darc 15

DECORATIVE LIGHTING IN ARCHITECTURE #15 MAR/APR 2016

THE GEORGE | EUGENI QUITLLET HABERDASHERY'S LEAVES OF LUXURY LE SHORE | MATHIEU LEHANNEUR

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COVER IMAGE HABERDASHERY’S LUXURIOUS LEAF - 2016

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Welcome EDITOR • PAUL JAMES After the success of the inaugural darc awards in 2015 we will be officially launching the 2016 awards at Light+Building in Frankfurt. The launch event will take place on March 15th at 6pm on the BYBEAU / Climar stand in hall 4.2 E50 - a fitting way to kick everything off as it was BYBEAU’s chandelier, Dimple, that won the very first darc award in the best decorative lighting category during the incredible event at Testbed 1 in September 2015. The next tranche of awards is different in one important aspect. We will be splitting the awards into two different sectors and events - architectural and decorative. This will allow us to dedicate more categories to both sectors and also means there will be two separate events taking place. darc awards architectural will culminate in darc night 1 on September 15th 2016 in a very cool venue in London soon to be announced. The darc awards decorative process will begin later this year culminating in darc night 2 in May 2017, also in London. Both awards will continue with the revolutionary process of peer-to-peer voting by qualified lighting designers and light artists ensuring that the best schemes and products are chosen in a completely fair and independent way.

By the way, we’ve also teamed up with BYBEAU to create a mini version of the Dimple on our stand so make sure you stop by and check it out. You’ll find us at Hall 4.1 F0Y16 together with our sister title mondo*arc, where we’ll also have more details about how to enter the awards.

DEPUTY EDITOR • HELEN FLETCHER The tradeshow season is well and truly in its stride and the darc team has been here, there and everywhere to bring you the best new decorative lighting launches, exclusive interviews and prized projects from around the globe. Having been crowned Maison et Objet’s ‘Designer of the Year’, our big interview this issue is with Catalan designer Eugeni Quitllet on pg.18, where he discusses inspiration and ideas and the importance of working with good clients. Off the back of our Parisian affair, we also bring you interviews with three other product designers as part of our Maison et Objet special report; turn to pg.74 for Mathieu Lehanneur’s Clover launch coverage. We also travelled to Stockholm for the Furniture and Lighting Fair, where an abundance of new products were launched and Foscarini won ‘Best Stand’ for its creative installation, turn to pg.92 to read more. Continuing with the tradeshow theme, we’re also going to be at Light+Building in March and as such we’ve put together a product preview on pg.102, showcasing some of the decorative highlights that will be launched. If you would like us to call by your stand and say ‘hello’, or you are hosting a press conference or drinks event, feel free to get in touch and we will do our best to see you there!

Ugolino circular 90 photo Lorenzo Pennati

Via Vivarini 7 Milano Tel. +39 02 89502342 info@lollimemmoli.it www.lollimemmoli.it

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Contents

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NEWS CROWNE PLAZA HOTEL • NEWCASTLE BROADGATE OFFICES • LONDON LOOK UP HQ • BANGALORE EUGENI QUITLLET INTERVIEW • BARCELONA THE GEORGE HOTEL • EDINBURGH CP HART SHOWROOM • LONDON ENRICO FRATESI INTERVIEW • COPENHAGEN REICHSHOF HOTEL • HAMBURG FUME RESTAURANT • DUBAI IN FOCUS: LEAF BY HABERDASHERY • LONDON FOLIO: CONCRETE DESIGN • AMSTERDAM HOTEL GRANADA • GRANADA FOODLOFT STUDIO • MILAN THE RABBIT HOLE TEA BAR • SYDNEY YVONNE’S RESTAURANT • BOSTON LE SHORE RESTAURANT • LA BAULE CLOVER PRODUCT LAUNCH • PARIS PATRICK NAGGAR INTERVIEW • PARIS MAISON ET OBJET REVIEW • PARIS CLARA LUX LAUNCH • LONDON STOCKHOLM FURNITURE FAIR REVIEW • STOCKHOLM ATELJÉLYKTAN LAUNCH • STOCKHOLM EDITOR’S CHOICE AWARD • STOCKHOLM BARBER & OSGERBY INSTALLATION • STOCKHOLM LIGHT + BUILDING PRODUCT PREVIEW • FRANKFURT NORTHMODERN PRODUCT REVIEW • COPENHAGEN NEW PRODUCTS CALENDARC IF...

EDITOR : PAUL JAMES : p.james@mondiale.co.uk DEPUTY EDITOR : HELEN FLETCHER : h.fletcher@mondiale.co.uk EDITORIAL ASSISTANTS : FEMKE GOW : f.gow@mondiale.co.uk • LAURENCE FAVAGER : l.favager@mondiale.co.uk ADVERTISING : STEPHEN QUILIGOTTI : s.quiligotti@mondiale.co.uk PRODUCTION : DAVID BELL : d.bell@mondiale.co.uk / MEL ROBINSON : m.robinson@mondiale.co.uk 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.

Lambert et Fils and Coop Établi unite efforts

Introducing The Sample Sale

(Canada) – Lambert et Fils welcomes furniture designers and manufacturers Coop Établi to its new showroom in Montreal, Canada.

Read the full story online...

(UK) - Organisers of designjunction present London’s first multi brand furniture and lighting sample sale.

Read the full story online...

Lumenpulse acquires Exenia (Canada) – Acquisition of Italy-based manufacturer expands Lumenpulse’s product portfolio, deepening penetration into indoor LED lighting market.

Read the full story online...

Nulty expands

Tyson Lighting unites with Tala

(UK) - Nulty opens new Dubai office, headed up by Director Mark Vowles.

Read the full story online...

(UK) - Tyson Lighting partners with LED lighting manufacturer Tala to assist its growth with contract market.

Read the full story online...

Flos targets US (Italy) - Flos acquires Lukas Lighting to boost North America custom and manufacturing capabilities.

Read the full story online...

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focal point CROWNE PLAZA HOTEL & SPA NEWCASTLE, UK

Michael Grubb Studio provided lighting designs for the newly built Crowne Plaza hotel and spa. Based in Newcastle, UK, the 251 bedroom hotel anchors the up and coming Stephenson Quarter, home of the world’s first passenger train.

The scheme is warm and inviting with contrasting levels of light that help create an environment intended to calm. Lighting is discreetly integrated into much of the interior architecture with additional decorative elements introduced to create warmth and a tranquil backdrop for hotel guests.

The main feature is a 25-metre chandelier suspended within the main atrium, that comprises over 100 internally illuminated spheres, all of which have a section removed, ensuring that light refracts and provides sparkle. A specially designed fixing plate with mirror and additional internal lighting help creates the impression of a never ending cascade of light. www.michaelgrubbstudio.com

Pic: Sally Ann Norman

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Pic: James Newton

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focal point BROADGATE WEST LONDON, UK This stunning bespoke atrium light feature at the commercial offices of Broadgate West in London, has been manufacturerd and installed by The Light Lab. Taking specialist installers and a team of abseilers six weeks to complete, ensuring each bespoke halo structure was installed as designed, this is The Light Lab’s largest atrium lighting project to date, with it reaching almost the full length of the 50m atrium.

Working to a detailed concept design from lighting designers Cundall and John Robertson Architects, the main challenges for The Light Lab involved the structure of the feature; particularly the balance of providing sufficient strength to each illuminated ring while ensuring there was no visible shadowing. At the same time there was the requirement of a very lightweight structure to fix to the existing atrium support beams. www.thelightlab.com www.cundall.com Pic: Ellen Murphy, The Light Lab

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focal point LOOKUP HQ BANGALORE, INDIA Alok Shetty of Bhumi Putra Architecture has designed Lookup’s new offices based on one core principle: the requirement of flexible, open workspaces for a young, dynamic team. The vision was to design a space that was minimal yet confident and most importantly efficent.

Workstations in the 5,000sqft space range from standing desks to tables that people can write on, to cosy wall seats. A cluster of bright red old-school telephone booths are used for Skype calls and at the very centre, a semi-circular amphitheatre - nicknamed The Pitch transforms from brainstorming arena by day, to a recreational hub by night, featuring a cascade of filament lamps to bring a warm and pleasant ambience to the space. www.bhumi-putra.com Pic: Nimish Jain

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“The idea of light is a mystical one” Having been crowned this year’s Maison et Objet’s Designer of the Year, darc caught up with Catalan designer Eugeni Quitllet to discover that sometimes, a ‘signature style’ can come in all shapes and sizes.

Pic: Cecile de Montparnasse

Catalan designer Eugeni Quitllet was exposed to a diverse mix of influences from an early age. Born in Ibiza in 1972, his creative identity was formed by all that descended on the island - from architects and photographers to musicians, writers and more - all with their own philosophies and their own way of life.

Describing himself as a ‘Disonador’, a Spanish contraction of designer and

dreamer, Quitllet first witnessed a rural stretch of Ibiza’s beach become an informal hub for ultra-modern electronic music, before “growing up” in Barcelona, where he studied interior architecture at Llotja Art School.

“I quickly realised I was more captivated by product design,” he tells darc. “I was doing a little bit of this, a little bit of that, all at the same time, so I decided to focus

my attention on one area. I started to look outside of Barcelona and even Spain, as to what was happening in the world of design.

Barcelona was not the environment for me to create all the projects I had in my head as they were quite ambitious, so when I got the opportunity to meet Philippe Starck and show him my work, it was an amazing experience for me. We collaborated on designs for the next 10 years and this really

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made me grow up.”

Creating objects that lie somewhere between drawings and sculptures, mastering fullness and voids to reveal elegant silhouettes hidden in the material, Quitllet’s creative vocabulary surpasses the simple relationship between function and style. Out of his studio, which opened in Barcelona in 2011, he introduces new objects to the contemporary design scene, always with unwavering enthusiasm. His portfolio includes objects for numerous high-end international design brands and from the world of lighting he has designed the Flos K-Ray lighting fixture and Kartell’s Light Air range.

“The idea of light is a mystical one,” he tells darc. “There is something soulful about it. When you put light in to an object it automatically becomes magical. To obtain Below LIGHT AIR for Kartell by Eugeni Quitllet.

magic from a chair is much more difficult in the sense it is just a structure to put your bum on at the end of the day.

“A light is a magic box – it is something that is going to create an atmosphere in the room – all the reflections, the materials and so on. It’s a ‘non material’ material that you work around which is very nice.”

Having been crowned Maison et Objet’s ‘Designer of the Year’ in January for his Dream Catcher chair, Quitllet describes how the accolade has given him new confidence to move forward with his ideas: “It’s a great honour and I’m very happy, as it’s confirmation that everything I’ve been doing so far is ok… you know, I’m not doing too bad! I feel I can now explore new ideas even further.”

Talking inspiration… For Quitllet, it is about provoking an emotion to the user other

than the function of the product. While of course, when designing, the function is the main consideration, it is about how this can be done differently while remaining beautiful - offering more than just a standard product.

“This is what motivates and inspires me to keep designing,” he says, “I still explore different ways to produce – different materials and techniques. When Maison et Objet gave me a space at the exhibition in Paris to showcase my work, this made me think, ‘well let’s do something new’ and this is how Dream Catcher was born. A chaise longue made entirely of aluminium, this was entirely new work for me and an opportunity to make a fantastic object.”

The hardest moment for any creative is when the ideas don’t come so easily – writer’s block as it’s known in the world

LIT BY GEOMETRY The Parma wall light is a study in clean, simple lines.

Only high-grade plaster produces such a smooth finish with edges that give the crisp appearance of a just-ironed shirt. Combine this with its striking beam pattern and the Parma brings an architectural purity to any interior.

Because good design demands simplicity.

Model: Parma

Visit us at Light + Building, Frankfurt 13 - 18 March, Hall 5.1, Stand C90

SIMPLER IS BETTER

astrolighting.co.uk

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“Inspiration comes from the idea, not the other way around.”

of journalism. “When you don’t have an idea, you are dead,” says Quitllet. “You find yourself looking around for inspiration, hoping the idea will come. I have in fact discovered that inspiration comes from the idea, not the other way around.

“Once you have that initial idea, that is when everything else falls into place, you begin sketching, changing details, looking at the project from different points of view and so on… That is when you’re inspired.”

While Quitllet doesn’t consider that he has a ‘signature style’ he recognises there is a little bit of him in every object he creates.

Yet he argues that it is more important to find a joint identity with the client – working with them to understand where they are coming from and what they are looking for – rather than impose his own identity on to the product.

“I give them a version of myself in a different material,” he says. “I always try to make a new product as if I’m starting from zero – as if I have no experience. I think about how I feel about the product and the needs of the client. I suppose this then becomes a ‘signature style’ but it’s almost a philosophical signature, because you’re searching for the perfect product or the perfect way to produce it.”

For Quitllet, designing is about putting the function of the product into a frame – every function is different and so is every frame.

Referencing the Kartell Light Air range, he tells darc that the lamp sits inside the frame almost like a sculpture, that it is the surrounding areas that are being framed by the light. “Define what the function is and then put the frame around to accentuate it,” he says.

While it is important we understand the role a designer plays in a product’s end form, so is it that we understand the role of the client. As Quitllet quite rightly points out, each client has their own idea of how they want the product to turn out - whether considered good or bad - and they will undoubtedly influence the way a product develops.

Pic: Copyright Eugeni Quitllet

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Pic: Claude Weber - Dream Catcher By Eugeni Quitllet. The chair design won the product designer Maison et Objet’s Designer of the Year Award in January.

“This is why I choose my clients very carefully,” he says. “A product can take two years to be produced and you have to keep the relationship up with the client the entire time – so it is important you have those strong relationships from the beginning.”

Technology, as we already know, also plays a huge part in how products are developed – but all the technology in the world won’t necessarily result in the ‘perfect’ product.

Neither will, according to Quitllet, solely relying on old school methods and designs where perhaps just the colour or material of an existing design is changed - it is about striking the right balance between the two.

“Using basic technology but not doing any research will not produce anything different, nothing will evolve,” he says.

“Those designers that are mixing creativity with technology are the ones creating new, quality designs in my opinion.

“If I make a plastic lamp with Kartell, it is because we have the technology to inject the material into a perfect frame – meaning no welding is needed, you can’t see the lines of where it has been made – it is just magical, because you have this shape, floating in a transparent way.

“All the cables and everything required to make the product work are fixed in a way that couldn’t have been done before because the processes involved weren’t available. This means you have a product that isn’t focused on the technology involved but is telling the story of how it was made, it wouldn’t exist without the technology behind it.”

So what are the key elements of good design?

“Design today, more than ever, is the technology behind it,” says Quitllet, “but

the human emotion behind it and the beauty of its quality is also very important. We have to put a lot of weight on the human emotion side of design because if it is a good piece it is going to be in someone’s life for a very long time. You want to produce something that is going to transcend through different times in that person’s life, as well as different trends – an object that reflects the changes in humans has to be a very strong piece.

“Iconic designs are there for a reason, they have stood the test of time and are still creating a positive message 50 years on – they are still as relevant today as when they were first designed.”

Aside from being crowned Maison et Objet’s Designer of the Year, there have been a number of significant steps for Quitllet leading up to this moment. Winning the Red Dot Design Award twice – for the Aedle headphones and the Kartell Masters chair, co-signed with Philippe Starck; as well as the Talents du Luxe et de la creation Prize for Innovation; and the Compasso d’Oro Honourable Mention for the Alias Elle chair.

Having worked tirelessly to get to this point in his career, it is clear that this latest recognition of his work will fuel Quitllet’s desire to produce exciting objects that continue to push boundaries and evoke a sense of the magical.

“It is about the poetry of making an object,” concludes Quitllet. “When I design something; yesterday that object didn’t exist. Today we have the idea and tomorrow it will exist. You have to ask yourself, where was this idea? Where did it exist? As though the idea was already formed but just needed to be discovered…” www.eugeniquitllet.com

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Gracious George With two centuries of gracious living behind it, The George hotel in Edinburgh, Scotland received a luxurious refurbishment from UK interior architects Goddard Littlefair.

