are placed freely with a magnet on the canopy board. Designed to permit individual versions of a chandelier, the number of flames and their colour can be individually chosen. www.ingo-maurer.com
GROK Invisible LEDS-C4 The GROK Invisible ceiling light designed by Francesc Vilaró expresses pure geometry and symbolism. Equipped with LED technology, when the light is switched on, the three arms disappear into the background. The three lamps take over and combine lightness and harmony in an exact circle, creating a poetic interplay of light and balance. www.leds-c4.com
The Cube Northern Lights The Cube features acrylic cubes in various sizes, each hand finished in sand infused textured paint. Illuminated by a fibre optic unit, the glass sphere in each cube contains fine strands of glass. The glass bounces off the cube surface, adding a gentle and delicate touch to the contemporary design. www.northern-lights.co.uk
On Show A look ahead to forthcoming design shows with a strong lighting element.
DESIGN LIGHTING • TOKYO, JAPAN 13-15 January 2016 (www.light-expo.jp)
NORTHMODERN • COPENHAGEN, DENMARK 18-24 January 2016 (www.northmodern.com)
IMM COLOGNE • COLOGNE, GERMANY 18-24 January 2016 (www.imm-cologne.com)
MAISON ET OBJET • PARIS, FRANCE 22-26 January 2016 (www.maison-objet.com)
ARCHITECT@WORK • LONDON, UK 27-28 January 2016 (www.architect-at-work.co.uk)
SURFACE DESIGN SHOW • LONDON, UK 9-11 February 2016 (www.surfacedesignshow.com)
STOCKHOLM FURNITURE & LIGHT FAIR • STOCKHOLM, SWEDEN 9-13 February 2016 (www.stockholmfurniturelightfair.se)
MAISON ET OBJET ASIA • SINGAPORE 8-11 March 2016 (www.maison-objet.com)
• SHANGHAI, CHINA
9-12 March 2016 (www.designshowshanghai.com)
LIGHT + BUILDING • FRANKFURT, GERMANY 13-18 March (www.light-building.messefrankfurt.com)
MAISON ET OBJET AMERICAS • MIAMI, USA 10-13 May 2016 (www.maison-objet.com)
ICFF • NEW YORK, USA 14-17 May 2016 (www.icff.com)
CLERKENWELL DESIGN WEEK • LONDON, UK 24-26 May 2016 (www.clerkenwelldesignweek.com)
DESIGN DISTRICT • AMSTERDAM, THE NETHERLANDS 1-3 June 2016 (www.clerkenwelldesignweek.com)
only we could be under the sea. Drawing inspiration from the mesmerising relationship between internal motion and external shape exhibited by schooling fish, the static surface of Olafur Eliassonâ€™s Sperhical Space appears to be in a flurry of movement. Located in his Berlin studio, two stainless steel frames, arranged one inside the other and connected at frequent, regular intervals, trace the geodesic lines of a latticework sphere. Affixed to the small connecting spans between the two frames are innumerable triangles of aluminium, hand-blown yellow glass, and colour-effect filter glass. A single bulb at the core of the sphere projects the dynamic pattern of shadows created by the triangles and framework onto the surrounding space. The geodesic lines of the sphere naturally draw the eye upwards in a whirlwind of tints and shapes, and even the slightest movement by the viewer alters the perceived alignment of spirals and triangles, creating the illusion of constant change. The viewerâ€™s movements can be recognised through the room in motions in and on the sphere. www.olafureliasson.net Pic: Jens Ziehe
DESIGN EMILIANA MARTINELLI
DARC 2016 - Gennaio_Febbraio - LUNAOP.indd 1
ph. m. ghilarducci a.d. emiliana martinelli www.martinelliluce.it
darc is a dedicated international magazine focused on decorative lighting design in architecture. Published five times a year, including 3d...