Pics: Gareth Gardner

Hotel and hospitality designers Goddard Littlefair transformed The George Hotel in Edinburgh, Scotland, to create the new Printing Press Bar & Kitchen, as well as a new coffee shop, Burr & Co. With an urge to nurture the human response to the environments that guests find themselves in within The George Hotel, Goddard Littlefair focused on space, light and texture in creating many pieces of bespoke lighting and furniture for the hotel.

Following the acquisition of The George Hotel by hotel specialist investment group Starwood Capital, The Printing Press Bar &

Kitchen is a 92-cover, 186sqm restaurant and a 116-cover, 207sqm bar, which flow into and adjoin one another in a fully flexible setting. It emanates a grillbrasserie feel with an authentic Scottish direction aimed at offering a culturally rich dining experience from new head chef Colin Fleming. Chef-restaurateur Des McDonald played a key role in developing the restaurant concept with Goddard Littlefair. The design team worked closely with McDonald, using his understanding of brands and restaurants to help develop the creative direction. Director of Goddard

Littlefair Martin Goddard commented: “The Printing Press aims at residents of, and visitors to, the city of Edinburgh as well as at hotel guests, with maximum flow and adaptability throughout the day, so that bar guests can eat from the bar or restaurant menu for example, whilst Burr & Co offers soups and salads to attract lunchtime custom from passing trade and local office and shop workers.�

The overall footplate for the new restaurant and bar was as per the existing hospitality space in the hotel, whilst Burr & Co, separate from The Printing Press, inhabits

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a space formerly used for meetings. In a slightly different, more contemporary style, Burr & Co hosts a new timber shop front fascia, recreating one of the original Victorian-era shop fronts, designed by architects 3D Reid with branding by Londonbased Plus Agency.

The hotel itself is a category A listed building comprised of five townhouses, which meant treading carefully around existing surfaces and treatments. “Our overall approach was to be highly respectful to the building’s original fabric as well as to the late Victorian insertions,

ensuring a feeling of restored grandeur,” explained Goddard. “We aimed to create an environment that instantly feels long-established, with a real sense of the building’s naturally imposing proportions and the highest-quality, authentic materials.” Goddard Littlefair Senior Interior Designer Stuart Wilson also worked on the project and described the overall style of the interior design as “industrial chic”, which required an effortless blend of industrial style into the Georgian fabric of the building.

Guests enter The Printing Press Bar &

Printing Press Bar & Kitchen dining area with bespoke pendants and chandeliers working with daylight to illuminate the space. The bar features inset lighting to add an industrial chic sparkle to glass and bottles.

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Left Ribbed glass screens with inset LED light in The Printing Press Bar & Kitchen dining area. This space also features ribbed glass screens without LED, allowing daylight to come through and provide a semi-private dining experience. Above Right Goddard Littlefair's modernised Victorian glass lamp shade with twisted arm in Burr & Co's intimate cafe space. Below Right Burr & Co's Victorian style shop front.

Kitchen either directly from the hotel or from the street’s listed revolving door entrance. The bar counter was removed from its former location at the front of the space where it tended to block and impede restaurant access at peak times, to a raised level to one side. The bar features bespoke oak joinery with black metal and brass gantries with inset light to set off the displays of glass and spirits.

Wilson discussed with darc the importance of the lighting scheme as a key feature in creating this blend that respects the building’s heritage while bringing it into the modern age. “The original building was the inspiration for the lighting really; the need for artificial light was quite important because we didn't get a lot of natural light in the space,” he said. “So the industrial chic look was achieved by working with the form of the lighting. Nearly all of our lighting and furniture products are bespoke designs, and we always get involved in every part of the design process, working with lighting manufacturers to help make

our design visions work.”

The design team strove to take the character of an industrial looking fitting, and then soften it. “For example the wall feature light on the mirrors in the restaurant – the materials used effortlessly suggest industrial but we added a turn in the arm which softens it, blending it with character to create a Georgian, traditional feel,” said Wilson. “Nothing too heavy or hard – we just played with the shape and angles of lighting and naturally allowed the bespoke lighting to develop with the style of the building.”

The building itself was not only a point of inspiration but also dictated where Goddard Littlefair could place the light fixtures.

As a Category A listed building, Goddard Littlefair could only place lights where fittings already existed. This worked to their advantage in that existing support in the ceilings was already in place for the weight of the lights, however they were restricted at the same time in terms of where they could fit them.

Wilson discussed how they worked with these restrictions: “Luckily the placements of the two main pendants in the restaurant were in spaces where we could be flexible with our tables as they can be moved around and pushed together for different arrangements. There’s enough space around both central pendants underneath to centralise the long tables if needed to get that symmetry which we pride ourselves on.

The regulations in how we could structure the lighting scheme was both flexible and restrictive in that it dictated where we could put our fixtures, but it meant we could be more creative with how the furniture worked around the lighting. We were then also able to be more flexible with the wall lighting, and make features using mirrors to reflect the light.”

The restaurant also features tall, ribbed glass screens with inset LED lighting designed again by Goddard Littlefair, that work to divide the dining spaces and give diners some privacy. “The idea developed from the concept of industrial screening

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that you see in old warehouses,” said Wilson. “We wanted to create a semiprivate dining space to allow guests to feel comfortable and to divide up the space. Then we also have the screens that don’t have lighting inset which work with natural light in the day coming in from the big window in the back, creating some beautiful colours, shadows and shapes.”

Burr & Co, a separate venue from the Printing Press Bar & Kitchen, then takes on a slightly more contemporary aesthetic, while maintaining the Georgian aspect with modernised panelling and a fresh approach. “Right from the start, Burr & Co was to have its own identity,” said Wilson. “It had to work as an interactive space. In coffee shops, there are people running in to grab a quick coffee, people who want a bright space to meet friends, or just sit down on their own, so we had to make it work in all these dynamics.” Every single element is new in the converted and unlisted space, and follows a similar colour scheme to the Printing Press, while

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including more obviously contemporary elements such as a bespoke lighting display of ceramic pendants in varying sizes in the same blue-green colours as the ceramic tiling. A long bespoke oak refectory sits as a central feature underneath the centre piece lighting. Wilson continued: “We wanted to keep a contemporary feel to the design, adding little details to bring it into the 21st century. The lighting was developed from the idea of traditional glass decorative wall lights, and we just made simple adaptations like straightening the arms and using coloured glass, which instantly modernised the original take on the glass lamp shade.”

As a testament to the importance of light in interior design, Wilson spoke of their main challenge as being able to get the amount of light needed. “The lighting is the most important aspect of the design. We didn’t have much natural light to play with.

We had to make sure there was the right balance between accent and direct lighting, which I think we achieved well in the end.

We used a small amount of architectural lighting in our favour to dictate how we wanted to preserve the original beauty of the building and make it work in harmony with the decorative design.”

Goddard Littlefair has created a series of spaces that go above and beyond one era or one style. These spaces transport guests to a contemporary Georgian time that sits with ease in today's world, where they can dine comfortably in style, whether they’re in a morning rush or settling down for the evening. “The best part about the whole thing,” said Wilson, “was seeing people using and understanding the space that we had created.” Surely that is the dream for interior designers, to see people choosing their space, for people to want to be surrounded by their vision. So with that in mind, The George is nothing short of the interior designer’s dream. www.goddardlittlefair.com

PROJECT DETAILS The George Hotel, Edinburgh, Scotland Client: Des McDonald Interior Design: Goddard Littlefair Lighting Specified: Goddard Littlefair bespoke fixtures

Top Right Goddard Littlefair's modernisation of the Victorian glass lamp shade in Burr & Co. Right Goddard Littlefair's bespoke ceramic pendants above central shared table in Burr & Co café.

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At the far end of the CP Hart showroom a copper pipe maze with LED filament lamps creates a dramatic chandelier over the café bar, drawing customers through the space.

Archway Ambience studioFRACTAL worked with Morrow Lorraine architects to transform designer bathroom retailer, CP Hart's new showroom into a space that subtly emphasises its existing architectural character while highlighting the products on show.

Pics: James Newton

With aspirations of creating an environment that was more than just a showroom for designer bathroom products, CP Hart turned to the talents of Morrow Lorraine architects to create a space that could be used for product displays, launch parties, and as a working environment for designers to meet clients.

Having worked previously with Morrow Lorraine, lighting design practice studioFRACTAL was invited by the architects to be involved in the new London-based showroom. With a focus on creating a memorable customer experience, this provided the practice with a great opportunity to create something really special. However the team was aware that a space with such theatre and drama would be a big step away from their more typical showrooms with high levels of retail lighting. studioFRACTAL worked closely with CP Hart and Morrow Lorraine to develop a lighting strategy that created a series of customer zones within the open plan space.

The strategy looked to subtly emphasise the existing architectural character while highlighting the range of products, new and old materials and textures, as well as deliver ambient lighting appropriate for the range of uses. A combination of lighting layers create a fantastic atmosphere, defining individual spaces within an overall visual landscape and encourages visitors to explore.

Each customer zone has very specific characteristics and functions, varying from a high-end bathroom gallery to a café bar area. During the initial lighting strategy work, studioFRACTAL proposed the use of warm white and cool white lighting to fully enhance the visual impact of each

zone. Warm white lighting has been used to create relaxed environments within the entrance lobby and café bar and also to emphasise the colour and texture of the existing brickwork. Cool white lighting has been used for ambient lighting within the Work Zones and also for accent lighting onto the variety of porcelain and metal products on display. This combination of warm and cool, texture and sparkle helps create focal points within each space and helps pull visitors through the entire showroom, while still providing excellent illumination for the range of work and relaxing activities that take place.

The overall lighting design creates a seamless journey throughout the showroom, leading guests on to the next zone. To help punctuate and enhance this journey, three specially designed and manufactured decorative light fixtures were included. Suspended over the entrance lobby, undulating copper pipes are softly illuminated by an LED fibreoptic system, creating a relaxed and sophisticated welcome. At the far end of the showroom a copper pipe maze with LED filament lamps creates a dramatic chandelier over the café bar, drawing customers through the showroom. Then, in the centre of the space, a waterfall feature draws the eye to the range of brands CP Hart provides. Each feature has been designed to provide a very specific level of visual impact and character to ensure that they all work together to create a strong identity to the showroom.

Commenting on the final outcome of the lighting design, studioFRACTAL’s Design Director, Ian Payne told darc: “We’re extremely happy with the design and how it has been realised. The whole project team worked really hard to create something

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special and we think that this has been achieved. The client is extremely happy, but even more satisfying has been the positive response they have had from their customers.

“The design of the showroom as an open plan space requires the lighting to provide visual modulation, definition and character,” continued Payne. “There are several aspects of the original strategy that have been extremely successful, one of which is the use of warm and cool white light. The use of soft washes of warm light on the brick arches creates a calm, but rich, background ambience that contrasts to the focused cool white lighting onto product displays.”

The location of the showroom underneath the brick railway arches leading to London's Waterloo station provides an atmospheric volume to the showroom, with high vaulted soffits and textured brickwork throughout.

Because of this, there is very little daylight within the showroom, which has actually contributed to the lighting scheme in a positive way; the levels of ambient lighting have been more controllable and have created more dramatic, theatrical effects.

While impressive, the showroom's location provided a challenge to ensure that the architecture didn’t overwhelm the space and there were also some structural issues to consider, as the lighting practice’s Ian Payne explained: “The railway arches of Waterloo are owned and maintained by Network Rail. As part of the design process all fixing locations had to be approved by Network Rail and the design had to allow for regular visual inspection of each fixing location. This proved to be a challenge for some of the large lighting features as it restricted the number and positions of permitted fixings.”

Suspended over the entrance lobby, undulating copper pipes are softly illuminated by an LED fibre optic system, creating a relaxed and sophisticated welcome.

ph. b. saba a.d. emiliana martinelli www.martinelliluce.it

13-18.03.2016 | Frankfurt HALL 1.1 | STAND D50

DARC - marzo 2016 - cyborg.indd 1

16/02/2016 11:43:02

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Left The use of soft washes of warm light on the brick arches creates a calm but rich background ambience, contrasting to the cool white lighting on the product displays. Top A series of customer zones were created within the open plan space. Cool white lighting has been used for ambient lighting within the work zones.

Above The showroom's location under the brick railway arches provides an atmospheric volume with high vaulted soffits and textured brickwork throughout.

Working within these restraints and to simplify the installation process, studioFRACTAL developed each lighting feature as a series of modular components that could be easily assembled on site.

The 5.5m diameter entrance lobby feature comprises eight elements that were fixed together on site and winched into place via a permanent hydraulic winch. If access is required above to inspect the fixings, the feature can be lowered to the ground.

For Payne, one of the standout features of the project was the client’s conviction that lighting should be fundamental to the environment that they wanted to create.

The client team instantly responded to the proposed lighting concept with great enthusiasm and understanding of how

important the lighting would be in creating a positive experience and while there was a capped overall construction budget, studioFRACTAL was asked to provide what they thought the lighting budget should be.

“This was a very rare opportunity to input how much of the overall budget should be allocated to lighting,” said Payne. “While I am sure that our proposed budgets would have come as a bit of a shock, compared with what would have been spent historically on a CP Hart showroom, it wasn’t challenged and we were allowed to produce a scheme that is worth every penny.” www.studiofractal.co.uk

PROJECT DETAILS CP Hart Showroom, London, UK Client: CP Hart Architect: Morrow Lorraine Architects Lighting Design: studioFRACTAL

LIGHTING SPECIFIED Bespoke decorative lighting features in reception lobby and bar / cafe manufactured by Universal Fibre Optics Made Chicago floor lamps Flos F-80 recessed LED spotlights Flos Easy KAP 105 recessed spotlights Flos suspended Light Bell LED pendants iGuzzini Palco track mounted LED spotlights Deltalight Spy on 83033 surface mounted LED spotlights Projection Lighting Alpha LED Micro 70 recessed LED spotlights Architainment LED Linear VarioLED Flex Hydra HD15 LED lighting tape Architainment LED Linear VarioLED Flex Side View HD20 LED lighting tape] Architainment Dynalite lighting control system

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INTERVIEW

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“Light directs people” Design studio GamFratesi, founded by Italian architect and designer Enrico Fratesi with his partner Stine Gam, holds curiosity and culture at the heart of its design. Fratesi tells darc about the inner workings of the studio’s collaborative design processes.

Pic: Tuala Hjarnø

Developing an approach from a fusion of tradition and renewal in an experimental blend of their own backgrounds, Italian architect Enrico Fratesi and wife Stine Gam, a Danish architect, work together in life and craftsmanship to create intelligent and thoughtful designs for comfortable living. Together they founded GamFratesi design studio in 2006. Based in Copenhagen, Denmark, Gam and Fratesi continuously travel between Italy and Denmark for development and research of new projects.

At Danish design supplier Gubi’s Copenhagen store, sipping coffee from GamFratesi’s TS Table, Fratesi tells darc the story of how architecture and design came together for GamFratesi to create a family of products that enrich people’s lives, and led them towards light.

How did this journey of design with your partner begin for you?

We met while we were studying architecture. It was our first love. My partner was interested in craftsmanship and

woodwork, and I always thought I would be an architect. So I think we met somewhere in between these two areas. It came in a very natural way and it felt right for us. A focus on design came from an interest in smaller details.

Architecture is very much part of our studio but it is not something you can just produce yourself at the start. There are so many rules, but with lighting and furniture you have so much more freedom in what you make. You can attract people in the way that you communicate through detailed objects. So to us, architecture, furniture, lighting and accessories are all linked. They fill the spaces that architecture creates.

In a combination of our interests and skills, we very quickly found an interesting combination of large and small-scale design. We were very open and curious with each other and our countries. And I think because we were so interested in each other we then became a couple, which was interesting because it then wasn’t just about work and we could be honest in the

way that you are with your partner. It’s not just about being formal; it’s about being honest about what you’re making and what you’re doing.

So this opened up the door collaboratively in a much stronger way. It was more intimate than just practically setting up a studio. It was more emotional and poetic than that. This is how we reached our status in design quite early on because we were spending so much time together and we weren’t afraid to talk. It was a very interesting process.

Do your backgrounds play a part in your creativity?

We’re very lucky in that both Italy and Denmark have strong traditions in design; both places are amazing and are each a strong movement in the creative world. So we have brought our backgrounds with us and shared these backgrounds with each other. It became very natural to have our own expression, our own sense of style, not based on any rules where we have to go one

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way or the other. We started and continue to work with more of a combination of us as people, and our philosophies.

What is it about lighting that interests you and how do you approach it?

Lighting is very close to the cultural philosophy of Denmark. There is a lot of respect for light in the way that it reflects, how it illuminates a room. The lack of direct light has been a main principle in our designs. For me this is very interesting because I come from a culture where light is extremely strong and direct, so for Stine it was more in her background to seek light.

We kind of embraced the Danish respect for light in a space.

When we work architecturally, we always try to incorporate a home environment where you have a few small lights rather than one big strong light. This helps to create ambience, and it helps people to find their own space rather than being placed somewhere. Lighting directs people around a room so you can put the lighting where you want people to go. There is a very natural element about the light in a space and where people will be.

What have been some of your most notable lighting projects?

We were very happy about our Cheshire table lamp for FontanaArte. Based on the Alice in Wonderland cat, the idea is that it’s always there for you in your home, like a peaceful cat. It also produces a beautiful quality of light because it’s a combination of screening and diffused light, so around the lamp you get a really nice atmosphere that’s not too strong. The shape is nothing too revolutionary, but it’s very much us. It goes back to tradition and it was actually quite complicated to make.

We also did the Volume table lamp for Lightyears. This was based on the principal of using the lamp as you feel it, rather than just turning it on and off. You can interact with this lamp depending on how you feel by turning the head and dimming the light.

Every time your behaviour needs to be adjusted, you need to adjust the quality of light as well. But often the dimmer is put somewhere you’ll never use it, so we wanted to have something that you could really use, something interactive. These two lamps are very different but they’ve both been well received commercially.

What has been a significant moment in your career?

A strong step for us was the first time we were at Stockholm Furniture Fair in 2014. We were the youngest designers

Cheshire pendant lamp by GamFratesi for FontanaArte

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to be invited and it really was an honour to be there. I think people were very surprised to see how we based our designs on philosophies that we both have in our backgrounds and ways of work. As well as being an important moment in our careers, this was also a time when we learned to develop a balance between family and work. It can be difficult in artistry to know when to stop working and how much you should do. That was something very important that we settled into around that time.

Also our on-going relationship with Gubi has been really good, with our products still growing in sales. We have also worked with Hermes in Japan on window displays, which was a huge honour. This was an interesting project thinking about how to communicate with people outside the shop to bring them in. Every time you collaborate with someone from a different country you learn to understand how things are made differently through different personal processes.

Volume table lamp by GamFratesi for Lightyears

Do you think you have a signature style?

People say that they can see GamFratesi in our designs. They see something. For us, it is an honest combination between the idea of the natural material, the round shape, and the use of furniture that we have in Scandinavia. We like to use classical Italian materials such as stone and glass but we work with them in a Scandinavian way and I believe you can really see that in different ways.

Are you seeing any trends in lighting design right now?

There is a return to decoration but in a very subtle way. Pure minimalism can be difficult to achieve sometimes. If the decoration is made in a subtle and gentle way, it can really enrich the product. But it’s very difficult to find the balance because if you push it too much, it can easily become vulgar. So you have to find the limit and know where to stop. There is a trend towards minimalism with a small amount of decoration. It’s the relationship with small detail and a craft, and I think this is coming back in lighting.

Cheshire Tavolo lamp by GamFratesi for FontanaArte

Any idea what we can expect from you next?

For now we know that we will design one lamp range for Lightyears. It’s going to include a pendant and a floor lamp and we aim to launch it in the summer. With all of our influences, we never know what the next project will be. www.gamfratesi.com

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PROJECT

Pic: Markus Felsch

Marble Muse Felsch Lighting Design has developed a classic and sophisticated lighting scheme to match JOI Design's grand interior of the Hotel Reichshof, Hamburg.

German practice Felsch Lighting Design planned and executed the new lighting scheme in Hilton’s first European hotel of the Curio Collection in Hamburg, Hotel Reichshof. Working closely with Event Hotel Group, German interior designers JOI Design and Felsch Lighting Design worked with the building’s historical interior and physical structures comprised of rich materials and colours, to create a lighting scheme to match and accentuate the hotel’s grand interior.

Event Hotel Group required a lighting scheme for the interior and exterior that would blend coherently with adjacent listed heritage buildings such as the Hamburger Kunsthalle museum and the Schauspielhaus theatre. The design brief was to create a “spectacular understatement,” as Felsch Lighting Design's founder Markus Felsch called it, “typical of Hamburg mentality.

It was to be luxurious and traditional, yet modern and timeless.

“Two groups of luminaires were incorporated in the lighting design of the hotel,” explained Felsch. “Luminaires that support the 1920’s style included visible fixtures with distinctive and expressive form, and that clearly blend with the interior design concept. The second group included luminaires that emphasise the architectural features, which were almost invisible fixtures, there to create a calm yet spectacular lighting.”

Felsch Lighting Design used its “practical yet slick” style to work with the glamorous yet understated 1920’s style of the hotel.

Using their expertise to make strong decisions in highlighting “the real hidden treasures” of the hotel, or choosing to “drop odd design features of the past.”

The basic light level throughout the

hotel is achieved through track-mounted spotlights, which are recessed in the ceiling and invisible to the viewer, allowing the decorative pieces to steal the show.

Entering through the hotel’s lobby, the team set out to illuminate the vertical surfaces in the lobby of the hotel to emphasise the spaciousness of the area, thereby elongating the room by drawing light from top to bottom. The floor of the entrance hall was illuminated to provide a comfortable and safe walk through, while the seating areas and core architectural elements were illuminated to accentuate the structure of the area.

The main decorative lighting feature of the Reichshof lobby is the custom manufactured chandeliers by Felsch Lighting Design glowing a striking purple. Alongside the sleek white and chrome marble interiors, this modern colour and contemporary

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Pic: Markus Felsch

Pic: Marlin Oeing

Left Tom Dixon's Beat Fat Black pendants in open plan library / lobby area, with Felsch Lighting Design's custom made purple chandeliers in the lobby. Above Heathfield & Co.'s Derwent rectangle oiled bronze wall lights and Astro Lighting's Ravello Table lamps at reception. Below Felsch Lighting Design's custom manufactured red luminaires in lobby tea lounge, with Astro Lighting's Ravello Floor lamps and Heathfield & Co.'s Elenor Graphite table lamps providing intimate lighting.

design immediately presents an intriguing contrast that sets this interior design and lighting scheme apart. Alongside these custom designed focal points, the lobby is well lit through a number of decorative lighting pieces working together to create a harmonious and welcoming entrance.

Several SlimLite CS LEDs from German lighting specialists Hera feature through the space and elsewhere in the hotel as a linear LED luminaire framing the squared ceiling areas. This draws attention to the architecture of the building and provides subtle lighting from overhead.

Approaching the lobby’s check-in desks, the hotel’s staff work with light emanating from Heathfield & Co.’s Derwent rectangle oiled bronze wall lights that shine brightly from behind the desk to provide specific illumination for discerning tasks. In the lobby’s tea lounge area, standing tall are Astro Lighting’s Ravello floor lamps and Felsch Lighting Design’s custom made suspended red luminaires. Further illumination is provided by Heathfield & Co.'s Elenor Graphite, and Yves Antique Brass table lamps placed on larger and individual tables throughout the space,

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Pic: Marlin Oeing

adding decorative lighting for intimate lounge spaces.

In the adjacent open plan library area, guests can enjoy a drink while reading in a classic setting under Tom Dixon’s Beat Fat Black pendants suspended above tables to provide a gentle glow for quiet readers.

After checking in and getting acquainted with the hotel’s amenities, guests can enjoy dinner in Hotel Reichshof’s restaurant.

In keeping with the sophistication of the hotel’s interior, the restaurant features Felsch Lighting Design and JOI Design's collaborative custom designed chandelier as the centre piece of the room, providing the bulk of the lighting. Additional lighting is provided by Felsch Lighting Design’s custom manufactured square ceiling luminaires, without detracting attention away from the stunning chandelier.

Throughout the design process, the team faced inevitable challenges with functional requirements and safety obligations. As Felsch explained, heritage regulations

required them to “either hide luminaires well or match heritage style, while fire safety regulations demanded that the lobby also serve as an escape route. The materials for the chandeliers had to be perfectly safe. Due to these regulations, close attention had to be paid to properties of all materials.”

Despite any inevitable challenge, “in our humble opinion, the original vision has been achieved,” said Felsch. The lighting of Hotel Reichshof is crafted to complement the building's elegant marble interiors and grand spaces in a timeless design.

Without trying to override the building's classic interior, Felsch Lighting Design's scheme intelligently sheds a modern light to seamlessly integrate contemporary and classic design within Hamburg culture. www.felsch.de www.joi-design.com

Above Felsch Lighting Design and JOI-Design's custom chandelier in the restaurant, with Felsch Lighting Design's custom manufactured squareshaped ceiling lamps.

PROJECT DETAILS Hotel Reichshof Hamburg, Germany Client: Event Hotel Group Architect: JOI Design Lighting Design: Felsch Lighting Design

LIGHTING SPECIFIED Astro Lighting Ravello table and floor fixtures Eutrac Stromschienen 3-Phasen-Stromschiene surface track Felsch Lighting Design custom manufactured chandelier, LED recessed downlights, ceiling luminaires and pendants Fine Art Lamps Black + White Story ceiling luminaires and pendants Heathfield & Co Derwent Rectangle Oiled Bronze wall lamps, Elenor Graphite table lamps Hera SlimLite CS Seamless T5 luminaires Megaman LED lamp replacement for historical luminaires Molto Luce Illumini 2 linear LED Sattler Circolo 1320 suspended luminaire TDX Twist spotlights Tom Dixon Beat Fat Black pendants

[romeoegiulietta] Light + Building Frankfurt 13-18 March 2016 hall 1.1 stand F41

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PROJECT

Made From Scratch With spider-like chandeliers and lights made from recycled bottles, Dubai's Fumé restaurant is one of a kind in design and homely cuisine.

Working with Dubai-based lighting solutions company Acoulite, hospitality development company JAS Group has created an industrial, vintage interior for Fumé, a restaurant offering a global appeal to food at the Dubai Marina Pier 7.

Fumé’s interior, inspired by an avant garde neighbourhood eatery in Tasmania called Garagistes, works with industrial, rugged influences along with purposely mismatched flatware, unique pieces of artwork and custom designed decorative lighting, all made from a variety of materials to create an industrial yet sophisticated décor.

JAS Group, which doubled as client and designers of the restaurant, worked closely with Acoulite on the lighting and complete design vision, which was conceived by JAS Group CEO Elmar Pichorner. Together, they created a space to celebrate traditional culinary preparation methods that recollect childhood memories of comforting home style cooking.

The partners of JAS Group had worked with the Acoulite team on previous projects in Dubai making the collaboration a natural one. “The lighting design was a natural extension of the interior design process,” explained JAS Group Managing Director Joy Ghossoub. “It was very much a matter of ensuring we had enough light for guests to feel comfortable, for architectural features

in the space to be highlighted and work spaces to be sufficiently bright.”

The lighting, developed by Acoulite according to JAS Group’s direction, was driven by the décor and unique objects and furniture placed around the restaurant.

Acoulite’s Technical Project Manager Anil Lopez commented on the need for the bespoke fittings to complete the interior design and ambiance of the venue: “As the décor in Fumé is built around industrial and rudimentary materials, we had to manufacture customised light fixtures using similar materials that would complement the décor.”

The restaurant’s stairway features a chandelier in a row of LED illuminated recycled bottles suspended above tall tables, creating a colourful and unique lighting display that sits perfectly within the industrial and eclectic style of the restaurant. “The unique objects and intriguing furniture enhance the space,” said Lopez, “and in combination with the accent lighting, bring out the natural colours of the cuisine. The lighting scheme complements the location and atmosphere of the restaurant.”

The restaurant also features custom designed copper hanging lights with a wide brim and distinct red twisted chord to further enhance the industrial style. These

Pics: Murrindie Frew

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Left One of JAS Group's custom designed spider-like chandeliers made from table lamps transformed by Acoulite into a chandelier. Above Custom designed pendant chandelier made from recyled glass bottles.

provide illumination for diners at the bar table in front of the open air kitchen and in the staircase area. Ghossoub explained the importance of these decorative fixtures within the interior concept of the restaurant: “Lighting is a hugely important aspect of interior design. Poor design can always hide behind spectacular and effective lighting, but it never works the other way around.”

The main custom designed decorative lighting features are the spider-like chandeliers, each with fourteen arms glowing a warm LED white throughout the central dining area, providing a soft yet direct illumination above tables. “The chandelier was constructed using table lamps to create an industrial look based on Elmar’s concept of the so-called spider chandelier,” said Lopez.

Further to this, adding a gentle glow to the restaurant's walls, vintage wall lights hold a

similar shape in their shades to the hanging wide brim pendants, in keeping with the materials used to complement the décor.

JAS Group creates unique concepts that aim to make a disruptive impact on the market; Fumé exemplifies this ethos in introducing great food in an accessible, design-focused venue. A restaurant’s success lies in its ability to trigger all the human senses, and as Ghossoub concluded so aptly: “Lighting is a huge thing to consider. Make sure you tick all the boxes – and then a few more.” www.jas-hospitality.com www.acoulite.com

PROJECT DETAILS Fumé, Dubai, UAE Client: JAS Group Interior Design: Elmar Pichorner, JAS Group Lighting Specified: Bespoke fittings designed by JAS Group and manufactured by Acoulite

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IN FOCUS

Leaves of Luxury Leaf by Haberdashery celebrates the luxury and refinement associated with traditional bone china in a new sculptural lighting product system.

Images courtesy of Haberdashery 2016

London-based design practice Haberdashery has been developing bespoke lighting sculptures since 2008 for a range of international clients and locations. By blending a skillset converging art, design and engineering, it is able to deliver landmark sculptural and lighting projects driven by a strong narrative.

In 2015 the studio began to work within the world of products, with its first entitled Leaf, launched officially during Design Junction at the London Design Festival. Leaf is a UK-made, hand-finished bone china product developed in conjunction with the William Edwards factory in Stoke-on-Trent.

Designed to sit within a home environment, each Leaf sculpture is comprised of a canopy of delicately moulded bone china leaves suspended on thin wire from a ceiling plate with integrated downlights.

“On the leaf, bone china enables a very thin edge, giving it a translucent quality that lets the finish feel lighter because it’s literally letting light through the surface,” commented Haberdashery Creative Director Ben Rigby. “We’re interested in the subtlety and detail of material and how it plays with light, so bone china seemed like a good match for us.”

Haberdashery likes to play with light and

shadow to create atmosphere within an interior space. In order to do that with Leaf, they had to find finishes that would play with light in interesting ways; using 14 karat gold and platinum lustres, a highly reflective and opulent surface on the underside of the leaves reflects light while creating wonderful surface reflection.

Developed in the 16th century in Bow, East London then perfected in Stoke on Trent, bone china has ever since been hailed as the ultimate porcelain.

“It’s very much a British material, with very specific qualities about it,” said Rigby. “It’s a strong and durable material, but at the

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same time allows you the freedom to make something very delicate.”

These unique qualities made it ideal for Haberdashery to use in developing Leaf, and are in line with the studio’s ambition to keep manufacturing within the UK whenever possible whilst using the finest material for the job.

“We found a great manufacturer called William Edwards to collaborate with and they were really positive in helping us make sure we got something really detailed and exactly to our specification,” said Rigby.

“So it’s a lovely story for the Stoke-On-Trent ceramics industry, which is now reinventing

itself. I think we’re adding a good push in the right direction for this material to renew itself in the 21st century.”

When the seventh Duchess of Bedford introduced the concept of afternoon tea in 1840 to see her through those late afternoon hours preceding fashionably-late dinner, she inadvertently championed what has become a national pastime. Drinking tea from delicate bone china cups allowed those who could afford them to show off the strength of the material by adding the boiling tea first. Since these pioneering days of serving tea, bone china has become synonymous with luxury and refinement,

Above Left Leaf on display at FBC-London; medium ellipse in Gold Lustre. Above Leaves with real platinum lustre showing the highly reflective surface.

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and celebrates the unique skillset of the Stoke-On-Trent ceramic industry; qualities that are now celebrated in the Leaf product and incorporated with light.

Haberdashery’s Leaf not only acts as an original and timeless centrepiece to a dining or living space, but when lit creates dramatic shadow across the surrounding surfaces; although using simple, easy to maintain GU10 downlights the actual lighting effect is sophisticated and complex, drawing on Haberdashery’s rich experience in telling stories with light. Leaf interacts with light through reflection and shadow, rendering the effects of Leaf much bigger than the sum of its parts, as the shadows created spread over the floor and are reflected back onto the ceiling. “It’s a very simple effect really,” explained Rigby.

“We light from above with standard ceiling downlights to create the shadows. The

leaves that have a metallic lustre bounce ambient light off the underside, creating little patterns on the ceiling that are reflected from the metallic surfaces on the bottom. With the white version, you actually see light coming through, so they have a glowing quality to them.”

Leaf is available in a range of ceiling plate shapes and sizes, several lustres or glazed finishes on the bone china and can be suspended on either tarnish-resistant brass or stainless steel cables. The product is designed to allow for easy installation into a simple ply pattress, into a ceiling slab or into ceiling timbers. With each Leaf product made to order, the drop height is customised to each new client space to ensure the optimum viewing level and play of light and shadow, with the largest bespoke versions to date utilising over 3,500 leaves in a single sculpture.

Represented exclusively by luxury interiorspecialists FBC-London in the UK founded by Fiona Barrett Campbell, Leaf is a prominent piece displayed in the studio space. “I was introduced to Haberdashery a year ago," said Campbell. "What struck me about the Leaf in particular and the reason that I have chosen to represent this product is their timeless approach to design. Their organically structured installation contrasts beautifully with the industrial elegance of our studio. There is great synchronicity between the polished white and gold refined glaze of the Leaf and the FBC London collection.”

Haberdashery also develop bespoke versions, working directly with clients to sculpt a unique configuration for each new space, whether an atrium, hallway, stairwell or restaurant.

The careful control of light and shadow

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in conjunction with a mastery of material is an approach that Haberdashery will be applying to further products in development during 2016, with an increasing application of appropriate technologies to be embedded within product designs. Rigby discussed with darc how Haberdashery might experiment further with the nature of this material: “In the past grains of rice have been set within ceramics to allow light to pass through once fired into the material; we are looking to explore more modern methods of achieving this effect using rapid prototyping to create more detailed moulds, and further play with translucency and light. We are developing a more contemporary range of

lighting products in 2016 to be launched at Design Junction London, and we hope that ceramics will play a part in the ranges we will develop early 2017, with colour also playing a major part of our product lines.�

As such a versatile material, bone china appears the perfect partner to light, playing on its qualities of luminescence and shadow in the same movements. With plans to delve further into the possibilities that this material presents, Haberdashery will no doubt bring bone china in another journey from its origins in the nineteenth century to the world of light in the twenty-first. www.haberdashery.com www.fbc-london.com

Previous Page Concept sketches in development for products in 2016/17 featuring floral forms. Above Left Bone china leaves drying at manufacturing partner William Edwards in Stoke on Trent. Above right Individual moulds being opened to reveal slip cast leaf forms. Above An individual mould opened to reveal greenware (unfired clay ready for the kiln).

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folio Our regular feature highlighting the importance of decorative lighting in the work of one interior design practice. This issue, we present concrete. concrete is a design studio that prides itself on developing concepts within architecture, interior design, and urban and brand development.

Aiming to unite people through creativity, concrete works with a team of 40 multidisciplinary creatives as architects and designers to provide innovative creative solutions to businesses and institutions. Based in the heart of Amsterdam’s red light district, the team works on projects with an interdisciplinary approach to building brands, producing architectural and interior designs and urban development plans. It creates a range of colourful projects across the world, stamping each of them with a prominent lighting design that embodies the flair of the practice. www.concreteamsterdam.nl

happyhappyjoyjoy AMSTERDAM, NETHERLANDS concrete designed the concept, name, and identity of happyhappyjoyjoy, a restaurant representing an eclectic mix of street and market stall food found among the hectic streets of Asia. Divided into five spaces, the entrance of the restaurant draws customers in with a bright red neon happyhappyjoyjoy sign, casting a glow over the café inside. The entrance alleyway features eighteen coloured light boxes displaying different artworks behind windows varying in size and height. The venue then opens into a restaurant with chaotically plastered artwork on walls and large alcove seating areas beneath a red coloured backlit paper umbrella ceiling, strengthening the warm Asian ambiance of the room. The kitchen is connected to what is referred to as the ‘backstreet alley’, where high tables and bar stools stand for groups to enjoy their evening while watching the events of a hectic kitchen. The alley is illuminated by five Proplights by Bertjan Pot for Moooi, reminiscent of garlands of random streetlights as seen in pop-up street food stalls.

W Hotel

LONDON, UK In a collaborative project with Maurice Brill Lighting Design, W Hotel on Leicester Square is about inclusive exclusiveness, featuring bespoke lighting including pieces from Frandsen Lighting. The welcome area holds three circular pods for guest services, with each comprised of equal modular parts stacked differently to create three different shapes. A soft purple light supports the different shapes and shines from underneath and above each pod. A broad passage stretches out from the welcome area to the W Lounge on the other side of the hotel, where the seats and lights appear as one at first sight.

Yet each seating space has its own furnishing design and a light object that follows the shape of the seating. The hotel’s WYLD bar then features a circular booth surrounding bespoke cocktail tables that light up in red.

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Supperclub

AMSTERDAM, NETHERLANDS

Mazzo

AMSTERDAM, NETHERLANDS A former disco spot, Mazzo sits in a typical tall Dutch building, where narrow and deep spaces are fused together within different floor and ceiling levels. The first part, featuring a bar, has a five-metre high ceiling creating an intimate space, illuminated

by GUBI’s Bestlite wall series. The wall lamps above a nine-metre chesterfield couch and the suspension lights above the bar and tables create a living room ambiance.

The second part, lower but wider, houses the kitchen, with a seating area opposite in a flexible table arrangement, illuminated by five of Moooi’s Dear Ingo lamps.

Independent of the table arrangement, these modern chandeliers are a striking overhead feature that provide a pleasant and intimate light. The final part to the venue features the Bestlite wall series in a small backroom for children to play, again creating a homely feel for the space.

Supperclub is a restaurant, gallery, bar and club; an experience that serves to wash over the senses. Guests are introduced to the Supperclub environment in a neutral scene that transforms into a night full of spectacles, exciting food concepts, music and live performances. It is a blank canvas where coloured lights and visual projections transform the room. The restaurant/club is entered through the kitchen, where the chefs’ kitchen serves as a central part of the Supperclub, focused on stimulating the senses. Beamers are placed throughout the entire main room called Salle Neige, allowing visual displays of light and colour to take over the space. The displays work with the iconic columns, which emphasise the architectural quality of the room, giving more depth to the space and performances. Above the architrave and behind the backrests of the beds, a large string of RGB coloured LED lights enhance the dome shaped ceiling and intimate seating areas. The lights can be adjusted invididually in colour and direction, allowing for different settings throughout the night.

If you’re an interior designer with an eye for decorative lighting and have projects worth sharing, contact: h.fletcher@mondiale.co.uk

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Spanish Sensation Italian design studio Slide has created a hotel experience to catch guests by surprise and capture all their senses.

Slide worked in collaboration with Quintas Gonzalez Arquitectos to furnish Maciá Hoteles’ Granada Five Senses Rooms and Suites in Granada, Spain.

Well-versed in meeting the needs of living through practical and aesthetic furniture, Slide's versatile designs find a combination of light and vibrant colour merging to create the distinctive atmosphere that is characteristically evident in Granada Five Senses Rooms and Suites.

From the beginning, Jose Maciá Alvez of hotel group Maciá Hoteles wanted to create a unique concept within hotel design.

Working with architect Laura González Romero of Quintas Gonzalez Arquitectos,

they held lighting and interior design as “inseparable”, and integral to the project.

“The goal was always to create the element of surprise, awakening the sensations and emotions of the client. The building is a container of experiences,” commented Romero.

The Granada Five Senses Rooms and Suites was inspired by Granada’s heritage, culture and art. Each floor of the hotel offers a journey through the senses and sensations that a traveller can experience in the city; a smell, a feeling, a colour. “It aims to offer visitors a new way to see the city, a journey through the possible experiences of Granada living. The hotel recreates the

essence of the city,” explained Romero.

The decorative lighting throughout is of a playful nature, featuring soft shapes and white lights from Slide to create bright and purposeful spaces. In the common areas, the design concept involves the creation of large, open areas, “where decorative lighting plays a fundamental role in defining each room,” said Romero. Each lamp was chosen to invite a unique experience, with Slide's Knot pendant and Ali Baba Piantana floor lamps greeting guests in the entrance hall in the reception, evoking the flow and circulation of the spaces themselves. This playful theme is continued throughout into the breakfast buffet area, which sits on a

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Pics courtesy of Quintas Gonzales Arquitectos

balcony peering over and down into the lobby, where the Knot pendants are then at eye level.

Granada Five Senses Rooms and Suites was a very collaborative project. The architectural team alongside Slide sought functionality, without sacrificing form and design: “We want to provoke reactions in the spectator and for this we must innovate, create and move away from the conventional design,” said Romero. “In Slide, we have found a true ally; its design is young and cheerful. We identified with them as they bring to our architecture the touch of fun that we’re looking for.”

Staying true to the playful nature that

characterises the hotel's design, the lobby’s adjoining lounge area features Slide's Sirio star shaped lamps, evoking a starry night inside that is continued out into the courtyard, where Sirio lamps appear under the starry Spanish sky. Located in the fifteen metre-high courtyard, the Sirio stars are visible from the hallways to the rooms. Guests can enjoy a drink in the hotel bar, adjacent to the gym's entrance, where Slide's Nuvola lamps are suspended over white bar tables.

Slide and Quintas Gonzales Arquitectos worked together to create a playful space that reinvents the way form and function can flow between rooms, and merge design

Far Left Slide's Knot pendant in the hotel reception. Left Breakfast buffet area at eye level with Knot pendant.

Below Left Nuvola pendant in bar area and entrance to gym. Below Sirio lamps in central patio.

and practicality. The result is a thoughtful hotel that stands out within its sector as a sophisticated, youthful design. www.slidedesign.it www.quintasgonzalez.com

PROJECT DETAILS Granada Five Senses Rooms and Suites Client: Jose Maciá Alvez, Maciá Hoteles Architect: Quintas Gonzales Arquitectos Interior Design: Slide Lighting Specified: Slide Ali Baba Piantana, Knot, Nuvola and Sirio

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Left Panzeri's Golden Ring lighting fixtures create an eye-catching feature in the main loft space at FoodLoft Milan. Bottom Left The Panzeri Blanca pendant illuminates the kitchen space. Bottom Right Panzeri Ypsilon lamps decorate the walls.

Ready, Steady... Cook When Italian celebrity chef Simone Rugiati opened FoodLoft Milano as a multifunctional television and photography studio, he turned to Panzeri for functional yet decorative lighting design.

Pics: INTOthesign

In any setting lighting is extremely important, but even more so in a television studio - such as the recently inaugurated FoodLoft Milano at the Factory House of Simone Rugiati - a popular Italian chef who has become famous thanks to his culinary broadcasts. The modern photography and television set offers a unique multifunctional setting in Italy dedicated to the world of food and beverage and with a little help from Panzeri lighting fixtures, oozes style and sophistication.

Curated by architect Luca Pieracci, together with Simon Rugiati – who fell in love with the Panzeri lighting range at Euroluce last year – the manufacturer not only supplied the project, but was involved in illuminating this unique space from the very beginning.

Located in a quiet area of Milan, the television set features the award-winning Panzeri Jackie task lights; Ypsilon lamps, which adorn the walls and are made of mirror chrome, a material obtained by treating brushed and polished brass that is then subjected to the chroming process; and Blanca and Willy pendant lamps that illuminate the whole kitchen area.

In the ceiling, hidden Brooklyn profile fixtures run through the living area to the more spacious loft, which houses one of Panzeri’s most prestigious products – the Golden Ring. With a composition of circles, all different diameters and angles, these large circular lamps are the protagonists

of this part of the space. They have been finished on this occasion in gold leaf, which alternates with the white neutrality of the light. By using the Golden Rings in such a space as this, the flexibility of its redefined design is demonstrated; the product is in fact, just as well placed within a very informal and fashionable setting such as the FoodLoft Milano as it is in more professional and institutional settings such as offices and large halls within prestigious buildings.

During the realisation of the project, while Pieracci defined the structural elements and interior design of the space, lighting was completely assigned to Panzeri – both for the company’s lighting skills and stylisticdecorative choices, all while respecting the brief provided by the client.

The aim of the project was to use highly decorative objects that filled the vast space and given the television set’s size, it was necessary to provide significant lighting both direct and indirect, to illuminate the surfaces where the chef would be at work, but also use diffused lighting that could reflect on the ceiling and in the surrounding environment.

As natural light is almost completely absent from the television set, the need for artificial light was combined with decorative lamps and LED elements that can effectively illuminate spaces and integrate with the interior design, creating elegant and sophisticated atmospheric effects.

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The main difficulty the space presented was from the entrance. The corridor that separates the gateway from the television set is very narrow meaning there are no electrical points on the walls, which in turn meant lighting profiles on the ceiling were necessary. Panzeri also recommended that the LED light sources used for the television set should be white, as opposed to RGB as initially selected by the client, ideal for lighting situations such as photo shoots and television filming which would be performed in the loft on a daily basis.

Lighting within the FoodLoft Milano plays a strong functional, yet decorative role.

The Golden Ring circles work to fill the vast spaces of the loft, while the repetition of the Willy suspension fixtures creates continuity in the background. Lighting becomes functional with the use of task

light Jackie, which is used to complete the most varied forms of cooking recipes. The key factor that guided every decision during this project was the constant search for quality materials with beautiful finishes.

For this reason, the product selection required much more attention than a more traditional project might do.

Food Loft Milano is the first project in which Golden Rings have been installed after being launched at Euroluce 2015. The main challenge was to be able to deliver the first pieces just a few weeks after the market launch but ahead of the inauguration of this new location. Through this project Panzeri has showcased its lighting capabilities, not only as a manufacturer of luxurious products but for its skills in lighting design. www.panzeri.it

Left Lighting profiles have been placed on the ceiling of the entrance corridor to illuminate a difficult space. Right Panzeri's Willy pendants create continuity in the background space of the FoodLoft.

PROJECT DETAILS FoodLoft Milano, Milan, Italy Client: Simone Rugiati Architect: Luca Pieracci Lighting Design: Panzeri Lighting specified: Panzeri - Jackie task lights; Ypsilon wall lights; Blanca & Willy pendants; Brooklyn profiles; Golden Ring lighting fixtures

THE BRIGHTEST LIGHTS COVERED Join the celebration in London’s creative heart. See the best in furniture, product and lighting design from across the globe.

Register free at clerkenwelldesignweek.com CDWfestival

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Tales of Tea Australian interior design studio Matt Woods Design reinvents the clichéd teahouse concept with The Rabbit Hole in Sydney, Australia.

Pics: Dave Wheeler

An organic tea bar in Sydney, The Rabbit Hole is no exception to the name Matt Woods has built for himself so far with his design studio. An industrial designer by trade, Woods holds postgraduate qualifications in Sustainable Architecture and focuses on delivering high quality and sustainable projects primarily in the hospitality sector.

The Rabbit Hole’s design began in discussion with tea bar owners Corinne Smith and Amara Jarratt over five years prior to its realisation. “The brief was for the

delivery of a unique tea bar that was unlike anything seen in the existing market,” said Woods. “We were to avoid the tired and clichéd examples that are out there.

It was to be light, bright and dynamic.”

The design team achieved this by taking advantage of the former industrial site’s inherent architecture. Concrete floors were polished, herringbone strutted timber ceilings unearthed, and original brick walls revealed. These newly exposed elements were then white washed to soften the masculine architecture, while enlarged

northeast facing windows were added to allow light to flood the interior.

In view of creating a fresh, light approach to a teahouse, the lighting concept in relation to the interior design was paramount. “I always tell my client that lighting is the most important element in ensuring the success of any interior environment,” explained Woods. “The lighting at The Rabbit Hole has been divided into two distinct approaches, the feature lights and the workhorses. These two approaches work in unison to ensure the

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successful design of the space.”

Surface mounted spots that blend in with the herringbone strutted timber ceiling are used as the primary light source while decorative fixtures appear elsewhere to enhance the softness developed within the raw and exposed interior.

Inspired by Kintsugi, meaning to join with gold in the Japanese art of repairing ceramics with expressed gold lacquer, The Rabbit Hole shares in its celebration of the beauty of imperfection in ceramic objects. This is most apparent in the Speciality Tea Display, where custom designed Kintsugi bowls sit delicately above turned oak timbers beneath three of Allied Maker’s Dome pendants. With their golden shade, they reflect the inspiration

behind The Rabbit Hole’s design, creating a link with the irregular golden joins of the bowls below. The Kintsugi concept is further reinforced with the expansive use of a crushed ceramic tile, featured on the service areas of the café, such as the central monolithic retail display. Above the tile clad monolith, a chandelier made entirely of tea bags by Chilean artist Valeria Burgoa is illuminated by Reggiani's surface mounted Sunios LED projectors, which provide the base of the tea room's lighting.

To counteract these highly conceptual feature elements, much of the remainder of the design is more humble in form without being modest in design detail. A steel framed glazed wall complete with custom designed pivoting windows outlines the

Previous Page Handmade Akari light sculptures by Japanese designer Isamu Noguchi sit lightly above tea tables with Volker Haug's Sole Trader pendants suspended in the background. Burgoa's tea bag chandelier is suspended above the a display table and illuminated from above using Reggiani's surface mounted Sunios LED projectors.

Above Three of Allied Maker's golden Dome Pendants are suspended above the Speciality Tea Display, drawing links to the Kintsugi bowls below that evoke the Japanese art of joining with gold.

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smaller entry section with its own unique aesthetic. Adjacent to this entrance are Allied Maker’s Flush Brass Minimalist wall sconces, which also feature elsewhere in the space. On each surface, the ten pendants emit a bright white LED glow that complements the soft white wash of the once industrial space.

Woods commented on the effect of these choices in lighting and interior design: “I like to think my projects are warm and inviting environments for people to enjoy. I always lean towards raw honesty

in materiality and form, and I enjoy expressing the intrinsic nature of an urban environment.”

Further adding to this aesthetic are Japanese designer Isamu Noguchi’s handmade Akari light sculptures, which sit as balloon-like shapes above the tea tables. Light in colour and weight, these translucent shades work with the rest of the design to lift spirits and moods when passing time in the teahouse.

Enhancing the brightness of this space and working to soften the architecture are ten

of Australian LED designer Volker Haug’s Sole Trader pendants. These glow against the white washed brick and reflect Woods’ tendency towards raw and honest design as bare lamps that hide nothing and work to expose the space’s beauty.

“In The Rabbit Hole, decorative wall sconces and pendants provide that aesthetic punch,” continued Woods. This is further reflected with just two of American manufacturer Workstead’s cast iron, steel and brass wall lamps, which stand out from the other decorative fixtures with a darker

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Above Workstead's cast iron, steel and brass wall lamps work with Volker Haug's Sole trader pendants to enhance the white wash walls. Centre Allied Maker's Flush Brass Minimalist wall sconces feature on the steel framed glazed wall with pivoting windows. Far Right Akari light sculptures by Isamu Noguchi.

frame yet remain soft in their illumination.

With these decorative fixtures and conceptual features of the restaurant, Woods reflected on how the project differed to others that the design team had completed: “It’s perhaps a bit more whimsical than what we’d normally deliver.

The term whimsical was often thrown around at the early design meetings by the client and it pushed us in a direction that we would not usually have explored. As a result, we exploited this to its ultimate conclusion and as a result the project was

stronger for it.”

The Rabbit Hole is a project that tested its design team, with everything that could go wrong, going wrong. The overall vision was clearly articulated and the team worked hard together to ensure the project was delivered as anticipated. The result is a testament to the design team’s efforts and in the end, any challenges encountered added to the improvement of the interior. www.killingmattwoods.com

PROJECT DETAILS The Rabbit Hole, Sydney, Australia Client: Corinne Smith & Amara Jarratt Interior Design: Matt Woods Design

LIGHTING SPECIFIED Allied Maker Dome pendants Allied Maker Flush Brass Minimalist wall sconces Isamu Noguchi Akari pendants Reggiani Sunios LED projector Workstead wall lamps Volker Haug Sole Trader pendants

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Pics: Ryan Fischer

Time for Supper Working closely with the restaurant's owners, US lighting practice Focus Lighting has created a subtle layering of modern lighting elements at Yvonne's to accent the restaurant's historic interior features.

Focus Lighting's Ryan Fischer talked darc through the process.

Yvonne’s restaurant is a modern reinterpretation of the early 20th century supper club. Drawing inspiration from its predecessor, Boston’s iconic Locke-Ober, the owners took a hands-on approach to Yvonne’s design, working closely with Focus Lighting to develop the entirety of Yvonne’s luxurious and sophisticated interior.

Early collaboration with the owners allowed the lighting designers to influence design decisions that produced a subtle layering of modern lighting elements to accent the restaurant’s historic interior features.

Decorative fixtures were then pushed to the forefront as visible sources of light, all working to reinforce Yvonne’s’ old-style aesthetic.

“The nature of Yvonne’s design involves so many intricate details such as the ceiling coffers, tables, bars and so on. These were

all important to highlight,” said Focus Lighting’s Ryan Fischer. “Finding creative ways to use each lighting element was vital.

To uphold the restaurant’s concept, it was important to conceal all modern lighting elements within the architecture. This was accomplished through a great deal of collaborative on-site work creating lighting effects and millwork simultaneously.”

Five concealed layers of light work to highlight intricate details in a 140-year-old hand-carved back bar. Track accents hidden behind a dropped soffit graze the textured cabinet doors and griffin sculptures from above; while LED tapelight integrated into stemware cases and bottle risers creates hundreds of sparkle points to reflect in the pieces of glassware displayed behind the bar. It was also important that the lighting complemented the guest's appearance and

so a sixth layer at the bar produced by oldstyle bar top lamps reflects softly off the bar and onto their faces.

The project’s collaborative nature influenced a number of subtle changes over time. Fischer presented the owners with a lighting study explaining how white table tops (instead of a dark finish) would provide seated diners with an additional layer of light reflected from recessed fixtures above. This ultimately convinced them to use white table tops throughout the entire restaurant.

In the main dining room, the location of over 60 recessed table accents was coordinated prior to the assembly of a 30,000-piece ornamental ceiling. Fischer strategically positioned each fixture to avoid intersecting with the ceiling’s embossed scrollwork, sculpted borders,

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Far Left & Above Left Antique clear-glass filament lamps were used in new decorative chandeliers and wall sconces throughout to replicate the low-level warmth and colour temperature of the original gasfed light fixtures that once lined the walls and bac bar. Above Right The restored pressed-tin coffered ceiling above the main lounge contains jewellike crystal-cut A19 lamps, creating visual depth that presents each coffer as a decorative source of sparkling light. Left In the library, a glowing bookshelf captivates in the mystery of its invisible light source - LED tape light integrated into the lip of every other shelf.

and molded cherubs. Black baffles in every recessed accent almost completely eliminate glare, and decrease fixture visibility within the ceiling. A group of crystal chandeliers hanging in the centre of the room uplights the ceiling to reveal its ornate detailing.

Past the main lounge, glowing bookshelves in the library lounge captivates in the mystery of its invisible light source. Custom millwork allowed Fischer to integrate LED tape light into the lip of every other shelf, creating depth and visual interest with an intimate layer of light.

“Decorative elements were integral to the lighting design as they help reinforce the restaurant’s old style and luxurious aesthetic,” said Fischer. “Side light from wall sconces emulates that of original gas-fed light, while crystal lamps and

chandeliers add a layer of sparkle.

“We were all very happy with the final result. Our first time turning on the bookshelf lighting, the entire room stopped for a moment in awe.

“The lighting throughout works seamlessly with the restaurant’s historic interior to transport guests back in time to the 1920’s and 30’s.

“We wanted the space to feel like an underground speakeasy, so we closed off existing windows in the dining room and lounge areas and eliminated any natural light.”

With refurbished and refashioned old-style lighting fixtures pushed to the forefront, while modern architectural lighting elements work behind-the-scenes, the lighting design at Yvonne’s successfully reinforces the opulence and sophistication

the owners envisioned.

“Working with the owners without a design architect was a new experience for me.

Chris and Mark had a clear concept and goal, which made the design feel almost effortless,” concluded Fischer. www.focuslighting.com

PROJECT DETAILS Yvonne's, Boston, USA Lighting Design: Focus Lighting

LIGHTING SPECIFIED Bethel International crystal chandeliers Hudson Valley Cortland wall sconces Tango Lighting Little Twist Table lamps Visual Comfort wall sconces Westinghouse G20 cut crystal lamps

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A Shore Thing Designheure provides a playful and colourful setting to a seaside luxury brasserie, where guests dine beside lapping waves and cockle shells.

Pics: Maxime Imbert

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Left Designheure's Moyen Nuage 15 chandelier features in the lobby with looping steel cables, relating with the deep yellow of the Petit Nuage wall lamps lining the staircase. This Page Petit Nuage pendant lamps in dining area.

What was once a practical, old-fashioned building housing a bookshop, tourist office, post office and even a radio station, now serves as a place of luxury for those looking to dine amongst design. Entirely redesigned

by Jérémie Airiau of architectural design firm ADE Architecture based in Nantes, France, Le Shore is a seafront brasserie on the embankment of La Baule.

Aiming to surprise with the restaurant’s unique positioning and inviting atmosphere, restaurant owner Yves Guérin worked closely with the architectural team to

redesign the building. “We had a precise idea of what we wanted to achieve,” said Airiau, “aiming to redesign the building into several spaces, including a bar, a brasserie, a teahouse and a library.”

Initially drawn to the project for Guérin’s meticulous and thoughtful vision, Airiau was then sold on Le Shore for how its interior design and lighting could interact with the restaurant’s stunning sea views. “The lighting was essential on this project from the beginning,” said Airiau. “The main challenge was to use lighting to create

different spaces. The client wished for natural daylight, with a more intimate and romantic light for the evening. So all lighting was installed with a dimmable system to allow a change of atmosphere in each space.”

Starting with Designheure’s Nuage collection, guests are greeted in the entrance by a delicate yet prominent lighting scheme, a specific request from Guérin. “The Nuage collection was perfect for this,” said Airiau. Comprised of three pieces from this collection, the yellow

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Moyen 15 chandelier in front of the stairs gives off a golden glow, with deep yellow shades standing strong among loops of steel cables. This statement piece creates a conversation with the Nuage Petit wall lamps that appear next to the staircase with the same coloured shade, with Petit pendant lamps are also used elsewhere in the restaurant. Also from this collection, Nuage Grand 122 floor lamps feature in a yellow more similar to its adjacent seating area, bringing lighting and furniture together while adding more direct illumination closer to the dining tables.

A main lighting feature consistent throughout the restaurant is Designheure’s Petit Cargo suspension lamps. These work well to draw each space together with a neutral white that makes a statement through its bold design and black outlines.

Each dining area takes on a different colour scheme that relates to its seaside surroundings, and the lighting works to exaggerate these colours and emphasise the relationship. “The Cargo collection is like being in a boat, as it illuminates the room in front of the sea,” said Airiau.

“Sometimes we feel we’re in an imaginary universe, underwater, submarine, with fishes swimming through the psychedelic wall paper.”

The restaurant truly is an experience to spark the imagination and let guests feel their outdoor surroundings from a sophisticated indoor setting. Designheure’s decorative fixtures hold the right combination of quirky creativity and style for a restaurant with such history and inspiring location. www.ade-architecture.fr

Above Designheure's Lightbook pendants along the wall with Petit Cargo pendants making a main feature over dining tables.

PROJECT DETAILS Le Shore, La Baule, France Client: Yves Guérin Architect: Jérémie Airiau, ADE Architecture

LIGHTING SPECIFIED Designheure Lightbook pendants, Petit Cargo pendants, Moyen Nuage 15 chandelier, Petit Nuage wall and pendant lamps, Grand Nuage 122 floor lamps

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Maison et Objet January 20-24, 2016, Paris, France Despite the tragic terror attacks to hit Paris in November, the decoration world thrived at the latest edition of the show, exhibiting works from French designers to international brands in luxury and design. A total of 2,978 exhibitors from 59 countries, including nearly 700 new names, took part in displaying high-end, updated collections further corroborated by market observers. Maison et Objet Paris saw a pronounced return of French visitors with a limited drop in visitors from abroad of only 8%. The show remained true to its mission of standing as a resource for the industry, catalysing its growth through its high standard of event content. www.maison-objet.com

Night Birds Brokis

Belle D’l Collection Hind Rabii

Inspired by the freedom of bird flight, the Night Birds ceiling lights create variable compositions ranging from several individual lights to entire flocks of birds. The glass shades, formed to depict wings in various phases of flight, together with LED illumination, create the perfect ambience. www.brokis.cz

Four new colours have been added to the Belle D’l collection. Combining metalised tints and transparency, which blend together and create a modern yet sophisticated collection. ‘‘The sensual hips of this model make it quite unique,’’ described Hind Rabii. www.hindrabii.net

Aureole Tigermoth Lighting Making its debut at Maison et Objet this year, Tigermoth Lighting presented the Aureole table lamp, a striking lighting fixture handmade in England. Featuring two water-cut solid brass discs, Aureole is held within an elegant patinated bronze metal frame. www.tigermothlighting.com

Côte d’Azur Lladro Lighting

Cassia Lasvit

In the new Cote d’Azur model, the white of the Winter Palace series gives way to a combination of marine colours, beige and gold. Made of porcelain teardrops and beads, it is set by hand and combined with hand-cut Austrian crystal. Light filters through the lithophanes, to give a warm glow. www.lladro.com

Cassia consists of a group of small pendants, approximately 15cm in diameter and made of hand-blown glass, with each taking inspiration from / representing a flower or a star. Each takes on a slightly different shape with variations further enhanced by the monochromatic colour scheme. www.lasvit.com

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Boogy Arpel Lighting

Vortex Martin Huxford

Designed by FX BallĂŠry, Boogy is a contemporary and elegant interpretation of old candle lamps.

A table lamp that is available in zink alloy, steel and brass plated aluminium, it comes equipped with a touch switch with four preset levels. It has a luminous flux of 900lmn. www.arpel-lighting.com

The Vortex chandelier, availabile in different finishes, features five graphic arms rotating upwards from a central column. The dynamic geometry of the light is accentuated by the angular patterns and spaces created by the asymmetric arms, each suspended at a different height. www.martinhuxford.com

Pipistrello LED Martinelli Luci This diffused table and floor lamp features a stainless steel telescopic arm for height adjustment and a white opal methacrylate diffuser. The base and knob come in a titanium-colour finish, with white, black-brown or scarlet red lacquer, satin-finish aluminium, copper and gloss black finish also available. www.martinelliluce.it

Bolt Tonone

K&W Nahoor

Designed by Anton de Groof, Bolt is the result of a fascination with traditional mechanics. The key element in this industrial, no-nonsense lamp design, is the joint construction that can be adjusted with a wing nut-shaped tool.

Bolt comes in fourteen models, all available in seven colours. www.tonone.com

The K&W table lamp is available in polished chrome, white Carrara marble and opal Murano glass; as well as a brushed brass, green marble and opal Murano glass version. There are other variations available including satin chrome, brass, and white or black lacquered. www.nahoor.com

TIM BOMMA TIM is a new collection of lighting objects from design duo Olgoj Chorchoj. Consisting of three sized crystal cupolas in the form of a drop with dimensions of 70, 55 and 45cm, the lights can be combined with three types of mounting: nickel, copper coating and black matte effect. www.bomma.cz

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Collection 01 Magic Circus Éditions A new collection of lighting fixtures featuring chandeliers and pendant lamps, Collection 01 is produced in opalescent glass and brass. A natural version that evolves over time and assumes its ultimate patina after a few months is also available. www.magic-circus.fr

Tokyo Sputnik Mullan Lighting

Hendrix DelightFULL

An update of the sputnik design from the 60s and 70s, it gives a blast of modern glamour shining out in all directions. Featuring a complement of lamps on long stalks, this chandelier is suitable for modern and industrial interiors and looks great when lit with XL Round Edison Squirrel Cage filament lamps. www.mullanlighting.com

Inspired by the musicians of the 1970s, the Hendrix suspension lamp is a singular mid century modern light fixture that captures the attention through its inspiration of the Hendrix guitar. Made from brass and with a gold plated finish. www.delightfull.eu

Soft Collection molo Creating an intimate yet grand setting at Maison et Objet, molo used its soft collection to construct a forest of paper columns below a canopy of cloud lighting. molo’s soft collection has flexible movement and form and interacts to allow you to follow your own vision in shaping the space. www.molodesign.com

Fliegenbein HL Kalmar

Musset GR Sammode Studio

Expanding the range into ceiling applications, overhead ambient light filters through the pendant’s pleated silk shade and frosted glass diffuser. Its voluminous shade has classic appeal, while the dialogue between shade and slender armature injects modern personality into a space. www.kalmarlighting.com

Taking inspiration from previous models GR generates more intimate light with the addition of micro perforated stainless steel diffusion panels paired with satin-finish LED lamps. Once lit, the diffusion panel is reflected repeatedly giving the design unique aesthetic depth. www.sammode.com

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“Parler à deux voix” Following Veronese’s showroom event during Maison et Objet in January 2016, French designer Patrick Naggar shows how it is possible to thrive in modernity using tradiitonal means.

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Born in Egypt, Patrick Naggar grew up in Paris, France in a family of art collectors.

Exposed to modern art by his family from a young age, Naggar was often surrounded by influential creatives who played a part in shaping his creative thinking, in ways that he now employs in lighting design.

Visiting art studios and museums with family and friends such as Portuguese painter Vieira da Silva and British playwright Stephen Poliakoff, Naggar was destined for art and design from the beginning and

went on to study architecture at the Ecole des Beaux-Arts in Paris.

“I considered architecture to be vital knowledge within art, interior and furniture design and held in high regard the way Italians view architects as being equally capable of designing interior spaces and products,” Naggar tells darc.

While studying in Paris, Naggar undertook an internship with an architect known for several luxurious buildings in Paris.

Under the architect’s guidance, the budding designer was exposed to an array of craftsmen and skills of the French Arts Decoratifs movement in the 1930’s. “I resented it at the time as I was eager to be modern,” he admits, “but I realise today

how important and instructive that training was – learning to design typical facades by hand with the correct orders and proportions.”

Having now developed a mature outlook based on his extensive training and experience, Naggar does not attempt to distinguish between ancient and modern and instead focuses on the difference between good and bad architecture. Aspiring to an international range of artistic figures such as Louis Kahn from the

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US to English architects such as David Chipperfield, Naggar aims to bridge the gap between classical and modern in his work.

“I think the more modern we are, the more memory we need. There is nothing like a tabula rasa.” Seeking to connect areas that are usually kept apart, the French artist purports that humans are simultaneously ancient and modern and looks to cultivate hybrid and at times ambiguous designs.

This philosophy is seen in Naggar’s work from the beginning of his achievements in lighting design. Prior to the designer’s first work with Veronese ten years ago, he was invited to work with the CIRVA (International Centre for Glass Research) in Marseille, France. Here he designed an object representing Psyche, the Goddess of the soul in Greek mythology, which was a glass drop filled with water and illuminated with a small LED. With Veronese, a French manufacturer established in Paris in 1931, the company prides itself on its skills in the formation of luxury Murano glass lighting fixtures crafted in the tradition of French design. Naggar’s work with CIRVA joined harmoniously with his future work for Veronese in his drive to create hybrids between science, art, traditional and modern technologies. “The Drop series with Veronese is an avatar of this initial project

with CIRVA inspired by Greek mythology,” explained Naggar. Inspired from the same source, the organic shape of Drop has been adapted as a table and wall lamp available in several colours evoking a light of myth and poetry to fill an interior.

Naggar’s most recent projects with Veronese have more of a scientific influence, such as the Orbe lamp for Veronese, taking the shape of the galaxy in wall sconces and table lamps. Most notable of his pieces blurring the boundaries between art and science is the Chromosome chandelier inspired by the DNA of a chromosome X, made by Veronese exclusively for display at furniture and lighting showroom Ralph Pucci International in New York.

“I was interested in translating an essential part of the human cell, one that carries information into an object with poetic license,” explained Naggar. “The doublecoiled strands of DNA are materialised by fibre optics, which in the chandelier are represented by the light.” This chandelier exemplifies Naggar’s drive to create hybrid designs between tradition and modernity.

The Murano hand blown glass shows how a traditional skill can be associated with a modern means of lighting. “Melding the traditional skill of glass blowing with a new way of using fibre optics is a new concept

that introduces a new direction in lighting.”

With these creations in his arsenal, Naggar reflected on his time so far working with Veronese: “It has been a wonderful experience. This venerable house, which has produced works with French designer Andre Arbus and others since the early 1930’s, represents traditional Venetian glasswork while being open to exploring new avenues in design. It is a great artisanship rooted in history combined with a sense of innovation.” A match in theory and practise, Veronese has been a driving force in Naggar’s attraction towards lighting design. According to Naggar, lighting is the domain that has evolved the most in design recently, with new ways of using light to create ambiance and a strong symbolic value attached to it. This symbolism is what attracts him to lighting design the most, as it is after all the extinction of darkness. www.verone.se www.patricknaggar.com

Previous Page Naggar’s Orbe wall sconce in orange for Veronese. Above Chromosome chandelier designed by Naggar and manufactured by Veronese for Ralph Pucci International.

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The Science of Light French designer Mathieu Lehanneur is world known for his fascination with science and a humanistic approach to his work, which takes him far beyond product design. During Maison et Objet Paris in January, visitors were able to experience two of his latest lighting projects - Clover and Les Cordes. darc discovers the man behind the designs.

Pics: Felipe Ribon

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Considered one of the world’s top 100 designers and influencers, Mathieu Lehanneur is a French designer at the forefront of the international design scene.

He is also one of the few of his generation to use his talent in a variety of disciplines beyond furniture design. During Maison et Objet Paris in January, Lehanneur presented two major lighting projects in the city: his lighting feature Les Cordes, originally created for the Decorative Arts Museum of Marseille, France and his first urban lighting furniture collection Clover, on display at an apt location in front of the Ministry of Ecology, Sustainable Development and Energy in Paris.

Having grown up in the suburbs of Paris, a career in design wasn’t always on the cards for Lehanneur and before embarking on a degree in design at ENSCI-Les Ateliers / Ecole Nationale Superieure de Creation Industrielle, he longed to become an artist.

“After studying art for around six months, I realised that for me, inspiration came from

working with a client and I preferred the idea of this, rather than being completely autonomous in the world of art,” Lehanneur tells darc. “I always knew I wanted to work within the creative field in some way and in the end decided on design.”

Fascinated and inspired by science, Lehanneur funded his studies through taking part in pharmaceutical trials, which in turn, brought inspiration for his first collection Therapeutic Objects, a range of remedies that were easier to use than those he’d seen during the drug trials. By designing medicine Lehanneur was trying to connect directly with the ‘living element’ – the user. With Therapeutic Objects now part of MoMA New York’s permanent collection, this humanistic approach continues in his work today. Lehannuer considers human beings as complex structures that need more than just chairs, but also air to breathe, sustainable food, good health and love in order to live better.

Making its debut in Paris at the beginning

Clover - a series of trees encompassing energy, functions and materials - stood tall outside the Ministry of Ecology, Sustainable Development and Energy in Paris during Maison et Objet in January.

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Pic: Courtesy Carpenters Workshop Gallery, photo by Adrien Millot

of the year, outdoor lighting fixture Clover is an opportunity for the public to ‘break and recharge’ and is a follow up to the designer’s 2012 creation of Digital Break, a range of WiFi stations in Champs Elysees Avenue that offered a new way of experiencing the city and connecting with the rest of the world.

Clover is a series of ‘trees’ encompassing energy, functions and materials. Lehanneur describes them as “hybrid objects of excellence, combining light and seating, wood and solar panels, town and country. It (Clover) is a new living species – both wild and domestic, natural and technological,” he says.

Carved from a wooden mast, Clover comprises a floor lamp and bench that appear cut and polished by the hands of a craftsman; rather, they are digitally machined using an unprecedented industrial process that allows the designer to blend different species of wood together.

Lehanneur aims to create a structure like

a “replanted tree that should have always been there”.

Clover features large aluminium domes that release downward LED light to minimise light pollution and energy loss. An additional dome, faced upwards, is equipped with solar panels to produce enough energy to power the lamps for three hours. A small hatch is also available where passers-by can charge their smartphones. The Clover bench is designed to be adaptable and extendable – reaching over fifteen-metres long if required.

This latest project was launched to coincide with this year’s COP21, United Nations Conference on Climate Change in Paris and was initiated and sponsored by the Poitou-Charentes French region under the leadership of its President Segolene Royal.

The Les Cordes lighting feature was unveiled at the Carpenters Workshop Gallery also in January, in an exhibition entitled New Works (running until March 19). Having collaborated with the Gallery since 2011,

Les Cordes uses contemporary lighting technology with handcrafted work to create a modern representation of a chandelier.

Lehanneur is now officially joining its roster of represented artists, in line with his continuous artistic research and development.

Les Cordes uses contemporary lighting technology with handcrafted work to create a modern representation of a chandelier.

The glass tubes contain strips of LED that puncture the underside of the ceiling and hang down like loops of rope. A lighting programme allows the lights to be dimmed or brightened independently of one another.

“The chandelier was conceived as a rope of light crossing the ceiling,” said Lehanneur.

Only bands of light and glass are visible.

Neither an object not a light fitting. It is the light itself that seems to live and circulate in the entrance space, as if stitched onto the actual building.”

The New Works exhibition will run until March 19. www.mathieulehanneur.com

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The Greater Good Pinning down a particular point of inspiration when blasted with an influx of colour and detail everyday can be difficult. British designers Sarah Colson and Aimee Betts have travelled the world to gain an education in craftsmanship, a story told in their latest collaboration on the Clara Lux collection launched at Maison et Objet in January 2016.

Pic: Stacey Hatfield

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Pic: Aimee Betts (left) and Sarah Colson (right) Image courtesy of Stacey Hatfield

Although from somewhat different backgrounds, both Sarah Colson and Aimee Betts are ambitious, colourful designers who have built up their talent with drive from an early age. Now based in South East London, they identify with the creativity of young designers swirling round this part of London.

Colson, originally from Wiltshire, UK, studied BA Interdisciplinary Textile Design at the University of Western England before working on a yacht to save money for her Masters in Product Design at the Royal College of Art (RCA), which is where she met Betts. At the RCA, Colson saw people turn creative processes into commercial businesses, inspiring her to earn a living out of making the market understand how she wanted to use her creativity. Then working freelance on more conceptual designs, performance pieces and community-based work, Colson undertook a design residency for the British Council in Indonesia where

she made a small light installation as a community project. She went on to set up her own lighting company, establishing a more commercial edge to her work.

“It was never intended to be a lighting company. I just wanted to be a designer really,” says Colson. “Creativity is at the heart of everything I do and lighting is a nice platform as it means I can be quite sculptural and decorative with the way I work.”

Betts grew up in Leicestershire, UK, on an aquatic nursery, and her designs have very much been shaped by her rural, hands-on upbringing. After studying an Art Foundation at the University of Loughborough, Betts went on to study BA Multimedia Textiles with an emphasis on the inventing process and handling materials such as plastic, wood, metals and papers. In a desire to further develop her skill set with more traditional textile techniques, the budding

designer worked for a freelance embroidery company making samples for fashion.

“It was here that I learnt to dye fabric and really developed my love of colour,” explained Betts. “I really enjoyed the immediacy of dye and the access to colour.” She then went on to study a Mixed Media Programme at the RCA. Betts’ first experience working with light came through her work with design collective The New Craftsmen in London, where she worked with glass blower Michael Ruh on the Harbour collection, a series of pendants combing coloured light flex hand braided cord with coloured blown glass.

For both women, there are similar elements that attract them to lighting design. They each enjoy the drama it creates in a space by hanging something from the middle of it; Colson drew on memories of mobiles hanging from her bedroom ceiling as a child. She enjoys the problem solving aspect

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Clara Lux collection Image courtesy of Lenka Rainer H

of lighting design - working out how to create a beautiful product despite being bound by the essential components of a lamp. “I also really enjoy the fact that it’s almost sculptural because when the light’s not on, you have a really beautiful object,” she says. “But when the light is on, the light gives it a purpose and an intention to be in the world.”

Betts likes to work with her background in textiles, thinking about how she can bring her understanding of layer, opacity, colour, texture and depth to lighting through her own skillset. Having worked a great deal with flat textiles, she too enjoys the sculptural aspect of decorative lighting: “You can move around it and see it from different angles,” she says. “It really adds duality to the room.”

After meeting at the RCA, the pair went their separate ways. During this time, Colson worked in Brazil with designer

Marcelo Rosenbaum on his A Gentre Transforma project to develop the notion of collective design, and Betts, as well as working with Ruh, undertook a design residency in India working with locals to produce embroidery collections. Years later, they bumped into each other at an art gallery, rich with experience and ideas.

“I liked what Aimee had been doing with Michael Ruh, and I was wearing one of my bags that I’d made when we ran into each other,” explained Colson. “Aimee asked me if I wanted any cables for my bags. I said not for my bags but I’d love some made for my lights!” Their collaboration grew from there.

With Maison et Objet Paris coming up in January, Colson had been experimenting with new coloured glass parts but had reached a point in her design process where she wanted another influence. At the same time, Betts had been following

Colson’s work and thought to herself, “I need to make some cord for Sarah’s lights!”

With this mutual appreciation, their skill sets naturally came together. Through experimentation in lampshades and working with colour, they pulled together a trio of samples and considered how they could best work to complement the glass using blocked and striped coloured affects. “I would come over to Aimee’s once every three weeks or so,” explained Colson, “and Aimee would have done some more samples for us to take a look at in different colours. It was great to land on someone that I could work with so easily.”

With Betts’ vast understanding of colour, she was able to teach Colson in depth, using the colour wheel, why certain colours work together and how they interact with light.

Together they explored how pastel colours can be used to create contrast. “Using the colour wheel as a tool, we could step either

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Colson and Betts working on the Clara Lux collection Image courtesy of Stacey Hatfield

Colson and Betts’ Clara Lux Images courtesy of Lenka Rainer H

side of colours and look at things that were a little offbeat, so the colours don’t exactly complement each other but are just a bit to the side,” said Betts. “If colours go together there’s usually a scientific reason for it, so colour is generated by that process.”

For both designers, there were three main ingredients for the Clara Lux collection; colour, form and texture. These factors drive each of their individual practices and are what they attribute their collaborative success to. Making the pieces slightly asymmetric, Clara Lux plays with the viewer’s perspective in how the eye moves around the different shapes of the glass. “It’s a trio of light and a will to acknowledge that they work together as a collection and individually,” said Betts.

“The different colours appeal to different people so hopefully they’re flexible in that sense as well.”

The two share an understanding of collaborative projects that is integral to the Clara Lux collection. Colson made her first lighting project from her bedroom, which

was her studio at the time. It was produced as a result of using the creative process as a kind of therapy towards happiness. She made something that was basically just a fabric, then started to look to friends and various sorts of crafts people to see how she could make it into an actual product.

“This was a bit of a eureka moment for me, that I could come out of my bedroom and start interacting with the real world. I started experimenting and it all grew from there,” she says. “I started getting more and more recognition and I learned that my ideas grew every time I gained a bit of confidence, and connecting with people was a really big part of that.”

Also preferring to work in collaborations, Betts doesn’t have many of her own products as she sees an intriguing new set of problems to solve with each collaboration she is part of. “I think in the West we’re very much taught to think of ourselves as individuals, whereas the East has more of a focus on community. I think the future is more about networks and collaborations

and I try to work with a more Eastern philosophy.”

Colson also added the value she places on dialogue when working with other people, “You might have designed something and someone could just turn around and tell you they don’t like it. So you’re getting feedback all the time at every stage.”

In this vast network of shared ideas, the two young designers don’t pay much attention to trends but rather to the wealth of inspiration they are surrounded by. For both, the biggest inspiration would be to move into an unfurnished flat and then look to the market and see what they want, what they can afford, thereby instinctively acknowledging a gap in the market. If they can’t find or can’t afford what they want, they make it. Betts put simply that it comes down to a need and, and as Colson so aptly added, the need results in the greater good of the design. www.sarahcolson.com www.aimeebetts.com

SPECIFY THE RIGHT ONE FROM THE BEST.

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Stockholm Furniture & Light Fair February 9-13 2016, Stockholm, Sweden The five day show in Stockholm is the world’s largest meeting place for Scandinavian furniture and lighting design in home and public environments. Thousands from the furniture and lighting industries gathered at Stockholmsmässan exhibition centre to see the latest innovations and meet the creatives behind the products. With an inaugural awards programme launched (pg. 98), a British design studio as the show’s Guests of Honour (pg. 100) and an extensive array of inspiring talks, the 2016 edition drew in nearly 40,000 visitors. Here’s what caught darc’s eye in the world of decorative lighting. www.stockholmfurniturelightfair.se

Bellevue &tradition

Futura Ebb & Flow

A signature lamp from Danish designer Arne Jacobsen, &tradition re-launched the Bellevue floor lamp in five modern hues with a material mix, such as satin polished brass, or a mix of brass with ivory, black or a grey beige. Directing light without excessive glare, Bellevue is an ideal reading lamp. www.andtradition.com

Futura is a slim pendant that shapes the glass along three curves with alternating colours. It features a gingham facet cut middle section with tonal colouring above and below. Futura is available in two sizes, and translates classic lead crystal into a modern shaped pendant. www.ebbandflow.dk

Petite Secto Design Secto Design released its Secto Petite collection, adding smaller sizes to its traditional lighting range. Secto Petite range includes pendant, table and wall lights. Both the wall and table versions are adjustable, and their shades can turn to point light in any direction for the user’s convenience. www.sectodesign.fi

Serena Flos Serena by Spanish designer Patricia Urquiola is a domestic and lightweight table lamp. Playing with diffusers, it either reflects or allows light to pass through. Characterised by round or oval leaf-shaped diffusers, Serena is available in finishes such as copper and polished aluminium. www.flos.com

Cirque Louis Poulsen Cirque is Louis Poulsen’s new pendant by Danish designer Clara von Zweigbergk, who was inspired by Tivoli theme park in Copenhagen, Denmark.

A diffuse, downward light is reflected from the lamp’s matte, white inside, which is glare-free when hung at a regular height. www.louispoulsen.com

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Kurage Foscarini

Leaf Lamp Tree Green Furniture Concept

Kurage table lamp by Italian designer Luca Nichetto and Japanese design group Nendo, is inspired by jellyfish, the Japanese meaning of Kurage. Using Japanese washi paper made from mulberry tree fibres, the lamp features four natural coloured ashwood legs with a white ceramic lamp holder. www.foscarini.com

The Leaf Lamp Tree is a tree-sized standing lamp for public indoor spaces.

The branches shape a large crown foliage with strong sound-absorbing qualities; the foliage forms a soft labyrinth in varying sizes of wool felt, enhancing speech perception in its proximity. www.greenfc.com

Plane Zero Characterised by transparency and sharpness, Plane is available as a pendant and floor lamp. With a simple construction of thin metal wires, Plane features a structural grid crowned by a flat light source. Turned off, it is transparent, and when on spreads light both upwards and downwards. www.zero.se

w164 Alto Wästberg

NUUK Watt a Lamp

Designed by German designer Dirk Winkel, w164 Alto was presented for the first time at Stockholm Furniture & Light Fair, and received the Editor’s Choice award for Best Product. Its pole houses a 10,000 lumen miltuidirectional LED light source that emits an even and wide angle light distribution. www.wastberg.com

NUUK is a clean cut-glass pendant lamp inspired by the unwavering presence of icebergs in the North Atlantic. The geometric shape and symmetrical balance of NUUK imitate the carefully balanced weight distribution of icebergs with their relatively small top and large base. www.wattalamp.com

LOOP Himmee Founder of Himmee Timo Niskanen designed the LOOP table lamp unveiled at the show in Stockholm for the first time. With an aluminium body and opal acrylic diffuser, the LED light source takes the shape of a semi circle to the upper side of the inner surface of the circle. www.himmee.com

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Pik Bsweden Pik is sharp and honest in its deliverance. The wall lamp contrasts soft circles and hard angles that create both comfortable background lighting and crisp spot lighting. Using modern and energy saving technology, Pik pays homage to the clean and functional design language of the fifties. www.bsweden.com

Mobile PHOLC

Line One NORR11

Mobile is a chandelier made of four parts suited to domestic or commerical environments as a decorative pendant.

Each arm is linked to one another and directed at different angles, they create a lamp with graphic qualities and movement. Mobile is available in brass and black colours. www.pholc.se

Part of the Line series, Line One is handmade with a marble base and an aluminium lampshade connected with a brass rod. The Line Series is inspired by the 40’s Film Noir movement, which is characteristiced by the lamp’s rawness, clear silhouette and lines and gentle light. www.norr11.com

Counterbalance Luceplan Counterbalance is Norwegian designer Daniel Rybakken’s first project for Luceplan. A lamp with a long steel arm, its weight is counterbalanced using gear wheels in an aluminium structure. The gear system permits fluid movement and the arm moves in every point along its axis. www.luceplan.com

Hobo Örsjö

Carronade LE KLINT

A lamp with close connection to handicraft and the relationship between different materials, Hobo was created by Boda Glass Factory and Örsjö. Made of opaque blown glass the basket construction of brass is suspended with a visible rope, making it a flexible and portable product. www.orsjo.com

Created by Swedish designer Markus Johansson, Carronade floor lamp is iconic in design with a diffused face held atop a sleek elongated geometric stand using American walnut and brass discs. Available as a table lamp, wall or spot pendant, Carronade is suited to home and office environments. www.leklint.com

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Jupiter Belid

Pia Lampa Gärsnäs

A textile luminaire, Jupiter is a pendant consisting of several layers of fabrics and shades while appearing to be made of metal. Suited to any home and public environments, Jupiter is available in different colours; customers can combine fabrics or contrasting colours to create a unique look. www.belid.se

Pia Lampa is a family of lamps featuring a silver wire and a white cotton embroidered shade. Available as a pendant, ceiling or floor lamp, the floor version is available with a stand of cast black lacquered bronze with an adjustable shade that can move up and down. www.garsnas.se

Eximius Steel Lightwork Lightwork has released Eximius Steel as part of the Eximius collection designed

by Hüseyin Turgut and interior stylist Saša Antić, who created five new colours. The Eximius collection consists of floor, table and wall versions using Antić’s range of colours across each version. www.lightwork.nu

Caravaggio Read Lightyears

Bell Normann Copenhagen

Caravaggio Read is another addition to designer Cecilie Manz’s Caravaggio series. The shade is installed on a flexible tube that enables the shade to be tilted, so the user can choose the direction of light. The table and floor versions can rotate 260º around its own axis, adding to the users flexibility. www.lightyears.dk

The Bell lamp designed by Danish designers Andreas Lund and Jacob Rudbeck is now available in deep black and pure white monochrome paint.

Available in four sizes, Bell can be hung as a cluster, and in black and white, and moves into the intersection between rough and classic interiors. www.normann-copenhagen.com

Bloom Planter Vondom Vondom’s Bloom Planter by Catalan designer Eugeni Quitllet is made of polyethylene resin by rotational moulding. Bloom Planter is 100% recyclable and captures the flowering stage found in nature, and is suitable for indoor and outdoor use, available in a variety of finishes. www.vondom.com

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In The Pines ateljé Lyktan caught darc’s attention at Stockholm Furniture and Light Fair 2016 with its array of lamps from the young designers of Carl Malmsten Furniture Studies in Sweden. Nine students have been engaged in a design collaboration with the Swedish lighting manufacturer since their visit to ateljé Lyktan’s factory in Åhus, Sweden. Each of their products carry a natural elegance that expresses the pristine nature of the pine forest through the use of pinewood. This year, designers exhibited their designs in both the fair’s Greenhouse hall for up-andcoming designers and on ateljé Lyktan’s stand itself.

The young Scandinavian designers, all in their early twenties, have pursued educational careers in design from a young age, finding inspiration in the vast wildnerness of Scandinavia that is available to them. Take a look at darc’s selection of what the young designers created. www.atelje-lyktan.se

December

ANNAKLARA GLEISNER December, designed by Gleisner, bleeds light through the gaps in its screen, inspired by the barren landscape in the most northern parts of Sweden. As the Nordic countries need more light in winter, the pine shrinks allowing light to pass between facets. Likewise, the pine swells when the heat, humidity and light arrive in the spring and summer. The December lamp uses Swedish pine and metal with an LED light source.

Knall

LINNÉA WERME Finding her inspiration in nature and the body, Werme produced Knall, a pendant using yellow varnished pinewood to express the essence of the material and its origins. Inspired by the traditional chopping block, Knall presents a stylised form that highlights the pine’s softness, making it a fragile yet strong product, complete with cracks and an unevenness reminiscent of the texture of weathered pine.

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Nock

MARKUS BARVESTIG Nock, designed by Barvestig, is a family of luminaires aimed at creating a strong working light for various environments while using its natural material to create softness in a room. Inspired by applying the manufacturing process of extruded aluminium to wood, Barvestig produced a profile that could be cut to varying lengths to create a family of luminaires. Through sandblasting the surface, Nock enhances the grain and structure of pine by wearing it down to create peaks and valleys in the surface of the material.

Take Away ÅSA PERSSON

Based on the idea that people should be free to take light where they need it. Persson’s Take Away is a portable light fixture that works as either a desk lamp at home or a decorative lamp in a public space. Available with hooks to hang the lamp or simply place it on a surface, Take Away uses Swedish pine wood, aluminium and LED, offering a raw and honest contrast between humans and furnishings.

Helio

OLIVIA ÖBERG Helio is a decorative and directional table lamp inspired by a fascination of humans and the study of space. Öberg considered elements of the solar system, understanding the light source as its centre. Helio and its surrounding rings are adjustable, enabling the user to play with the brightness in an innovative combination of LED design with powder-coated aluminum and brass details presented with a traditional material.

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BEST STAND FOSCARINI Stockholm Furniture & Light Fair 2016 introduced a new award - Editor's Choice. The jury consisted of the Editors-in-Chief from some of Europe’s most influential design forums presenting awards for three categories including Best Stand, which was awarded to Foscarini. Chanelling its creativity through Italian designer Ferruccio Laviani's tunnel stand design titled ‘At a Glance’, the Italian manufacturer drew guests in from all angles. With this being its debut presence at the fair, Foscarini President Carlo Urbinati wanted to make a strong and powerful impact to communicate the brand's personality and the character of Foscarini's collection: “We shared our vision with Ferruccio Laviani who designed an extremely evocative project: an enveloping structure that hosts the eclectic Foscarini universe,“ said Urbinati. ‘At a Glance’ invited the show's guests to see things from a different point of view, finding originality in shape, depth and projection. www.foscarini.com

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Guests of Honour British design studio Barber & Osgerby created a cross section of daily life through a Triptych installation at Stockholm Furniture & Light Fair.

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The vast entrance to the Stockholmsmässan Älvsjö welcomed design enthusiasts to Stockholm Furniture & Light Fair with Edward Barber and Jay Osgerby’s Triptych installation. Arranged into three areas, the space was divided by giant felt screens, each offering guests an environment for relaxation, meeting and working under a canopy of paper lanterns.

The materials, including animal hides on chairs and sheepskins on oak benches, were set off by the white wood floor, reflecting Barber & Osgerby’s impression of winters in Stockholm. The installation uses felt

from Nordifa, known for their engineered textiles, furniture manufactured by Vitra, Knoll and B&B Italia and the Hotaru lantern collection manufactured by Ozeki.

Barber & Osgerby featured at the fair as a Guest of Honour, an esteemed position previously held by Arik Levy, GamFratesi and most recently Ilse Crawford. The British design studio founded their practice in 1996, with their diverse body of work now spanning industrial design, furniture, lighting and site-specific installations as well as limited edition pieces and public commission such as the London 2012

Olympic torch. They are currently working with global manufacturers such as Vitra and Flos, and have works permanently housed in London’s V&A Museum and many more locations.

Having established their own architectural and interior design practice Universal Design Studio in 2001, Barber & Osgerby set the tone for the standard of style and design displayed at the fair, and truly served as the prevailing meeting point all those in attendance. www.barberosgerby.com

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Light + Building Preview March 13-18 2016, Frankfurt, Germany The world’s leading trade fair for lighting and building services technology attracts over 200,000 visitors across the industries of architecture, lighting, interior design and distributive trade. Every two years, approximately 2,500 exhibitors present their latest innovations for the fields of lighting, electrical engineering, and house and building automation with a main theme of energy efficiency. This year, Light + Building 2016’s top themes include bringing design and function together in harmony with a focus on smart technologies as the keystones of modern building. Here is a taste of what you should keep an eye out for in the world of decorative lighting. www.light-building.messefrankfurt.com

Edge Reader Astro

Reflector 360 Factorylux

Edge Reader is an original approach to bedside lighting offering a new aesthetic. The minimal white floating plane on which the reader is mounted appears to float on the light it emits from its edges. Both functions can be individually switched and feature LED lamps. www.astrolighting.co.uk

The 360mm Reflector features a Carmine Red RAL 3002 vitreous enamel exterior, and is configurable with the latest Xicato XTM and XIM controllable modules, including the Artist and Vibrant series. Reflector will be at the Xicato installation on the Agora Plaza at Light + Building 2016. www.factorylux.com

Electro T Ango First developed specifically for the Hotel Chavanel project in Paris, the Electro T design is now incorporated as part of Ango’s handcrafted light jewellery series. The light diffuser is plated in nickel with interwoven metalised thread and sits on a matte black tripod base. www.angoworld.com

Luminous Patterns Philips Luminous Patterns is a connected LED lighting system aimed to help architects and designers create a striking statement using a combination of light, patterns and materials. This is a decorative wall or ceiling panel that can be used in a wide range of applications. www.philips.com

Giant Outdoor Anglepoise Launching its first Giant Outdoor collection at Light + Building, the range includes a Giant wall mounted light for indoor and outdoor use, a three piece Giant brass collection with solid brass components and a triple scale Giant interpretation of its widely known Type 75 desk light. www.anglepoise.com

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Hugo Slamp Hugo runs parallel to the floor, sideways or perpendicular. It customises the environment with a sinuous design and the softness of LED lights diffused by Slamp’s own material Lentiflex. It can be used in a series or free sequence, and is suitable for both decorative projects and technical illumination. www.slamp.it

O’Tool benwirth licht

Navicula David Trubridge

O’Tool is a square, flat surface with invisible slots for either one or four small LED globes. You can install a single plate or add on as many as desired. Depending on the arrangement of globes, various light graphics can be projected onto the surface, from either the wall or ceiling mounted position. www.benwirth.com

David Trubridge will present Navicula at Light + Building, inspired by the microscopic diatoms that float around the oceans. This behaviour is reflected in the light’s flowing form. Made of curved pieces of CNC cut bamboo plywood, the light casts intricate and decorative shadows. www.davidtrubridge.com

romeoe giulietta FedericodeMajo Handcrafted by mouth-blown glass in two shapes, romeoegiulietta is available in two shapes and various colours including clear, amber and amethyst amongst others. With grey painted metal parts and grey fabric cables, this is a customisable product suited to any setting. www.federicodemajo.it

Idèeal Concrete Home Design

A-Tube Nano Studio Italia Design

Manufactured in Germany, Idèeal shows an organic shape married with fragile crystal glass. Available as a pendant or table lamp with a textile cable, Idèeal’s innovative shape pushes the boundaries of the form, colour and structure seen when using concrete as a decorative material in lighting design. www.concrete-home-design.com

A-Tube Nano is a thin pendant that combines the modularity of Studio Italia Design’s radio system with the elegance of gold, silver or rose gold to create a light yet filling range. This can be displayed as clusters, and is available in three sizes to add diversity to any space and suit any user. www.studioitaliadesign.com

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Light Band System Lucifero’s Light Band System (LBS) is a thin band of extruded aluminium section, representing a new form of the classical linear squared outline. Although an item with architectural and strict forms, it is ideal for being used in a wide range of spaces due to its smooth and curved form. www.luciferos.it

Simbiosi Davide Groppi

Overlay B.lux

Simbiosi is a restructured chandelier that can be assembled according to the aesthetic taste of the user. As a whole it appear weightless. The thin red wire that connects the light sources relates each part to one another, which serves as the principle component of the project. www.davidegroppi.com

German designer Tim Brauns joins B.lux with the Overlay lamp collection. This line of Scandinavian inspired lamps features two table, one floor and three suspension versions. The variety of sizes and shade diametres make Overlay suitable to both domestic spaces and contract work. www.grupoblux.com

Manolo Ole! by FM Manolo is an easy to move linear pendant, allowing light to be orientated in any direction at any angle. Dimmable on request, it offers direct and indirect illumination for a range of projects.

Also available in original wooden veneer, Manolo can create warm atmospheres. www.olebyfm.com

Driyos ZAVA

Stripped of decorative charms, Driyos is characterised by clean geometric lines. It expresses its strong personality with an unusual suspension system that allows users to wrap part of the cable to adjust the height of the lamp. This offers an industrial take on contemporary design. www.zavaluce.it

Medousê Catellani & Smith Enzo Catellani has designed his first collection of outdoor lamps. Most striking in this collection is Medousê, a lamp made of two overlapping glass hemispheres. When switched off the light is green to complement surrounding landscpaes, and white when turned on. www.catellanismith.com

The Clubhouse at Liverpool One

Lighting Design Studio and UK Flagship showroom now open in Manchester, UK

www.tysonlighting.com

Delivering on our promises for over 50 years... Blending the aesthetic with the technical

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darc awards 2016 to launch at Light+Building with Dimple Following the success of the inaugural darc awards last year, Light+Building will be the stage for the launch of the second edition, together with the official launch of BYBEAU's Dimple that won the 2015 darc awards best decorative lighting product.

The Dimple chandelier winning the 2015 darc award for the best decorative lighting product was a major turning point for BYBEAU, an international design studio specialising in high end lighting installations and product design.

Beau McClellan, the artist and designer who gives his name to the company whilst assuming its creative direction, was particularly pleased with the award as his extraordinary luminaire was voted on by international lighting designers as their favourite decorative lighting product.

“I was absolutely delighted to win the darc award – it's always great to receive confirmation you are on the right track, especially from darc who truly understand our world of lighting, even more so because it was voted on by independent lighting designers all over the world. We make our art for our audience, so something like this feels like a little ovation. The general

response after receiving the award as been immense."

Indeed, the positive reaction to winning the darc award has given BYBEAU the momentum to participate in Light+Building and officially launch the Dimple collection at the show. The Dimple Installation at Light+Building will only reveal itself when a viewer remains still. The installation will be comprised of over 400 mirrored units that surround the viewer in a unique sensory environment. By taking a moment of stillness amid the chaos Dimple will start to interact with you – and the longer you stay motionless the more it will reveal. The project is an exercise in creating a feeling of sentience, with a character and even a voice of its own; a playful, reactive entity expressing itself through light and sound.

The debut will mark a new approach to lighting design. Dimple reaches out, invites you to see through it, anything is possible.

BYBEAU's stand will also be the perfect platform for the official launch of the 2016 darc awards. Whilst darc and mondo*arc are already exhibiting at the show (at 4.1 FOY16), the chance to co-host an event with a darc awards winner was too good an opportunity to miss for the darc awards director, Paul James. “When Beau approached us to do something together at Light+Building, I had no hesitation in accepting. It made perfect sense to officially launch the 2016 darc awards at the show and, to do it with a previous winner has great synergy. We're looking forward to the immersive experience. It will be spectacular.”

The Dimple unit was always designed as an integration of light into art rather than art into lighting; a unique sensory expression that harmonises with natural light in the day - only to burst into life by night. Light is such a great communicator; so natural

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Pics on this page: Vasco CĂŠlio

and innate. Reactive and sympathetic, it can inform and express our moods and emotions; seeming to have a life if its own.

Of course, awards are all well and good but without commercial success, the process is meaningless. This hasn't been a problem for BYBEAU as the projects have rolled in since the victory. One of the first was a high end residential project in the Algarve, Portugal. A new plug and play RGBW chip was specially designed to give total control over each unit - the possibilities limited only by imagination. The client has true interactivity; with different moods and ambiences reactive to a range of stimuli.

Different temperatures and movements are interpreted and expressed by Dimple to create an art installation of unlimited variability.

The piece was designed to be functional as a more traditional chandelier working with different temperatures of white light, easily

dimmable to play with the intensity of the mirror coating. Careful consideration was involved in integrating this piece into the client’s lifestyle, the intention to provide complete control of ambience and mood as quickly and intuitively as possible. Pausing to manipulate technology only serves to distract away from the interactivity of the piece.

When switched on, the pioneering two-way mirror-coated ďŹ nish unveils an extra interior hand-blown glass ball. A playful expression of the whimsy of imagination; transitioning throughout the day, a magical twist to any ambiance - Dimple is meant to be used and enjoyed, duality all part of its charm and intention. www.meetdimple.com www.darcawards.com The Dimple / darc awards launch event will take place on the BYBEAU / Climar stand (4.2 E50) at 6pm on March 15th.

Left Paul James, director of the darc awards and editor of darc / mondo*arc, on stage at the darc awards 2015. The 2016 editions will be split into architectural and decorative events with the architectural event taking place in London on September 15th. The decorative event will take place in London in May 2017.

Above The Dimple collection, a series of interactive chandeliers made with hand-blown glass pendants designed by Beau McClellan, won the best decorative lighting product at the 2015 darc awards.

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ON SHOW

northmodern

Pelagia RF Objects

January 13-15 2016, Copenhagen, Denmark Inspired by the Danish Modern movement and Copenhagen's unique positioning as a cultural destination, northmodern showcases international talents along with the best of Scandinavian design heritage. Uniting culture with design brands, northmodern once again stood as a celebration of holistic, sustainable contemporary living in a unique show experience for business professionals and design ethusiasts from around the world. www.northmodern.com

Handcrafted with wire rope, the Pelagia lighting series is inspired by the luminescent jellyfish Pelagia Noctiluca.

During the day the wire rope tentacles catch the natural light with a soft sparkle. By night, the tentacles create a surprising shadow play in the Pelagia’s immediate surroundings. www.rfobjects.com

Backbeat Rewired From Frandsen Projects' new independent brand Rewired, the Backbeat pendant, made in Denmark, is carved from aluminum. It has a diamond-knurled pattern on the tube with an anodised finish, available in black, gold and natural, with a dimmable 230V LED lamp inside. www.rewired.dk

Lantern New Works

Base Iron NUD Collection

Study Woud

New Work's Lantern Pendant is inspired by the iconic Scandinavian rice paper lamp, which serves as a modern example of blending old form with new materials. The frosted white opal glass creates a calming light in its round form that has a comfortable presence in any room. www.newworks.dk

Base Iron is a unique lamp holder characterised by its weight and finish in cast iron. Inspired by its material, the pendant is produced in Sweden with an E27 socket. Base Iron’s rough exterior plays a balanced counterpart to NUD Collections’ other Base pendant in concrete. www.nudcollection.com

The Study table lamp designed by Tononto based studio M-S-D-S is a simple light intended for office use or soft bedroom lighting. Its shell, available in petrol blue or white, is made of a single cast metal part and is both evocative of iconic task lighting and resolutely domestic. www.woud.dk

FOR DESIGNERS. WITH LIGHT.

mondoarc.com

darcmagazine.com

darcawards.com

mondoarc.in

designerswithlight.com

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PRODUCTS

New for Review A selection of the latest decorative lighting product releases.

30degree Wrong for Hay

Calypso Contardi

30degree designed by Johan van Helten was launched for the first time at Stockholm Furniture and Light Fair in February. A series of veneer lampshades, it uses a 30º angle to create a continuous woodgrain pattern.

The pendant shade is available in natural, green and orange wood stain. www.wrongforhay.com

Calypso is a collection of small lamps inspired by the 1940s. It displays a connection with South America and the tropical world where the European Deco style, characterised by geometrical lines, black and whites, is twisted and revitalised thanks to bright colours, patterns and twines.www. contardi-italia.com

Drink Karboxx Drink is a collection of floor, ceiling and suspended lamps in black carbon fibres with a metal base. Painted black or composite fibreglass, it is able to pivot 360º and has an angle tilt of 25º.

The suspended version is available with a single or twin cone in two different lengths of 127cm and 175cm. www.karboxx.com

Ballet Collection Arturo Álvarez

Cosmo Tyson Lighting

Birdy Northern Lighting

Designed by Héctor Serrano and created using SIMETECH material, Ballet's shapes are formed by the superposition of its vertexes, allowing freedom for the material. The resulting three volumes are fluid and natural and its asymmetry makes its forms change depending on the point of view. www.arturo-alvarez.com

Designed by Robert Matthews, Cosmo uses honey-warm LEDs from lamp manufacturer Tala. Composed using tripartite arrangements of rods, each of which stem from a central body, it is finished in gold which, coupled with the glow of the 2,000K LED filament lamps, creates an intricate golden cluster. www.tysonlighting.com

Northern Lighting has launched a new version of Birdy to commemorate the centenary of designer Birger Dahl's birth in 1916. Still the same stylish task light, it will be produced in a numbered series and the shade, base and counterweight are coated in mattefinish Marsala, developed by Pantone. www.northernlighting.no

light+building

Frankfurt am Main 13 -18.3.2016 // HALL 1.1 STAND H50 //

// We make concrete beautiful.

We make it different. // www.concrete-home-design.com

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CALENDARC

On Show

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

LIGHT + BUILDING • FRANKFURT, GERMANY 13-18 March (www.light-building.messefrankfurt.com)

SALONE DEL MOBILE • MILAN, ITALY 12-17 April (www.salonemilano.it)

MAISON ET OBJET AMERICAS • MIAMI, USA 10-13 May 2016 (www.maison-objet.com)

NYCXDESIGN • NEW YORK, USA 3-7 May 2016 (www.nycxdesign.com)

ICFF • NEW YORK, USA 14-17 May 2016 (www.icff.com)

INDEX • DUBAI, UAE 23-26 May 2016 (www.indexexhibition.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)

ARDE • LONDON, UK 5-12 June 2016 (www.ardelondon.com)

DESIGN MIAMI/BASEL • BASEL, SWITZERLAND 14-19 June 2016 (www.basel2016.designmiami.com)

NORTHMODERN • COPENHAGEN, DENMARK 18-20 August 2016 (www.northmodern.com)

MAISON ET OBJET • PARIS, FRANCE 2-6 September 2016 (www.maison-objet.com)

DARC AWARDS ARCHITECTURAL • LONDON, UK 15 September 2016 (www.darcawards.com)

LONDON DESIGN FESTIVAL • LONDON, UK 17-25 September (www.londondesignfestival.com)

INDEX.

23 – 26 MAY 2016

DUBAI WORLD TRADE CENTRE, DUBAI, UAE

THE INTERIOR DESIGN HUB FOR THE MIDDLE EAST

SAVE THE DATE

VISIT HALL 8 AT INDEX, TO SEE THE LATEST LIGHTING SOLUTIONS FOR YOUR PROJECTS

Elstead, 8 D31

MEET OVER 800 INTERIORS SUPPLIERS, EXHIBITING 1000's OF PRODUCTS. NETWORK WITH 28,000 INFLUENTIAL ARCHITECTS, DESIGNERS & BUYERS.

Manooi, 8 D36

GAIN INDUSTRY KNOWLEDGE BY JOINING OUR TALKS & FORUM.

Serip Lighting, 8 A41

SPECIAL GUEST AT INDEX:

KARIM RASHID

VISIT INDEXEXHIBITION.COM FOR MORE INFORMATION ON HOW TO REGISTER TODAY! Co-located with:

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Silver Sponsor, MEIDA Awards:

114

DETAILS

if...

there is one thing casinos know how to do well, it’s big, bold and bright. Fireworks

by Electrolight, was commissioned

by Crown Entertainment Group for its Melbourne casino as part of an extensive refurbishment of the west end of the casino.

Comprising a complementary pair of luminaires located at the top and bottom of a new escalator void, the upstairs luminaire is a half sphere consisting of 200 handblown glass balls attached to a central hub containing wiring and connections. Each glass sphere contains a low LVTH lamp designed to be permanently dimmed to maximise lamp life. At the bottom of the escalator, a full sphere consisting of 400 glass balls completes the pair. www.electrolight.com.au Pic: Peter Bennetts

Artistry from Nature Navicula Light davidtrubridge.com

Hall 1.1, Stand B20